SEE THE DIRECTOR'S COMMENTARY FOR AWAKE, NOT A FRIEND, AND PUSHING DAISIES...ONE DAY AT A TIME below. You must provide an analysis/director's commentary of your film.
ballot.pdf | |
File Size: | 20 kb |
File Type: |
awake
by Alyssa Perez, Jillian Closa, Emily Pai, and Josephine Overbeek wins Best Picture, Best Supporting Actress: Amy Dao, Best Editing, and runner up for Best Cinematography and Female Actor: Jillian Closa! not a friend by Andy Vazquez, Sara Cantu, Janea Dominique, and Eriyanna Soison-Archer wins Best Cinematography and Soundtrack. Runner up in Female Lead: Janea and Avant Garde. |
copyofnotafrienddirectorscommentary.pdf | |
File Size: | 1141 kb |
File Type: |
WARNING: PROFANITY USE IN FATE THE OF THE NERDS (hopefully they bleeped it out).
celtx_sample.pdf | |
File Size: | 2202 kb |
File Type: |
copyofcommentary.pdf | |
File Size: | 100 kb |
File Type: |
Final Exam: Class Evaluation to be turned in before your last day (seniors) or to be completed on day of final.
1. What was your favorite unit and why?
2. What was your favorite assignment and why?
3. What was your favorite film and why?
4. Suggestions/Changes/Advice for next year's class?
***5. Any films we should add to the class? Which unit? Why? Any films or assignments to delete? Why?
blakesnyderbeatsheet-explained.pdf | |
File Size: | 685 kb |
File Type: |
tom-gowen-blake-snyder-beat-sheet.pdf | |
File Size: | 5562 kb |
File Type: |
THE BLAKE SNYDER BEAT SHEET from SAVE THE CAT
Opening Image – A visual that represents the struggle & tone of the story. A snapshot of the main character’s problem, before the adventure begins.
Set-up – Expand on the “before” snapshot. Present the main character’s world as it is, and what is missing in their life.
Theme Stated (happens during the Set-up) – What your story is about; the message, the truth. Usually, it is spoken to the main character or in their presence, but they don’t understand the truth…not until they have some personal experience and context to support it.
Catalyst – The moment where life as it is changes. It is the telegram, the act of catching your loved-one cheating, allowing a monster onboard the ship, meeting the true love of your life, etc. The “before” world is no more, change is underway.
Debate – But change is scary and for a moment, or a brief number of moments, the main character doubts the journey they must take. Can I face this challenge? Do I have what it takes? Should I go at all? It is the last chance for the hero to chicken out.
Break Into Two (Choosing Act Two) – The main character makes a choice and the journey begins. We leave the “Thesis” world and enter the upside-down, opposite world of Act Two.
B Story – This is when there’s a discussion about the Theme – the nugget of truth. Usually, this discussion is between the main character and the love interest. So, the B Story is usually called the “love story”.
The Promise of the Premise – This is the fun part of the story. This is when Craig Thompson’s relationship with Raina blooms, when Indiana Jones tries to beat the Nazis to the Lost Ark, when the detective finds the most clues and dodges the most bullets. This is when the main character explores the new world and the audience is entertained by the premise they have been promised.
Midpoint – Dependent upon the story, this moment is when everything is “great” or everything is “awful”. The main character either gets everything they think they want (“great”) or doesn’t get what they think they want at all (“awful”). But not everything we think we want is what we actually need in the end.
Bad Guys Close In – Doubt, jealousy, fear, foes both physical and emotional regroup to defeat the main character’s goal, and the main character’s “great”/“awful” situation disintegrates.
All is Lost – The opposite moment from the Midpoint: “awful”/“great”. The moment that the main character realizes they’ve lost everything they gained, or everything they now have has no meaning. The initial goal now looks even more impossible than before. And here, something or someone dies. It can be physical or emotional, but the death of something old makes way for something new to be born.
Dark Night of the Soul – The main character hits bottom, and wallows in hopelessness. The Why hast thou forsaken me, Lord? moment. Mourning the loss of what has “died” – the dream, the goal, the mentor character, the love of your life, etc. But, you must fall completely before you can pick yourself back up and try again.
Break Into Three (Choosing Act Three) – Thanks to a fresh idea, new inspiration, or last-minute Thematic advice from the B Story (usually the love interest), the main character chooses to try again.
Finale – This time around, the main character incorporates the Theme – the nugget of truth that now makes sense to them – into their fight for the goal because they have experience from the A Story and context from the B Story. Act Three is about Synthesis!
Final Image – opposite of Opening Image, proving, visually, that a change has occurred within the character.
THE END
http://www.savethecat.com/beat-sheet/the-hunger-games-bookmovie-beat-sheet-comparison
Opening Image – A visual that represents the struggle & tone of the story. A snapshot of the main character’s problem, before the adventure begins.
Set-up – Expand on the “before” snapshot. Present the main character’s world as it is, and what is missing in their life.
Theme Stated (happens during the Set-up) – What your story is about; the message, the truth. Usually, it is spoken to the main character or in their presence, but they don’t understand the truth…not until they have some personal experience and context to support it.
Catalyst – The moment where life as it is changes. It is the telegram, the act of catching your loved-one cheating, allowing a monster onboard the ship, meeting the true love of your life, etc. The “before” world is no more, change is underway.
Debate – But change is scary and for a moment, or a brief number of moments, the main character doubts the journey they must take. Can I face this challenge? Do I have what it takes? Should I go at all? It is the last chance for the hero to chicken out.
Break Into Two (Choosing Act Two) – The main character makes a choice and the journey begins. We leave the “Thesis” world and enter the upside-down, opposite world of Act Two.
B Story – This is when there’s a discussion about the Theme – the nugget of truth. Usually, this discussion is between the main character and the love interest. So, the B Story is usually called the “love story”.
The Promise of the Premise – This is the fun part of the story. This is when Craig Thompson’s relationship with Raina blooms, when Indiana Jones tries to beat the Nazis to the Lost Ark, when the detective finds the most clues and dodges the most bullets. This is when the main character explores the new world and the audience is entertained by the premise they have been promised.
Midpoint – Dependent upon the story, this moment is when everything is “great” or everything is “awful”. The main character either gets everything they think they want (“great”) or doesn’t get what they think they want at all (“awful”). But not everything we think we want is what we actually need in the end.
Bad Guys Close In – Doubt, jealousy, fear, foes both physical and emotional regroup to defeat the main character’s goal, and the main character’s “great”/“awful” situation disintegrates.
All is Lost – The opposite moment from the Midpoint: “awful”/“great”. The moment that the main character realizes they’ve lost everything they gained, or everything they now have has no meaning. The initial goal now looks even more impossible than before. And here, something or someone dies. It can be physical or emotional, but the death of something old makes way for something new to be born.
Dark Night of the Soul – The main character hits bottom, and wallows in hopelessness. The Why hast thou forsaken me, Lord? moment. Mourning the loss of what has “died” – the dream, the goal, the mentor character, the love of your life, etc. But, you must fall completely before you can pick yourself back up and try again.
Break Into Three (Choosing Act Three) – Thanks to a fresh idea, new inspiration, or last-minute Thematic advice from the B Story (usually the love interest), the main character chooses to try again.
Finale – This time around, the main character incorporates the Theme – the nugget of truth that now makes sense to them – into their fight for the goal because they have experience from the A Story and context from the B Story. Act Three is about Synthesis!
Final Image – opposite of Opening Image, proving, visually, that a change has occurred within the character.
THE END
http://www.savethecat.com/beat-sheet/the-hunger-games-bookmovie-beat-sheet-comparison
Unit 6: Screenwriting, Film Production, Director's Commentary, and Comprehensive Film Analyses (Use all you've learned this year to analyze everything in the film)
See FilmArt chp. 11 and Art of Watching Films chps. 12 and 13
https://www.raindance.org/7-rules-for-writing-short-films-2/
http://thescriptlab.com/screenwriting/structure/three-acts#
SEE ABOVE FOR HOW TO WRITE A SHORT FILM. See BELOW FOR HOW TO MAKE AN IMOVIE.
8a-video-resources.pdf | |
File Size: | 241 kb |
File Type: |
imoviehowtouseimovie.pdf | |
File Size: | 66 kb |
File Type: |
http://thescriptlab.com/screenwriting/script-tips
http://www.wwnorton.com/college/film/movies3/writingaboutmovies.aspx
How to write about movies. Ebook link above.
sample_film_analysis.pdf | |
File Size: | 196 kb |
File Type: |
http://www.plotsinc.com/sitenew/column_art_02.html
http://www.wwnorton.com/college/film/movies3/writingaboutmovies.aspx
http://parablestoday.blogspot.com/p/my-lectures.html
SEE LINK ABOVE FOR HELP WITH YOUR SCREENPLAY
http://www.dailyscript.com/scripts/citizenkane.html
http://www.filmsite.org/citi.html
http://www.rogerebert.com/rogers-journal/citizen-kane-a-masterpiece-at-50
http://www.sparknotes.com/film/citizenkane/section2.rhtml
http://www.shmoop.com/citizen-kane/resources.html
Citizen Kane (USA-RKO, 1941)-Use sources to answer the questions and include answers in the comprehensive analysis. Underline terms/elements.
Directed by Orson Welles. Written by Herman J. Mankiewicz and Orson Welles. Photographed by Gregg Toland. Edited by Robert Wise and Mrk Robson. Art Direction by Van Nest Polglase and Perry Ferguson. Costumes by Edward Stevenson. Decors by Darrell Silvera. Music by Bernard Herrmann. Mrcury Productions. RKO Pictures. Premiered May 1, 1941, at the Palace Theatre, New York.
CAST: Orson Welles (Charles Foster Kane), Joseph Cotton (Jedediah Leland) Dorothy Comingore (Susan Alexander Kane), Agnes Moorhead (Kane�s mother), Ruth Warrick (Emily Norton Kane), Ray Collins (James W. Gettys), Erskine Sanford (Mr. Carter, Everett Sloane (Mr. Bernstein), William Alland (Thompson, the reporter), Paul Stewart (Raymond, the butler, George Colouris (Walter Parks Thatcher), Fortunio Bonanova (Signor Matisti), Gus Schilling (Headwaiter), Philip Van Zandt (Rawlston), Harry Shannon (Kane, Sr.).
119 minutes
The narrative structure of Citizen Kane, the way the story is told, is one of the film�s most distinctive aspects, and certain episodes in the film serve more than one narrative or thematic function. How many functions does the �News on the March� newsreel serve? What are they?
The story of Citizen Kane is told primarily in flashback, and some episodes are related more than once by different people. What is the effect of this? Do the different versions of events contradict each other? Is there any significance to who tells what?
Since the events of Citizen Kane cover a long period of time, and since they are not always related chronologically, there is a strong possibility that viewers may be confused as to what happens when. How does Welles prevent this from happening?
Many people (including Welles himself) have referred to the whole �Rosebud� devise as �dollar book Freud,� a cheap and superficial plot device. What do you think Rosebud contributes to the film? Is it meant to �explain� Kane�s character? Does it? Assuming you haven�t guessed already, do you feel cheated when Rosebud is explained at the end?
When Orson Welles first saw RKO studios, he is reported to have said, �This is the biggest electric train set a boy ever had to play with.� Is this feeling reflected in Citizen Kane? In what ways?
Citizen Kane employs much �depth of focus� photography which allows people and objects to be in sharp focus both in the foreground and the background simultaneously. In which sequences is this particularly evident? What does this technique contribute to the film?
Almost all of the actors in Citizen Kane (including Welles himself) came from a background in radio and had never been in a film before. Is this radio background in any way evident in the film? Does sound, in general, play an important part in the film? Are there any unusual uses of sound that stand out?
Is Citizen Kane a visually realistic film? What are the sets like? How does the appearance of the sets, combined with the lighting, contribute to the meaning of the film?
Directed by Orson Welles. Written by Herman J. Mankiewicz and Orson Welles. Photographed by Gregg Toland. Edited by Robert Wise and Mrk Robson. Art Direction by Van Nest Polglase and Perry Ferguson. Costumes by Edward Stevenson. Decors by Darrell Silvera. Music by Bernard Herrmann. Mrcury Productions. RKO Pictures. Premiered May 1, 1941, at the Palace Theatre, New York.
CAST: Orson Welles (Charles Foster Kane), Joseph Cotton (Jedediah Leland) Dorothy Comingore (Susan Alexander Kane), Agnes Moorhead (Kane�s mother), Ruth Warrick (Emily Norton Kane), Ray Collins (James W. Gettys), Erskine Sanford (Mr. Carter, Everett Sloane (Mr. Bernstein), William Alland (Thompson, the reporter), Paul Stewart (Raymond, the butler, George Colouris (Walter Parks Thatcher), Fortunio Bonanova (Signor Matisti), Gus Schilling (Headwaiter), Philip Van Zandt (Rawlston), Harry Shannon (Kane, Sr.).
119 minutes
The narrative structure of Citizen Kane, the way the story is told, is one of the film�s most distinctive aspects, and certain episodes in the film serve more than one narrative or thematic function. How many functions does the �News on the March� newsreel serve? What are they?
The story of Citizen Kane is told primarily in flashback, and some episodes are related more than once by different people. What is the effect of this? Do the different versions of events contradict each other? Is there any significance to who tells what?
Since the events of Citizen Kane cover a long period of time, and since they are not always related chronologically, there is a strong possibility that viewers may be confused as to what happens when. How does Welles prevent this from happening?
Many people (including Welles himself) have referred to the whole �Rosebud� devise as �dollar book Freud,� a cheap and superficial plot device. What do you think Rosebud contributes to the film? Is it meant to �explain� Kane�s character? Does it? Assuming you haven�t guessed already, do you feel cheated when Rosebud is explained at the end?
When Orson Welles first saw RKO studios, he is reported to have said, �This is the biggest electric train set a boy ever had to play with.� Is this feeling reflected in Citizen Kane? In what ways?
Citizen Kane employs much �depth of focus� photography which allows people and objects to be in sharp focus both in the foreground and the background simultaneously. In which sequences is this particularly evident? What does this technique contribute to the film?
Almost all of the actors in Citizen Kane (including Welles himself) came from a background in radio and had never been in a film before. Is this radio background in any way evident in the film? Does sound, in general, play an important part in the film? Are there any unusual uses of sound that stand out?
Is Citizen Kane a visually realistic film? What are the sets like? How does the appearance of the sets, combined with the lighting, contribute to the meaning of the film?
citkane.pdf | |
File Size: | 44 kb |
File Type: |
citizenkane1941.pdf | |
File Size: | 2688 kb |
File Type: |
citizenkane.pdf | |
File Size: | 8058 kb |
File Type: |
See CITIZEN KANE SCRIPT and PDFs for your COMPREHENSIVE FILM ANALYSIS TASKS
http://philosophynow.org/issues/78/Se7en
http://www.imsdb.com/scripts/Se7en.html
http://www.horrorlair.com/scripts/se7en.html
READ THE SCREENPLAY FOR SE7EN AT THE LINKS ABOVE
http://www.imsdb.com/scripts/Shawshank-Redemption,-The.html
http://www.imsdb.com/scripts/Shawshank-Redemption,-The.html
http://sfy.ru/?script=shawshank
READ THE SCREENPLAY FOR SHAWSHANK REDEMPTION AT LINKS ABOVE
SEE FAMILY GUY'S PARODY FOR SHAWSHANK REDEMPTION BELOW
http://www.watchfamilyguyhq.com/watch/S7E15-three-kings
http://www.familyguyseries.com/?s=3+kings
THREE KINGS SEASON 7 EPISODE 15
http://home.online.no/~bhundlan/scripts/Jaws_early-draft.htm
READ THE SCREENPLAY FOR JAWS AT LINK ABOVE AND JUNO IN PDF FILE BELOW
juno_screenplay.pdf | |
File Size: | 224 kb |
File Type: |
http://www.jgeoff.com/godfather/gf2/transcript/gf2transcript.html
READ THE GODFATHER II SCREENPLAY AT THE LINK ABOVE
lastemperor.pdf | |
File Size: | 299 kb |
File Type: |
http://www.moviescriptsandscreenplays.com/BenandMatt/savingprivateryan.txt
SAVING PRIVATE RYAN SCRIPT ABOVE
*****SEARCH THE INTERNET FOR THE SCREENPLAYS FOR ANY FILM*****
See the handout with 23 questions given out in class. You may use the ppt and the questions below for analyzing an entire film too:
What is the film's genre? How does the film use the conventions and iconography of the genre? Any changes? revisions? Explain.
How is the story told (linear, with flashbacks, flash-forwards, episodically)? What
“happens” in the plot? Discuss depth and range. Restricted narration?
How does the film cue particular reactions on the part of viewers (sound, editing,
characterization, camera movement, etc.)? Why does the film encourage such reactions?
Is the setting realistic or stylized? What atmosphere does the setting suggest? Do
particular objects or settings serve symbolic functions?
How are the characters costumed and made-up? What does their clothing or makeup
reveal about their social standing, ethnicity, nationality, gender, or age? How do costume
and makeup convey character?
What is illuminated, what is in the shadow? How does the lighting scheme shape our
perception of character, space, or mood?
What shot distances are used? Do you notice a movement from longer to closer shot
distances? When are the various shot distances used (e.g., the opening of the scene,
during a conversation, etc.)? What purposes do the shot distances serve?
How do camera angles function? How do they shape our view of characters or spaces?
How do camera movements function? What information do they provide about characters,
objects, and spaces? Do they guide the viewer’s eye toward particular details? Do they
align the viewer’s perspective with that of a character?
What types of cuts are used? How are the cuts used (to establish rhythm, shift between
characters, transition between spaces, mark passage of time)? Does editing comment on
the relationships between characters and/or spaces?
Do different characters use different kinds of language? Do certain characters speak
through their silences?
What is the music's purpose in the film? How does it direct our attention within the image?
How does it shape our interpretation of the image? How are sounds used?
How might industrial, social, and economic factors have influenced the film? Do conditions
in the filmmaking industry limit the way in which the film can represent particular
subjects? Does the film follow or critique dominant ideologies? Does it reflect and shape
particular cultural tensions?
General Terms
Editing (the way shots are put together)
Guide to Critical Assessment of Film
The following questions should help you in your critical evaluation of your film choice(s) for your assigned essay. Please keep in mind that sophisticated film, like literature, requires more than one viewing to begin to appreciate its purpose beyond merely the plot. You will need to view your film(s) with this in mind. You should use some of these questions to complete a journal on your film.
BACKGROUND
Who is the writer of the film? Has the screenplay been adapted from another work?
Who is the director?
When was the film made?
What is the film's primary concern or focus: plot, emotion effect, character, style, or idea?
STRUCTURE / FORM
Is it a good story? Remember the qualities of a good story from Unit 1?
What does the title mean in relation to the film as a whole?
How are the opening credits presented? Do they relate to meaning?
Why does the film start in the way that it does?
Are there any motifs (scenes, images, symbols) of dialogue which are repeated? What purpose do they serve?
What three or four sequences are most important in the film? Why? Pick out bits of dialogue you consider especially effective in revealing character and/or theme.
Is sound used in any vivid ways either to enhance the film? (i.e. Enhance drama, heighten tension, disorient the viewer, etc.)
How does the film use color or light/dark to suggest tone and mood in different scenes?
Are there any striking uses of perspective (seeing through a character's eyes, camera angle, etc.) How does this relate to the meaning of the scene?
Any Special effects? Do they dominate the film?
What observations can you make about the director's style?
How and when are scenes cut? Are there any patterns in the way the cuts function?
What specific scene constitutes the film's climax? How does this scene resolve the central issue of the film?
Does the film leave any disunities (loose ends) at the end? If so, what does it suggest?
Why does the film conclude on this particular image?
THEME
How does this film relate to the issues and questions evoked by your topic?
Does the film present a clear point-of-view on your topic? How?
Are there any aspects of theme which are left ambiguous at the end? Why?
How does this film relate to the other literary texts you have read on your topic (or in class this year or on your own)?
What were your expectations before seeing the film? How did these expectations influence your reaction to the film?
What were your personal reactions to the film? On a scale from 1-10 (10 being the best), rate the film and give reasons for your score.
IS IT ART?-(Remember the 4 V's from Unit 1)?
Is the film worth seeing again? What factors determine whether you want to see a film more than once? Which of these factors does this film use effectively? Explain.
ENDURING QUALITIES
Can this film stand the test of time? Why or why not? Does it relate to universal ideas or situations? What are they? Does it deal only with contemporary situations and ideas? Explain.
TRUTH-Verisimilitude?
Does the film deepen your understanding about some significant idea or cast new light on it? Does it present new ideas? Are the characters credible? Do they behave in ways you expect? Cite examples and explain.
BEAUTY
Is the film aesthetically pleasing? Do the quality of photography, color, sound, and performance and the use of special effects come together as a work of art should? Which aspects work especially well? Why? Describe how the quality of a particular scene from the film gives the viewer this sense of beauty.
UNITY
Are the shots and scenes organized logically? Describe one example of a particularly effective sequence. Describe one that seems weak. Tell why each of these sequences succeeds or fails.
TREATMENT-Voyeuristic? Vicarious?
Are the ideas suggested or are they stated? Discuss one scene and the particular idea, feeling, or mood it creates.
EMOTIONAL RESPONSE-Visceral?
Were you moved by the film? Did it make you feel sorrow or joy or anger? What emotion(s) did you feel when the film ended?
Many of the questions above are taken or adapted from Timothy Corrigan's A Short Guide to Writing About Film and David Bordwell and Kristin Thompson's Film Art: An Introduction (5th ed.) and Kurt Weiler of New Trier High School in Illinois.
How is the story told (linear, with flashbacks, flash-forwards, episodically)? What
“happens” in the plot? Discuss depth and range. Restricted narration?
How does the film cue particular reactions on the part of viewers (sound, editing,
characterization, camera movement, etc.)? Why does the film encourage such reactions?
Is the setting realistic or stylized? What atmosphere does the setting suggest? Do
particular objects or settings serve symbolic functions?
How are the characters costumed and made-up? What does their clothing or makeup
reveal about their social standing, ethnicity, nationality, gender, or age? How do costume
and makeup convey character?
What is illuminated, what is in the shadow? How does the lighting scheme shape our
perception of character, space, or mood?
What shot distances are used? Do you notice a movement from longer to closer shot
distances? When are the various shot distances used (e.g., the opening of the scene,
during a conversation, etc.)? What purposes do the shot distances serve?
How do camera angles function? How do they shape our view of characters or spaces?
How do camera movements function? What information do they provide about characters,
objects, and spaces? Do they guide the viewer’s eye toward particular details? Do they
align the viewer’s perspective with that of a character?
What types of cuts are used? How are the cuts used (to establish rhythm, shift between
characters, transition between spaces, mark passage of time)? Does editing comment on
the relationships between characters and/or spaces?
Do different characters use different kinds of language? Do certain characters speak
through their silences?
What is the music's purpose in the film? How does it direct our attention within the image?
How does it shape our interpretation of the image? How are sounds used?
How might industrial, social, and economic factors have influenced the film? Do conditions
in the filmmaking industry limit the way in which the film can represent particular
subjects? Does the film follow or critique dominant ideologies? Does it reflect and shape
particular cultural tensions?
General Terms
- Shot: continuous, unedited piece of film of any length
- Scene: a series of shots that together form a complete episode or unit of the narrative
- Storyboard: Drawn up when designing a production. Plans AV text and shows how each shot relates to sound track. (Think comic strip with directions - like a rough draft or outline for a film.)
- Montage: The editing together of a large number of shots with no intention of creating a continuous reality. A montage is often used to compress time, and montage shots are linked through a unified sound - either a voiceover or a piece of music.
- Parallel action: narrative strategy that crosscuts between two or more separate actions to create the illusion that they are occurring simultaneously
- Long Shot: Overall view from a distance of whole scene often used as an establishing shot - to set scene. Person - will show whole body.
- Medium or Mid Shot: Middle distance shot - can give background information while still focusing on subject. Person - usually shows waist to head.
- Close Up: Focuses on detail / expression / reaction. Person - shows either head or head and shoulders.
- Tracking shot: single continuous shot made with a camera moving along the ground
- Reverse shot: shot taken at a 180 degree angle from the preceding shot (reverse-shot editing is commonly used during dialogue, angle is often 120 to 160 degrees)
- Subjective Shot (P.O.V. Shot): Framed from a particular character's point of view. Audience sees what character sees.
- Pan: Camera moves from side to side from a stationary position
- Tilt: Movement up or down from a stationary position
- Tracking: The camera moves to follow a moving object or person
- Low Angle Camera: shoots up at subject. Used to increase size, power, status of subject
- High Angle Camera: shoots down at subject. Used to increase vulnerability, powerlessness, decrease size
Editing (the way shots are put together)
- Cut: The ending of a shot. If the cut seems inconsistent with the next shot, it is called a jump cut.
- Fade in or out: The image appears or disappears gradually. Often used as a division between scenes.
- Dissolve: One image fades in while another fades out so that for a few seconds, the two are superimposed.
- Soundtrack: Consists of dialogue, sound effects and music. Should reveal something about the scene that visual images don't.
- Score: musical soundtrack
- Sound effects: all sounds that are neither dialogue nor music
- Voice-over: spoken words laid over the other tracks in sound mix to comment upon the narrative or to narrate
Guide to Critical Assessment of Film
The following questions should help you in your critical evaluation of your film choice(s) for your assigned essay. Please keep in mind that sophisticated film, like literature, requires more than one viewing to begin to appreciate its purpose beyond merely the plot. You will need to view your film(s) with this in mind. You should use some of these questions to complete a journal on your film.
BACKGROUND
Who is the writer of the film? Has the screenplay been adapted from another work?
Who is the director?
When was the film made?
What is the film's primary concern or focus: plot, emotion effect, character, style, or idea?
STRUCTURE / FORM
Is it a good story? Remember the qualities of a good story from Unit 1?
What does the title mean in relation to the film as a whole?
How are the opening credits presented? Do they relate to meaning?
Why does the film start in the way that it does?
Are there any motifs (scenes, images, symbols) of dialogue which are repeated? What purpose do they serve?
What three or four sequences are most important in the film? Why? Pick out bits of dialogue you consider especially effective in revealing character and/or theme.
Is sound used in any vivid ways either to enhance the film? (i.e. Enhance drama, heighten tension, disorient the viewer, etc.)
How does the film use color or light/dark to suggest tone and mood in different scenes?
Are there any striking uses of perspective (seeing through a character's eyes, camera angle, etc.) How does this relate to the meaning of the scene?
Any Special effects? Do they dominate the film?
What observations can you make about the director's style?
How and when are scenes cut? Are there any patterns in the way the cuts function?
What specific scene constitutes the film's climax? How does this scene resolve the central issue of the film?
Does the film leave any disunities (loose ends) at the end? If so, what does it suggest?
Why does the film conclude on this particular image?
THEME
How does this film relate to the issues and questions evoked by your topic?
Does the film present a clear point-of-view on your topic? How?
Are there any aspects of theme which are left ambiguous at the end? Why?
How does this film relate to the other literary texts you have read on your topic (or in class this year or on your own)?
What were your expectations before seeing the film? How did these expectations influence your reaction to the film?
What were your personal reactions to the film? On a scale from 1-10 (10 being the best), rate the film and give reasons for your score.
IS IT ART?-(Remember the 4 V's from Unit 1)?
Is the film worth seeing again? What factors determine whether you want to see a film more than once? Which of these factors does this film use effectively? Explain.
ENDURING QUALITIES
Can this film stand the test of time? Why or why not? Does it relate to universal ideas or situations? What are they? Does it deal only with contemporary situations and ideas? Explain.
TRUTH-Verisimilitude?
Does the film deepen your understanding about some significant idea or cast new light on it? Does it present new ideas? Are the characters credible? Do they behave in ways you expect? Cite examples and explain.
BEAUTY
Is the film aesthetically pleasing? Do the quality of photography, color, sound, and performance and the use of special effects come together as a work of art should? Which aspects work especially well? Why? Describe how the quality of a particular scene from the film gives the viewer this sense of beauty.
UNITY
Are the shots and scenes organized logically? Describe one example of a particularly effective sequence. Describe one that seems weak. Tell why each of these sequences succeeds or fails.
TREATMENT-Voyeuristic? Vicarious?
Are the ideas suggested or are they stated? Discuss one scene and the particular idea, feeling, or mood it creates.
EMOTIONAL RESPONSE-Visceral?
Were you moved by the film? Did it make you feel sorrow or joy or anger? What emotion(s) did you feel when the film ended?
Many of the questions above are taken or adapted from Timothy Corrigan's A Short Guide to Writing About Film and David Bordwell and Kristin Thompson's Film Art: An Introduction (5th ed.) and Kurt Weiler of New Trier High School in Illinois.
Analyzing Entire Films Link
good-analyzing_film_matrix.ppt | |
File Size: | 2071 kb |
File Type: | ppt |
http://scripped.com/
Here is another screenwriting program like CELTX.
SEE THE SCREENPLAY below for TYPICAL a film THAT SWEPT THE AWARDS A FEW YEARS BACK
SEE THE SCREENPLAY below for TYPICAL a film THAT SWEPT THE AWARDS A FEW YEARS BACK
screen_print.pdf | |
File Size: | 535 kb |
File Type: |
typical_by_andrew_lee_screenplay.celtx | |
File Size: | 31 kb |
File Type: | celtx |
Final Project: Create your own film with Director's Commentary. Write an original or adapted screenplay in the screenplay format and film it. You may create a shooting script and/or a story board too. Include the reasons/meaning behind each of your choices. For example, explain the mise en scene, or why you chose to use a whip pan, or what the music or colors symbolize, or why the editing was seamless, etc. It's like you are completing a comprehensive film analysis for your own film (see the questions above for help) . You can put your director's commentary on the dvd or write it on your screenplay. Include terms and elements from every unit this year. Pay tribute (homage) to a film or director by trying to recreate the style and/or scene in your film. Your film will be shown in class and nominated for all academy awards.
Warning: If you have a large group (bigger than 5), you need to prove that each person has written a scene (even if it doesn't make the final cut of the film) and participated in the creation of the film in some way. No participation and no screenplay will result in a ZERO.
DIrector's commentary for best picture 2016 Farewell:
Vincent Gao Brianna Davis Kirsten Bates Francine Nguyen Period 5 Director’s Commentary: FAREWELL The film opens with a close-up of a coffee maker pouring a fresh cup of coffee. The shot cuts to Sophie taking the mug to a counter and then reaching into a drawer. Up until this point, nothing seems to be out of the ordinary. But then she takes out a set of pills, and the audience questions her motives. The construction of this sequence is misleading; it sets up a normal routine and twists it into a murder scheme achieved through a close-up shot of powder being poured into the coffee. The following shot is constructed to convey Vincent’s death in a unique manner. The camera turns almost 360 degrees, beginning with Sophie handing her husband the coffee, shown in the mirror, then panning clockwise to show Sophie move into the kitchen and watch him (malevolently) from a distance, and back to Vincent to show him strewn upon the table. This technique achieves a sense of mystery; it doesn’t show Vincent, dying, but suggests it through Sophie’s facial expressions and the sound of the chair screeching across the floor. The final shot confirms the audience’s suspicions by showing Vincent’s body in the foreground and Sophie’s in the background, watching him. Through a wide mirror we are able to see Sophie initially hand him the coffee and he drink it, and through a full-length mirror we are able to see Sophie watching her dead husband. The title appears, and music from the opening sequence of Persona begins to play simultaneously, creating tension. We see our narrator and main character walk into a bathroom, and a pan is used briefly to simultaneously follow her, giving the sense of an open frame (suspense), while creating a kinetic and engaging opening shot. The camera pans faster than her movement, and excludes her from the frame briefly as it settles on a mirror, which reveals, in its reflection, a man dressed in black sitting on the edge of the bathtub. Sophie passes in front of the camera, briefly obscuring its view, and once she moves away, the man (who we infer from this shot is a ghost) has disappeared from the mirror. In order to achieve this shot, it was planned for Sophie to walk in front of the camera, and then stop, and the camera would cut. The husband would then move out of the scene, and the camera would resume, and since the frame is dark, the cut is invisible. The spatial discontinuity and Sophie’s lack of reaction to the man is accompanied by a swelling score, which is constantly building tension and psychological disturbance. Sophie is seen walking up to the bathtub, seen through the mirror. This sequence marks the third use of a mirror to achieve a unique perspective; our intention is to convey a sense of surrealism from the shots and show that the narrative is not necessarily truth and/or reliable. While there is footage of Sophie climbing into the bathtub, the available shots for the correct invisible edit did not include this action. It was also determined that the elliptical edit (showing Sophie directly in the bathtub without her getting in) would be more appropriate for the momentum of the scene and avoid showing awkward movements. Continuity editing is used for the movement of the knife because we are not trying to create surreal meaning in the knife, which is simply representative of suicidal intent. The camera focuses on the knife and Sophie’s trembling hand, which, alongside the music, is suspenseful, and also allows for the next shot to work, which shows the man in black sitting next to her where he was not before. As he touches her, the music swells even more, and she drops the knife in reaction. The accompanying soundtrack forms a perfect sound-image match with the phone, which Sophie picks up in the next scene. She closes her eyes, and a brief soundtrack plays before a voice-over of Sophie conversing with Cornelia fills the silence. The purpose of the fade to black and the brief, swelling music that accompanies it is to show Sophie’s internal state of being, that being her loneliness and desperation. Although we hear Cornelia’s voice during the phone call, we never see her because we are in Sophie’s world, taking in all surroundings from her perspective. The same close-up focus on Sophie is used in the cafe sequence, which also utilizes this technique in an attempt to draw attention to her facial expressions and show that Cornelia is unable to penetrate the inner world of Sophie. The swelling music plays again, and is thus established as a motif — we hear this music during close-up shots of Sophie when she is alone and lamenting over her failed marriage. This time, the shot is interrupted by a flashback, which is conveyed through the use of black and white. Eyeline matches that cut in between dialogue are used to establish reaction shots from both characters. The argument in this scene was inspired by Scenes from a Marriage, where the same escalation in tone as well as the characters’ demeaning words provide background for Sophie’s life before her husband’s death. The flashback cuts back to the cafe scene, where Sophie stares directly into the camera (Godard-style) to establish her feelings toward the preceding memory. In the next scene, two strangers converse while Sophie observes in the background. When she approaches them and interjects, the camera focuses solely upon her face through a close-up to further convey her inner state. This effect places more importance on Sophie’s facial expressions and emotions than what she is doing or what is going on around her; she is closed off from the world and the framing reflects this. A jump cut shows Sophie walking next to the angel seen at the beginning of the film, who once again has his hand place on the shoulder of an unknowing Sophie. Through voiceover, we hear her thoughts and reflections on past conversations with her husband. The voiceover carries on as a soundbridge into the next scene, where Cornelia and the pimp converse. The camera pans from left to right so that once both characters reach the bottom of the stairs, they meet Sophie, who had been walking the entire time. She enters the frame alone, even though we had just seen her with the angel. The same use of deception intends to show the audience that what they see may not be real, and Sophie’s perspective is subjective. In a later scene, a long-distance shot shows Hulga standing in the center of the frame before Sophie enters from the right. The red backdrop serves as not only an aesthetic appeal, but also a contrast that draws more attention to Hulga. Archetypally, Hulga is a determined and passionate character who also works in the sex industry, making red the perfect backdrop for her. In this scene, blue is the background for Sophie, mirroring her depressed outlook on life. The characters’ conversation is achieved through eyeline match cuts before the camera pans right to show the two walking away together. By splitting the audio from the clips and using footage from multiple takes, we were once again able to film a conversation with cuts that took place in between spoken words. The following scene is a montage that uses various individual shots to establish passage of time and the development of Sophie and Hulga’s friendship. Faye Wong’s cover of The Cranberries’ Dreams sets an atmosphere of genuineness and companionship between two lonely characters who have finally found some meaning in their lives. In essence, the montage represents a reclaiming of Sophie’s childhood, which makes more sense with the non-diegetic footage of a young girl taken from a Super 8 camera. The film transitions into this footage by focusing on Sophie right before a sudden flash of white, signaling that we are taking a look into her mind. While both sets of clips (the diegetic and nondiegetic) use different overlays/filters, they are both grainy enough to signify their symbolism of older, more carefree times. The end of the song and montage are followed by a cut to Hulga’s apartment, where she and Sophie discuss their happiness. The camera focuses on the two through a medium-length shot with no eyeline matches in order to capture both of their expressions simultaneously. When Sophie exits the frame, a sequence of jump cuts are used as she walks hurriedly down the stairs. This technique was adapted (albeit not very successfully, we were very tired at this point in filming) from Wong Kar Wai’s In the Mood for Love to show Sophie’s overwhelming emotion in that very moment, her desperation and her need to escape. A wide-angle shot captures her eventual breakdown, which is interrupted by another flashback. This brief engagement scene is Sophie’s recollection of a happier moment in time and a catharsis of the past. The camera’s placement behind Sophie’s back captures her getting up from the steps and walking directly into the frame until it goes completely black. The purpose of this was to seamlessly transition into the final sequence of the film, where Sophie emerges from the darkness. This transition is especially important because it signifies Sophie’s exit from purgatory, that being all the places preceding, and entering ‘the other side.’ However, this is left ambiguous in the sense that Sophie expresses confusion as she wanders through white, maze-like halls while the angel appears to be running from her. Essentially, the use of jump cuts between Sophie and the angel caught through a wide variety of angles signifies their attempts to reunite in another life. The white walls create a sense of surrealism that also archetypally represent the passage to heaven/spiritual resolution. Suspenseful yet engaging music from Michael Nyman’s score for Man With a Movie Camera (Cinematic Orchestra score is better though!) plays for the duration of the sequence before the camera jumps to the shot of a corner, from which Sophie emerges and the music then goes silent. The camera pans left slowly in an attempt to create suspension before the angel, who we now know to be the dead husband, appears in the frame. The two hold hands and round the corner, and a match cut focuses on them walking down a long white corridor. The last shot is especially important because it reveals the meaning of the entire film, which is that Sophie had spent time in purgatory coming to terms with her relationships and suppressed feelings and learning to love and forgive. As the voiceover plays, the shot fades slowly to white to depict Sophie’s and her husband’s entering into heaven/spiritual resolution.
DIRECTOR'S COMMENTARY for CRAZED FORTUNITY: Yale Chung, Megan Rousseau, Jacob Tizano, Cameron Delarosa, Cameron Schlobohm, Matthew Chial, Emily Kim & Yogesh
The film’s main focus is on emotional effect. The main focus is on the mental strain of a former high school student reflecting on his past hardships in order to move forward in life, we know this because we see Malcolm's different mental state throughout the film. The films main appeals are to the moral and aesthetic sense. The use of the contrast between moral rights and wrongs are show and used to connect with the audience. The aesthetic sense is show through the use of very psychedelic sequences in the film, these are used to visually represent the character's mental state. Yes, the story is unified, the storyline is about everyone in the movie has a psychological problem like Malcolm with ocd and it unfolds about how society changes in 2030 with pills that can make human-kind literally perfect with no more of those problems, so Malcolm in on blind date and it showed in flashbacks about his past when he's waiting for her and reveals how things were and he meets his date and finds out it’s Sam cooper the same girl with problems and they both realize they don't need pills or being perfect to be happy and that they can achieve happiness by accepting each other. The plot is that he has an imaginary friend and he can’t control his OCD or his other problems, yet he is trying for Sam. The story was believable because of the way Malcolm shows that he has problems yet he likes this girl and tries for her. And how the bottle of pills are constantly shown throughout the film. The film was also believable because the editing was done well and how the storyline was linear, especially how it showed his flashbacks first before the future blind date he has at starbucks. The audience can relate to Malcolm's character because he is insecure and hits rock bottom. First of all, Malcolm's imaginary friend is a symbol of his subconscious. His friend does not really exist. He is just part of Malcolm's imagination, being the friend he always seeked for. Also the pills he is taking are emotions that he does not have, so they represent perfection or remedy to a flaw. We see how Malcolm decides to stop using the pills because he learns to accept his flaws. A scene that I consider especially revealing is the scene at the coffee shop. This is such a revealing story for the character because he doesn't say much yet you can still see what is going on in his head and we get to see him change from this OCD, worried person into finally overcoming these conflicts and becoming a adult. We are shown Malcolm's life when it shows his flashback at school classroom being bullied. The filmmaker choosing these particular locations was well chosen. Starbucks is a typical place to meet up for a small blind date because it is considered as a cafe and where people just hang out and talk to each other, the atmosphere of Starbucks is very relaxing and chill. The location of school shows how Malcolm has problems and wants to get away from school and is considered as a freak in school. The location of the house shows that he is close with his “imaginary” friend and that his mom is worried about his well-being. The title is appropriate because in the film, both Malcolm and Sam crave for a good year and for the blind date to go well. They both have different bottles of pills, which shows that they go through a lot and want to be okay but can’t without the pills. But, after the date, they realize that they can be happy without pills and can still have a good year. The irony found in this film is that the imaginary friends Malcolm and Sam had were tearing them down too, being their inner thoughts. Also, it's ironic how society makes pills with emotions to fix people's issues when it's just the easy way out. The location of the film is at the highschool of the main character. It is a realistic setting that most people have been to in their lifetime. It also allows for a normal school feel such as bullies and gossip that are usually portrayed in movies centered around schools. The filter we used along with the quick cuts we made create a weird and sporadic feel to the movie that mirrors well with what is going on in the main character's head. For example, when Malcolm is rubbing his head it shows a flashback. The editing allows the viewer to move smoothly through the movie from scene to scene. It also lets us know what the main character is thinking about at some points in the movie. There are many transitions that fit well within the film that match the scene. It is easy to tell when the characters are in the past or present by showing the watch to represent time. The dark lighting and distorted shots in the film are used to emulate the feeling of insanity and anxiety in the audience’s eyes. The bright lighting is used in end to show off Sam and Malcolm getting out of their “black hole”. If this film was made in black and white it would lose its futuristic look. The black and white seems more as old and in the past. Color ensures its full aesthetic look, because the audience is able to visualize it as actuality. There are no special effects in our film because what we wanted to tell was a very grounded and dramatic film, and the use of special effects would have taken away from that feel. There is not much sound besides music or dialogue in the film. There are some background noises such as at school when it is busy at lunch so it helps create the feeling that you are at school. Also there is a certain sound that plays when Malcolm's ocd is affecting him. The music plays very prominent role in the story and helps add an extra layer to the story. Whatever song is playing is related to what the main character in our film is feeling. We tried to go for an indie tone to reflect Malcolm’s character. The voices emphasized the character’s attitudes. The voice-overs sounded really weird and distorted to show off Malcolm’s mind and his daze. The acting from each character contributed to making the film as well as it is. We purposely gave each character a role that fitted them best. Cameron S. was chosen as Malcolm due to the color of his eyes and acting as the misfit kid. The director of this film uses a lot of editing to create it. This whole film is developed through editing. We used color palette to match Malcolm’s eyes and blue when he has a crush staring at Sam. The music does most of the talking for the characters, which is why the dialogue isn’t too much but has powerful meaning. Voice overs were used a lot to really emphasize Malcolm’s inner thoughts. The true subject of the film is the struggle to avoid escapism in the face of mental and social pressure, the medications shown in the film are a form of escapism, a way to avoid problems and not fix them. The final message of the film is to be yourself and not rely on the other people's opinion of yourself to judge your self worth.
final_project_option_2.doc | |
File Size: | 25 kb |
File Type: | doc |
ifc_unit1.pdf | |
File Size: | 220 kb |
File Type: |
_movie_making_for_dummies.pdf | |
File Size: | 697 kb |
File Type: |