Film studies

Winters bone essay How far does the knowledge of the production process encourage a constant shift between passive and active spectatorship? There is a long shot as Jennifer Lawerence’s character, Ree approaches. The mise en scene of the classroom shows that this is an interview for the army through the leaflets that are set on the table. There is also a queue of other people waiting, however these are all male, insinuating and highlighting the masculinity of Ree's character. This may hold more significance to an active viewer rather than a passive one. This is as the are able to actively think of the underlying reasons behind this and understand the lower class american society that Ree lives in. A passive viewer may not pay as much attention to this or have an understanding of the society. Having prior knowledge isnt something required to understand or enjoy the film as even an active viewer may also be unaware or uneducated in the subject of the film. Spectator ship is a

I intend to create a short experimental, social realist film. Elephant(Clarke, UK, 1989) -39mins - long lasting shots and lack of dialogue Wasp(Arnold, UK, 2003)- 24mins verisimilitude - hand held camera-social realist aspect Curfew(Christensen, US, 2012)19min- shots of city lights- cinematography, cool lightning Connect(Abrahams, UK, 2010)05mins diegetic sound is loud the lack of dialogue- music video like. Nightfishing(Park,South Korea, 2011) 33mins photos and narrative. - quick shots Things that my film will include: majority of scenes will be outside rather than inside curfew city lights- coventry town lights i want there to be a lack of dialogue and be a visual film Mannies Herbert Ikea                                                                                                                                                                                                                                                                                        

"How useful has an ideological critical approach been in enhancing your understanding of  Fish Tank" ideological critical approach in fishtank. Working class. Young female being taking advantage of. Wanting to get out of the "fish tank" In the film "Fish Tank" the fish tank acts as a metaphor for social class/status. The film is dominated by social class this as we as an audience are constantly left comparing Mia and her family to the man that is dating her mother.  In the opening scene Mia is mid frame, the background is a blue concrete wall. The concrete wall reflects the council house environment which is typical of where working class people live. The colour of the wall ties into the title of the film "Fish Tank" as it is a metaphor for being trapped in social class.  The documentary style of the film tries to make it as realistic and accurate to life as possible. The director has done this in order for the audience to relate an

Exam questions Section C: Sunrise, 1927 German Expressionist cinema was prevalent in the 1920s. There is contrast in the use of light and shade within the film as natural and artificial light create shadows/silhouettes in almost every shot. The use of low-key lighting is significant in creating these darker shadows which is important due to the fact that the film is in black and white. In the scene where the man and woman are in the boat, there is a series of mid shots and long shots where the moon is in the sky, half lighten, it plays a key part in exaggerating the darkness that the two are in, not only physically but metaphorically. This is furthermore emphasized with the weather, foreshadowing the accident. This being said, polar opposites are key in the film (Day vs night, City vs country etc) and play into the melodramatic genre of the film. The scpre of the film is intended to be played live and also adds to the aesthetic, being a vital part in expressionist cinema. Secti

Within the first scene of the documentary Amy, raw footage is used. There is a short clip of her and her friends in the very first couple seconds of the film. There is a close up shot of her in the middle of the frame. This makes the film feel more persona; to the audience as they feel as if they are “close to her.” The director uses this clip first due to her innocence; this is Amy before fame. She singing she’s happy. She’s doing it with her friends because she enjoys it rather than for an audience. She is caught off-guard by the camera. The scene after this is again another raw footage film with her and her friends/management in the car. There is both non-diegetic and diegetic sound within the scene. The diegetic sound is quiet as the non-diegetic voice overs are played on top. This gives more context as those that are in frame are given time to elaborate what is happening.   There is a range of close up shots of Amy, many of these are slowed down so the audience hav

The opening scene The film begins with an establishing shot of the city. There is a boat sailing across the screen in the foreground. Due to the films lack of colour, lightening is important. There are lights from the bridge and from the buildings in the back. During the period of time in which the film was created, colour in film was available, however due to the low budget, Orson Welles had to create the film in black and white. This scene then begins to fade out. This editing technique was standard for the time. As the next shot fades in, there is a pan from the ground to the carriage as the camera begins to zoom on a woman. We know from costume that this woman is the femme fatal. Rita Hayworth for the role bleached her hair blonde and cut it short to better suit the character. Orson Welles and Rita Hayworth were in a relationship during the production of the film but were struggling. The film wasn't intended to be a star vehicle as Orson Welles initially wanted to cast an