The unit that we worked on this term I found challenging, to some extent. I enjoyed taking photos and watching movies from different film genres but I thought the continual work on analysing film repetitive and at times quite boring. I know the amount of work we did is compulsory and I'm glad that I did it because now i have a better understanding of film. Grasping my head around the concepts of different media terminology was quite difficult and I'm still going over and starting to gather a clearer understanding. I need to remember in the future to back up all the work that I do because I had a few experiences this term where I have lost work. Analysing one element of the film at a time made most of the work a lot easier to understand, in my opinion.
In writing my essay, watching the film over and over, each time focusing on a different element helped a lot. I didn't begin writing my essay until i had a complete and accurate base full of notes and information. This made it a lot easier to focus more on what I was writing and linking it together in one piece of work. The most difficult part of this term was definitely the understanding of technical terms to use in creative media. Also, the process of putting these words to clever use in my essay. I'm exciting to be moving forward to more film practical work next term.
I am happy with the overall result of my essay. If I could do it again, i would read over it and make sure everything I had in it was necessary. I also would have summarized my points more clearly and more thoroughly in my conclusion. I know I put in the work and I have achieved an acceptable result. I hope I can keep up the good work I am doing in Creative Media this year.
Element Identification
Shanghai Noon - Western Style Comedy
- bright lighting
- daytime
- country music
- variety of shots and different use of focus
- a cowboy who is actually awful at being a cowboy is teaching another
- he thinks he's great, but he's not
- transfer between two scenes back and forth (teaching scene, and a scene where the main character is sitting eating and recalling events)
- light-hearted, no seriousness
Alien - Science Fiction
- strange building structures that have been oddly shaped
- dark lighting
- eerie and cold feel
- suspenseful moments, sounds and silences
- whispering
- jumps between shots, slow to fast, keeping you on-edge
- lighting sourced from outside of the camera frame
- strange and slimy remains, like clues, of the existence of something other than human
- little to no dialogue, suspense in the soft silences of things
- slow rises to the main point of the scene, good use of framing, to hide what the audience can see
- large variety of camera shots and angles
- rain
- aliens, teeth and saliva
- character taken by the alien
- creepy animal - cat
- bright lighting
- daytime
- country music
- variety of shots and different use of focus
- a cowboy who is actually awful at being a cowboy is teaching another
- he thinks he's great, but he's not
- transfer between two scenes back and forth (teaching scene, and a scene where the main character is sitting eating and recalling events)
- light-hearted, no seriousness
Alien - Science Fiction
- strange building structures that have been oddly shaped
- dark lighting
- eerie and cold feel
- suspenseful moments, sounds and silences
- whispering
- jumps between shots, slow to fast, keeping you on-edge
- lighting sourced from outside of the camera frame
- strange and slimy remains, like clues, of the existence of something other than human
- little to no dialogue, suspense in the soft silences of things
- slow rises to the main point of the scene, good use of framing, to hide what the audience can see
- large variety of camera shots and angles
- rain
- aliens, teeth and saliva
- character taken by the alien
- creepy animal - cat
Element Analysis - Moulin Rouge
Film Title: Moulin Rouge
Concept:
In Paris, 1900, a young man is looking back on his past and writing it down in a story. A story of when he first arrived to the night club and fell in love.
Theme/Genre:
Romance, Musical Theatre, Drama
What do you see?
Begins with zoom in shots, busy shots using dull colour and odd angles to create the feeling that it is not a pleasant place. It then moves to a happy, more cheerful and more colourful place, with fast paced, busy shots and loud bursts of colour and liveliness. From there it goes back in time to when the lead character first arrived from the train, old-styled dull colours are used, as if it was all in a dream.
What do you hear?
At the beginning, you hear a ‘creepy’ tune in a minor key; this sets an immediate and emotional feel for the scene. There is typing of keys and the song that is sung is a story being told. We can hear the man sobbing as he retells his story. We can hear laughter and screams, yelling and loud intense music, with the dialogue over the top we can determine it was once an alive place to be. When he goes back in time we hear a train, and we can tell he has arrived to the place he currently resides for the first time.
What do you feel?
I feel uncomfortable watching this movie, but at the same time, intrigued. The sounds are odd and because they are in minor keys, they add that eerie effect. The plotline seems exceptionally interesting and just from watching that one clip, it left me wanting to keep watching, as the story is to unfold.
What do you think about that?
I think that it is exactly what the film was achieving in that first clip. Keep the viewer interested. Although, it is in a weird way that makes the film stand out and be unique.
What does it make you wonder?
How the story would be to end. What happens next, and how they describe it. Also it makes me think about the characters and who they are in more of a relation to each other.
Concept:
In Paris, 1900, a young man is looking back on his past and writing it down in a story. A story of when he first arrived to the night club and fell in love.
Theme/Genre:
Romance, Musical Theatre, Drama
What do you see?
Begins with zoom in shots, busy shots using dull colour and odd angles to create the feeling that it is not a pleasant place. It then moves to a happy, more cheerful and more colourful place, with fast paced, busy shots and loud bursts of colour and liveliness. From there it goes back in time to when the lead character first arrived from the train, old-styled dull colours are used, as if it was all in a dream.
What do you hear?
At the beginning, you hear a ‘creepy’ tune in a minor key; this sets an immediate and emotional feel for the scene. There is typing of keys and the song that is sung is a story being told. We can hear the man sobbing as he retells his story. We can hear laughter and screams, yelling and loud intense music, with the dialogue over the top we can determine it was once an alive place to be. When he goes back in time we hear a train, and we can tell he has arrived to the place he currently resides for the first time.
What do you feel?
I feel uncomfortable watching this movie, but at the same time, intrigued. The sounds are odd and because they are in minor keys, they add that eerie effect. The plotline seems exceptionally interesting and just from watching that one clip, it left me wanting to keep watching, as the story is to unfold.
What do you think about that?
I think that it is exactly what the film was achieving in that first clip. Keep the viewer interested. Although, it is in a weird way that makes the film stand out and be unique.
What does it make you wonder?
How the story would be to end. What happens next, and how they describe it. Also it makes me think about the characters and who they are in more of a relation to each other.
Ingredients for previous Horror Film method
Ingredients:
4x Teenagers
1x Teenager with a special power (werewolf)
1x Location out of reach
1x Killer
2x Cameras
1x Rainy Night
1x Old House
1x Family
1x Small Little Girl
1x Bonfire
1x Cliff edge
1x Barb wire
1x Forestry
1x Dagger
1x Lightening
1x "Dead Guy" Returning
4x Teenagers
1x Teenager with a special power (werewolf)
1x Location out of reach
1x Killer
2x Cameras
1x Rainy Night
1x Old House
1x Family
1x Small Little Girl
1x Bonfire
1x Cliff edge
1x Barb wire
1x Forestry
1x Dagger
1x Lightening
1x "Dead Guy" Returning
Genre Identification
Genre
Action Films
guns, violence, explosions, car chases, protagonist, police
Adventure Films
suspense, searching, outlaws
Comedy Films
humour, slapstick, cheerful, laughter
Crime and Gangster Films
criminals, police, guns, corruption, secrecy
Drama Films
impact, intense, tragedy, strong emotion
Epic Historical Films
large scale battles, old styled clothing, grey and brown hues
Horror Films
mystery, murder, violence, blood, killer
Musical Dance Films
song, choreography, emotion and story telling through music
Science Fiction Films
aliens, imaginative, un-realistic
War (Anti-War) Films
large scale battles, old styled clothing, grey and brown hues
Westerns
cowboys, lassoing, farmland, western styled music
Action Films
guns, violence, explosions, car chases, protagonist, police
Adventure Films
suspense, searching, outlaws
Comedy Films
humour, slapstick, cheerful, laughter
Crime and Gangster Films
criminals, police, guns, corruption, secrecy
Drama Films
impact, intense, tragedy, strong emotion
Epic Historical Films
large scale battles, old styled clothing, grey and brown hues
Horror Films
mystery, murder, violence, blood, killer
Musical Dance Films
song, choreography, emotion and story telling through music
Science Fiction Films
aliens, imaginative, un-realistic
War (Anti-War) Films
large scale battles, old styled clothing, grey and brown hues
Westerns
cowboys, lassoing, farmland, western styled music
Protagonists and Antagonists
Protagonists Antagonists
Peter Pan Captain Hook
Harry Potter Voldemort
Luke Skywalker Darth Vadar
Stephanie Robbie Rotton
Batman The Joker
Spiderman Doctor OC
Alice The Queen of Hearts
Peter Pan Captain Hook
Harry Potter Voldemort
Luke Skywalker Darth Vadar
Stephanie Robbie Rotton
Batman The Joker
Spiderman Doctor OC
Alice The Queen of Hearts
Implementing the 'monomyth'
In a romantic comedy, we could use different stages of the 'monomyth' to create an interesting and layered story. An urge or lustiness could be shown as a type of 'call' in a romantic comedy and then the refusal by the character due to their social status, emotional state, relationship status or other social pressures. In a romantic comedy, supernatural aid is not required. In a romantic comedy, crossing the first threshold is usually done by one of the two characters, making an effort to develop an established romantic connection between the two. The 'belly' could be interpreted as the characters sacrifices for one and other, what they give up as a result of being with the other person. Following on, a series of tests and obstacles in which the couple must overcome. The 'ultimate boon' is the final obstacle for the couple, the achievement of finallu coming together in an expressive and powerful manner. From here the characters in the film live together, happily ever after in freedom.
The Stages of Monomyth
The Sixteen Stages
The Call to Adventure
The hero starts off in a mundane situation of normality from which some information is received that acts as a call to head off into the unknown.
Refusal of the Call
Often when the call is given, the future hero refuses to heed it. This may be from a sense of duty or obligation, fear, insecurity, a sense of inadequacy, or any of a range of reasons that work to hold the person in his or her current circumstances.
Supernatural Aid
Once the hero has committed to the quest, consciously or unconsciously, his or her guide and magical helper appears, or becomes known. More often than not, this supernatural mentor will present the hero with one or more talismans or artifacts that will aid them later in their quest.
The Crossing of the First Threshold
This is the point where the person actually crosses into the field of adventure, leaving the known limits of his or her world and venturing into an unknown and dangerous realm where the rules and limits are not known.
Belly of The Whale
The belly of the whale represents the final separation from the hero's known world and self. By entering this stage, the person shows willingness to undergo a metamorphosis.
The Road of Trials
The road of trials is a series of tests, tasks, or ordeals that the person must undergo to begin the transformation. Often the person fails one or more of these tests, which often occur in threes.
The Meeting With the Goddess
This is the point when the person experiences a love that has the power and significance of the all-powerful, all encompassing, unconditional love that a fortunate infant may experience with his or her mother. This is a very important step in the process and is often represented by the person finding the other person that he or she loves most completely.
Woman as Temptress
This step is about those temptations that may lead the hero to abandon or stray from his or her quest, which does not necessarily have to be represented by a woman. Woman is a metaphor for the physical or material temptations of life, since the hero-knight was often tempted by lust from his spiritual journey.
Atonement with the Father
In this step the person must confront and be initiated by whatever holds the ultimate power in his or her life. In many myths and stories this is the father, or a father figure who has life and death power. This is the center point of the journey. All the previous steps have been moving in to this place, all that follow will move out from it. Although this step is most frequently symbolized by an encounter with a male entity, it does not have to be a male; just someone or thing with incredible power.
This is the point when the person experiences a love that has the power and significance of the all-powerful, all encompassing, unconditional love that a fortunate infant may experience with his or her mother. This is a very important step in the process and is often represented by the person finding the other person that he or she loves most completely.
Woman as Temptress
This step is about those temptations that may lead the hero to abandon or stray from his or her quest, which does not necessarily have to be represented by a woman. Woman is a metaphor for the physical or material temptations of life, since the hero-knight was often tempted by lust from his spiritual journey.
Atonement with the Father
In this step the person must confront and be initiated by whatever holds the ultimate power in his or her life. In many myths and stories this is the father, or a father figure who has life and death power. This is the center point of the journey. All the previous steps have been moving in to this place, all that follow will move out from it. Although this step is most frequently symbolized by an encounter with a male entity, it does not have to be a male; just someone or thing with incredible power.
Apotheosis
When someone dies a physical death, or dies to the self to live in spirit, he or she moves beyond the pairs of opposites to a state of divine knowledge, love, compassion and bliss. A more mundane way of looking at this step is that it is a period of rest, peace and fulfillment before the hero begins the return.
The Ultimate Boon
The Magic Flight
When someone dies a physical death, or dies to the self to live in spirit, he or she moves beyond the pairs of opposites to a state of divine knowledge, love, compassion and bliss. A more mundane way of looking at this step is that it is a period of rest, peace and fulfillment before the hero begins the return.
The Ultimate Boon
The ultimate boon is the achievement of the goal of the quest. It is what the person went on the journey to get. All the previous steps serve to prepare and purify the person for this step, since in many myths the boon is something transcendent like the elixir of life itself, or a plant that supplies immortality, or the holy grail.
Refusal of the Return
Having found bliss and enlightenment in the other world, the hero may not want to return to the ordinary world to bestow the boon onto his fellow man.
The Magic Flight
Sometimes the hero must escape with the boon, if it is something that the gods have been jealously guarding. It can be just as adventurous and dangerous returning from the journey as it was to go on it.
Rescue from Without
Just as the hero may need guides and assistants to set out on the quest, oftentimes he or she must have powerful guides and rescuers to bring them back to everyday life, especially if the person has been wounded or weakened by the experience.
The Crossing of the Return Threshold
The trick in returning is to retain the wisdom gained on the quest, to integrate that wisdom into a human life, and then maybe figure out how to share the wisdom with the rest of the world. This is usually extremely difficult.
Freedom to Live
Mastery leads to freedom from the fear of death, which in turn is the freedom to live. This is sometimes referred to as living in the moment, neither anticipating the future nor regretting the past.