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Clip_Analysis - Davis —~ FLM 1070 MIDTERM FILM...

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Unformatted text preview: Davis —~ FLM 1070 MIDTERM FILM AND "CULTURE CLIP ANALYSIS ESSAY Good movies, like good stories, poems, and plays, are best “read” more than once. Remember, the films we are considering in this class are considered “texts” that we study for meaning and culture" awareness. Underclose analysis, a well—made film can reveal qualitiestand meanings that we miss the first time through. The purpose of this assignment is to take another carefisl look at part of a familiar film in order: to appreciate how-it was made and how it works. ‘ STEP 1: (select a film to study). View the entire film, then choose ascene, ,or part of a scene, (about twenty or more shots in length) to analyze. ”STEP 2: Prepare a shot by shot analytic presentation-of the scene. Your analysis should include ”the folloiving for each shot or Sequence. Trrssnrsram TYPES or same ACTION (from class notes) -. .1. A brief description of the shot (action, setting, characters) ‘ 2. “Raining (close up, medium shot,slong«- shot) " -- _ 3. Camera angles (low, high, eye, obscure, tilted (Dutch) —— to convey anxiety in the ' viewer - example; Lee’s shot offiadio Raheem in Do The Right Thing. ,. Camera movementfitilt, crane, zobrn, part, tracking, none) .. Lighting (high, low,,tback, front, nerrnal). . .. Sound (dialogue, milsic, voice over, or sound effects) Transitions/editing, (out, dissolve, wipe, other optical effects) . >19 we STEP 3. Answer the folloWing questions about your scene: '1. Plot Structure: How does this scene contribute to the ongoing story? Give an . overview and how the scene fits in. 2. . Point of View: Does this scene present an objective view of events, or someone’s subjective perspective? Explain. How is camera used to emphasize this point of View? 3. Character: What does the scene tell you about the major character(s)? Be as specific as possible — actions, dialogue, dress, etc. 4. Tone: What is the overall mood of the scene? How does the lighting and camera work help to create this mood? Film and coitus-e 1pm CLIP ANALYSIS-PAPER Your CLIP ANALYSIS PAPER should address them two (matinee: 1. What kinds of ganerai information (regarding setting, dramatic sapphire, endure, and metaphor) are provided, and how dose the filmmaker use elements of the artistic medium to communicate the Cultural Diversity theme of the piece.) . 2. What cinematic techniques (regarding outer/light, sound, cinematography, editing, dialecterizaticn, blocking, etc.) convey meaning in the clip, and to what effect? Provide about a single-spaced ' page of analysis. CLIP ANAAYSIS: on are WATERFRONT. «my DOYLE’S cream" MIKE HUNT ' . FILM AND CULTURE 1070 SUMMER 2907 Take care not to nan-ate a mere “atrophy-step" presentation of “what happens"; 1) GENERAL INFORMATION a) This clip provides general information about the film‘s SEmNG {the saamy waterfront docks, the low-rent tenements, a local watering hoie) and TEXTURE (gritty. harsh. violent}; it functions as! EXPOSFI‘IGN. introducing some of the key characters {Johnny Friendiy, Tony Malloy, Charley instead, group your Mailoy. .icey Doyle) and even identifying the important COMPLICATIONS. observations in b) Also. the clip establishes at least one central METAPHOR (a conflict. individual vs. $951.35 7 r different categories realizes that his role in Joey‘s death makes him as guilty as his superiors. We see the beginn' and label each ot'l'erry‘s STRUGGLE FOR HUMAN oicnn'y. ‘ . clearly. 2) CiflEflflA‘l’iG TECHNIQUES A number of cinematic techniques convey meaning. among themthe use of SOUND (including MUSIC. SOUND EFFECTS, DiALOGUE}, CHARACTERIZATION. BLOCKING. AND . .5 | :i: .., -.i CINEMATOGRAFHY. . a) sauna: were, sauna EFFECTS. AND DIALOGUE ail function together to create meaning in Use sentence outline the scene. ' . format—“with clear. ' ancient, purposeful i) MUSIC: loslstent tympani, horns. and string instruments alert us tcserio'usnees of situation. . sentences. Appropriately, given the towel of ACTION in the scene {a setup. a murder). the PACE is fee the VOLUME loud, the SCORE reaching a crescendo with Joey‘s death scream. ‘ ii) scone EFFECTS: Silence (2 ”DEAD TRACK”) follows the thud ofJoey‘a body hitting the _ pavement. punctuating his death. _ 7 ill) DIALOGUE; Terry varbaily expresses his dismay'and confusion about Joey‘s death (‘l thought the most they was gonna-do was lean on 'im e ltule'), while the mobsters. in contrast. joke-and laugh. indicating the central conflict. Also. the joke thatthe “canary couldn‘t fly“ establishes a bird MOTIF to be developed in later scenes (pigeons and canarles “sing,“ While hawks “prey'). b) CHARACTERIZATION: Terry‘s character is established as the central PROTAGONISTIHERD: he is the only character seen ldentifiably by himself in an individual shot, and he is the only character involved in each moment of the scene. Alan. Terry is characterized as different from the ‘ bosses by his WARDROBE (inexpensive. ineffectual piaidjacicet and no gloves vs. fine coats and ieather gloves}. SPEECHIDICTION (mumhiing. hesitant. serious vs. loud. coarse. inking). and MODE OF TRANSPORTATION (foot vs. car). - ‘ c} BLOCKING (staging. choreography): Afier Tony releases the pigeon. he takes his place alongside a line of the mobsters. marking him as one of their kind. Then. thayjpave without ' and he remains alone, again indicating his conflict (to be a part of the operationpaiiicipat deeds and reap its rewards. or to stand apart). y" Use -- and CAPITALIZE - terms from your class notes. Keep Your notes open and out in front of you when writing. d) CiNEMATOGRAPl-l‘i’: The cargo ship looms large in the BACKGROUNILl\of the firs . uggesting ' g the its signifinnoe {the conflict arises because of the money its cargoes can yield) a ‘ characters. The BLACK AND WHITE camerawork (shot on ROUGH—GRAN 3 $935 not giorify the setting but ‘reveala" it. especially in the shots ofthe tenements where the esldents‘ ragged clothing is hung out to dry. No SPECIAL EFFECTS (slow motion. unusual angles) are used. and most shots are from “normal“ perspectives. adding to the VERISlMlLlTUD‘E. And one particular SUBJECTIVE POINT-OF-VIEW. LOW ANGLE shot of Terry witnessing Joey's fall aligns viewer‘s sympathies wlih Terry. Finaily, the camera even CONVEYS TEMPERA -- eallng the cold of the night with the visibility of Terry‘s breath as he calls out to Try both to state precisely (1} what you see or hear and {2) what its effect is; here, for instance, the wisps of steam connote the cold of die night. ...
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