Warp Films' development slate currently includes projects with directors Shane Meadows, Chris Morris, Chris Cunningham, Richard Ayoade, David Slade and Lynne Ramsay. They are also dedicated to seeking out new voices; this goal is reflected in their recent ventures into promo making and the new digital slate, Warp X. Warp Films' development slate currently includes projects with directors Shane Meadows, Chris Morris, Chris Cunningham, Richard Ayoade, David Slade and Lynne Ramsay. They are also dedicated to seeking out new voices; this goal is reflected in their recent ventures into promo making and the new digital slate, Warp X.
In 2006 Warp made their most successful production to date: 'This is England', the story of Shaun, a boy who is befriended by a local skin-head gang after his father is killed in the Falklands war. With it's evocative soundtrack, dazzling young star and emotive content it has won numerous international festival awards as well as scooping Best FIlm at the British Independent Film Awards and Best British Film at the BAFTAs.
Warp X is a pioneering new digital film studio based in Sheffield, with offices in Nottingham and London, and is allied to Warp Films and Warp Records.
Warp X harnesses cutting edge digital technology and low budget production methods to make high value movies that can reach cinema audiences across the world.
These films are being managed and produced by Warp X for the Low Budget Feature Film Scheme set up by UK Film Council’s New Cinema Fund and Film4 to revitalise the low-budget sector of the British film industry. Other key financial backers are EM Media and Screen Yorkshire.
Production Companies for This is england
Big Arty Productions
EM Media
Film4
Optimum Releasing
Screen Yorkshire
UK Film Council
Warp Films
UK Distributor for This is England- Optimum Releasing
Tuesday, 16 December 2008
The Third Man by Carol Reed
Institutions
Directed by Carol Reed
Production Companies: London Film Productions, British Lion Film Corporation
Release Date: 3 September 1949 (UK)
Made in UK
Critical Review by Landen Celano
The Third Man is quite a cinematic experience. I think it goes without saying that the Oscar-winning cinematography is absolutely stunning, contributing to the overall mystery of the film. Every time I’ve seen the film, a tingle has filled me when Orson Welles first appears, and it’s a combination of how he’s revealed, but also his Kevin Spacey-like smirk when he knows his cover has been blown. There is no doubt that this is one of the greatest film noirs ever made, and it’s acted so well by all of its cast, especially Valli who has probably her best moment of the film in its final shot. This is easily a film I’ll continue to go back to time and time again when studying noir, but even if I’m just looking for an entertaining mystery.
This review shows me that the choice of shooting the film is very important in contributing to the effectiveness of the overall outcome; here film-noir has been highly successful. Also, the quality of the acting is very important, though with my thriller this isn’t going to be such a problem as there is no dialogue which will make the acting a lot easier. Also, every shot from beginning to end has to be memorable, as in this film the last shot is one of the best shots according to Landen Celano. Therefore I need to make sure that in every shot of my film I am going to maintain the audience’s interest.
Audience
Via box office returns since being re-released in 1999 the film has made a total of $596,349 (USA).
On IMDB the overall user rating is 8.5/10. Ratings from all ages tend to be very similar ranging between 8.1 and 8.7, but females tend to not enjoy it as much as males as with the rating from each age group females tend to be a few points lower than males, though there is an obvious dip in ratings for females under the age of 18 where the average rating is 6.2. Though this could be due to the unreliable amount of votes as only 62 people have voted in this category where all others are in the hundreds or thousands. Although if there was a reason why people in this demographic didn't enjoy the film as much as others it could be due to the disorientating style of filming or they don't find a noir 40's film's portrayal of a love story as much as the modern films portray them due to it being out of their comfort zone and very different to the style of film around today that they watch on a regular basis.
Generic Thriller Forms and Conventions
The Third Man is filmed in black and white which is a signifier of the early 40's noir style filming.
The Chase Scene/Sewer Scene
This scene is loaded with aspects of mise-en-scene that create a successful thriller. For
instance the lighting throughout the film is chiaroscuro which is a strong contrast of light against shadow, this creates a surreal nightmare effect and a feeling of illusion making it uncomfortable for the audience to watch, putting them on edge. 
Another technique is the extensive use of canted/tilt shots, which again creates unease within the audience as it creates confusion, disorientation and adds to the nightmare effect.
Within this scene there are alot of quick cuts between clips to show the speed of the action, this again disorientates the viewer.
All sound is diagetic, there is the loud uncomfortable rush of water and the echoing sound of footsteps and voices coming from misleading directions which increases discomfort and tension.
There is a selection of high and low angle shots showing the action from both Harry Lime's and the polices points of view, this puts the audience into the action building tension and anxiety for the outcome.
Looking at the settings the sewer tunnels are an enclosed space which is a g
eneric film signifier, also it is an unglamorous setting which is high in contrast to the glossy streets of Vienna that alot of the film is set in. The contrast emphasises the drama and tension as it reflects the massive change in circumstance in such a short period of time. The unglamorous setting is a generic thriller film signifier whereas the glamorous setting is a signifier of the 1940's glam noir film style.
Directed by Carol Reed
Production Companies: London Film Productions, British Lion Film Corporation
Release Date: 3 September 1949 (UK)
Made in UK
Critical Review by Landen Celano
The Third Man is quite a cinematic experience. I think it goes without saying that the Oscar-winning cinematography is absolutely stunning, contributing to the overall mystery of the film. Every time I’ve seen the film, a tingle has filled me when Orson Welles first appears, and it’s a combination of how he’s revealed, but also his Kevin Spacey-like smirk when he knows his cover has been blown. There is no doubt that this is one of the greatest film noirs ever made, and it’s acted so well by all of its cast, especially Valli who has probably her best moment of the film in its final shot. This is easily a film I’ll continue to go back to time and time again when studying noir, but even if I’m just looking for an entertaining mystery.
This review shows me that the choice of shooting the film is very important in contributing to the effectiveness of the overall outcome; here film-noir has been highly successful. Also, the quality of the acting is very important, though with my thriller this isn’t going to be such a problem as there is no dialogue which will make the acting a lot easier. Also, every shot from beginning to end has to be memorable, as in this film the last shot is one of the best shots according to Landen Celano. Therefore I need to make sure that in every shot of my film I am going to maintain the audience’s interest.
Audience
Via box office returns since being re-released in 1999 the film has made a total of $596,349 (USA).
On IMDB the overall user rating is 8.5/10. Ratings from all ages tend to be very similar ranging between 8.1 and 8.7, but females tend to not enjoy it as much as males as with the rating from each age group females tend to be a few points lower than males, though there is an obvious dip in ratings for females under the age of 18 where the average rating is 6.2. Though this could be due to the unreliable amount of votes as only 62 people have voted in this category where all others are in the hundreds or thousands. Although if there was a reason why people in this demographic didn't enjoy the film as much as others it could be due to the disorientating style of filming or they don't find a noir 40's film's portrayal of a love story as much as the modern films portray them due to it being out of their comfort zone and very different to the style of film around today that they watch on a regular basis.
Generic Thriller Forms and Conventions
The Third Man is filmed in black and white which is a signifier of the early 40's noir style filming.
The Chase Scene/Sewer Scene
This scene is loaded with aspects of mise-en-scene that create a successful thriller. For
instance the lighting throughout the film is chiaroscuro which is a strong contrast of light against shadow, this creates a surreal nightmare effect and a feeling of illusion making it uncomfortable for the audience to watch, putting them on edge. 
Another technique is the extensive use of canted/tilt shots, which again creates unease within the audience as it creates confusion, disorientation and adds to the nightmare effect.
Within this scene there are alot of quick cuts between clips to show the speed of the action, this again disorientates the viewer.
All sound is diagetic, there is the loud uncomfortable rush of water and the echoing sound of footsteps and voices coming from misleading directions which increases discomfort and tension.
There is a selection of high and low angle shots showing the action from both Harry Lime's and the polices points of view, this puts the audience into the action building tension and anxiety for the outcome.
Looking at the settings the sewer tunnels are an enclosed space which is a g
eneric film signifier, also it is an unglamorous setting which is high in contrast to the glossy streets of Vienna that alot of the film is set in. The contrast emphasises the drama and tension as it reflects the massive change in circumstance in such a short period of time. The unglamorous setting is a generic thriller film signifier whereas the glamorous setting is a signifier of the 1940's glam noir film style.Another generic thriller signifier is the spiral staircase, this adds to the confusion and feeling of a nightmare. 
A specific shot is used ironically to show Harry Lime's fate just before the chase scene. This is the shot where Harry is standing in a doorway which connotes he's been 'framed'. This is a clever way of making the audience think forward to what will be the outcome later in the film.
A specific shot is used ironically to show Harry Lime's fate just before the chase scene. This is the shot where Harry is standing in a doorway which connotes he's been 'framed'. This is a clever way of making the audience think forward to what will be the outcome later in the film.
All these aspects make the film aesthetically pleasing for the audience.
Representation
The femme fatale in this film is given alot of empowerment over men, even
when she makes it apparent she is in love with Harry, Holly still falls for her beauty and strength. She is given strong willpower and dignity. She is first introduced looking glamorous with perfectly curled hair, a large hat, a long raincoat, black gloves and a handbag. The raincoat and hat create a sense of mystery.
Representation
The femme fatale in this film is given alot of empowerment over men, even
when she makes it apparent she is in love with Harry, Holly still falls for her beauty and strength. She is given strong willpower and dignity. She is first introduced looking glamorous with perfectly curled hair, a large hat, a long raincoat, black gloves and a handbag. The raincoat and hat create a sense of mystery.Kill Bill Vol 2 by Quentin Tarentino
Institutions
Directed by Quentin Tarantino
Production Company: Miramax Films,
Released 23 April 2004 UK
Made in USA
Critical Review by James Christopher from The Times
Kill Bill: Vol.2 is a revenger’s comedy. In the way that Akira Kurosawa exploited the Wild West to illuminate his classic Japanese melodrama Seven Samurai, so Tarantino reverses the current to inform his batty western.
What makes the young American director such a force is his terrific sense of humour and preternatural feel for the absurd, whether it be Pei Mei’s bushy white eyebrows or the kung-fu way he strokes his 3ft-foot long white beard.
The film simply wouldn’t work without this sensory overload, which smothers the queasy suspicion that what keeps us in our seats is nothing more than blind greed for the next cute nuance or visceral sensation.
Morally the film is as infantile as its rigid code of honour — and there’s not much of that between hired assassins, or directors and critics. The Midas touch is Tarantino’s ability to switch mood and genre — and take his audience with him — in the blink of an eye.
The climax of this blood-soaked odyssey, with its Sergio Leone standoffs, bleached John Ford landscapes, Hitchcockian sense of noir, Ang Lee high-wire tricks, refrigerated Clint Eastwood anger and self-referential importance, is the Dr Frankenstein belief in its own importance. Ultimately, this is a film about an obsession with film. It’s made by a man clearly deranged by trivia, but also an artisan who can pluck something unique and exciting from the collision of two (or ten) completely different genres.
This review tells me that adding intertextual references can be a very powerful thing. It may be good to use intertextual references in my planning as the audience do pick them up and it interests and excites them. Also using mixes of different genres can keep the film interesting and the audience on their toes.
Audience
Rated R (America)/ 18 (UK) due to violence, language and brief drug use. By the 2nd August the film made $149,591,303 worldwide via box office returns.
On IMDB the average user rating is 8.0/10 for both males and females, this shows me that this film appeals to both genders. The highest rating came from males under 18 at 8.4/10, and the lowest rating came from females aged 45+ at 5.7/10, the overall trend for the ratings is that the older the age range the lower the rating, and male vs. female ratings tend to be very similar with an exception of females under 18 which is 7.2/10 against the 8.4/10 males, but this result isn't particularly reliable as only 787 under 18 females have voted whereas for all the other categories thousands have voted. The overall trend shows me that this film appeals to the younger generation better than the older generation.
Codes and Conventions of the Thriller Genre
This film is not a thriller but it does contain thriller aspects within certain scenes and uses techniques and shots that can be taken into consideration when creating my own thriller opening
Chapter 5
The opening scene of chapter 5 is a close up of the bride’s beaten and bloody face, the close up helps to establish the anger and fear in her eyes as well as the extent of her injuries, this catches the audiences interest as the opening shot is already full action. This scene is also filmed in black and white, it establishes the fact that this is a flashback, this is also established by the narrative that follows the shot with the bride saying “Looked dead, didn’t I?” At this time there is also a quiet soundtrack that consists of violins and after the gunshot to the head the soundtrack grows louder and harsher, which grows to be similar to the soundtrack in Hitchcock’s Psycho. This soundtrack creates tension and drama, and a sense that something is building up and is about to happen.
The second scene is a medium close up of the bride in a car driving along the road, this slowly zooms in on her face as her speech grows more and more intense and violent, this creates the illusion that the viewer is being pulled in closer to the bride and as the camera zooms closer her monologue seems more personal as though she is talking to each individual in the audience, along with the soundtrack this creates a growing tension.
.jpg)
This scene is also in black and white, and the way the car is set on a fake background creates a reference to the 1940’s style noir filming.
Scene 7
Scene 7 is the graveyard scene where the bride is buried alive. This is a good example of generic thriller conventions such as entrapment where the bride is tied up, also when she is buried six feet under the ground. Also the graveyard location is empty, unglamorous and secluded.
The lighting is non-ambient, chiaruscurro, it's very harsh lighting
with alot of light contraating against dark, this indicates a nightmare scenario which is ironic as the nightmare of being buried alive is something alot of people fear so the audience can relate to this scene.
diagetic sound is used which includes the sounds of shovelling, footsteps, the chain on the truck. This is used very effectively as the sounds are made very crisp and clear as to put the audiences in the brides shoes as this is what she is hearing although she can't see it.
When the bride is pulled out of the truck and onto the ground medium shots are used from a high angle which is used as a point of view shot of what Budd is seeing when he is looking down on her, it also makes her seem helpless and him seem more powerful.
A similar shot is used of Budd and his friend standing over the bride when they are talking and joking about her, this shot is a low angle shot from the brides point of view making them seem powerful and in total control.
Extreme close ups are used on the brides eyes to emphasise her anger and horror.
When the bride is in the coffin the same technique is used with the diagetic sound with the sharp sounds of mud being shovelled on top of her and the nails being knocked into the coffin, it adds to the tension as it can be heard but not seen.
Finally, when the bride begins to punch at the coffin non-diagetic western music is played in the background, this is an intertextual reference to Clint Eastwoods The Good, The Bad and The Ugly, this shows a sign of hope as it is hopeful music.
Directed by Quentin Tarantino
Production Company: Miramax Films,
Released 23 April 2004 UK
Made in USA
Critical Review by James Christopher from The Times
Kill Bill: Vol.2 is a revenger’s comedy. In the way that Akira Kurosawa exploited the Wild West to illuminate his classic Japanese melodrama Seven Samurai, so Tarantino reverses the current to inform his batty western.
What makes the young American director such a force is his terrific sense of humour and preternatural feel for the absurd, whether it be Pei Mei’s bushy white eyebrows or the kung-fu way he strokes his 3ft-foot long white beard.
The film simply wouldn’t work without this sensory overload, which smothers the queasy suspicion that what keeps us in our seats is nothing more than blind greed for the next cute nuance or visceral sensation.
Morally the film is as infantile as its rigid code of honour — and there’s not much of that between hired assassins, or directors and critics. The Midas touch is Tarantino’s ability to switch mood and genre — and take his audience with him — in the blink of an eye.
The climax of this blood-soaked odyssey, with its Sergio Leone standoffs, bleached John Ford landscapes, Hitchcockian sense of noir, Ang Lee high-wire tricks, refrigerated Clint Eastwood anger and self-referential importance, is the Dr Frankenstein belief in its own importance. Ultimately, this is a film about an obsession with film. It’s made by a man clearly deranged by trivia, but also an artisan who can pluck something unique and exciting from the collision of two (or ten) completely different genres.
This review tells me that adding intertextual references can be a very powerful thing. It may be good to use intertextual references in my planning as the audience do pick them up and it interests and excites them. Also using mixes of different genres can keep the film interesting and the audience on their toes.
Audience
Rated R (America)/ 18 (UK) due to violence, language and brief drug use. By the 2nd August the film made $149,591,303 worldwide via box office returns.
On IMDB the average user rating is 8.0/10 for both males and females, this shows me that this film appeals to both genders. The highest rating came from males under 18 at 8.4/10, and the lowest rating came from females aged 45+ at 5.7/10, the overall trend for the ratings is that the older the age range the lower the rating, and male vs. female ratings tend to be very similar with an exception of females under 18 which is 7.2/10 against the 8.4/10 males, but this result isn't particularly reliable as only 787 under 18 females have voted whereas for all the other categories thousands have voted. The overall trend shows me that this film appeals to the younger generation better than the older generation.
Codes and Conventions of the Thriller Genre
This film is not a thriller but it does contain thriller aspects within certain scenes and uses techniques and shots that can be taken into consideration when creating my own thriller opening
Chapter 5
The opening scene of chapter 5 is a close up of the bride’s beaten and bloody face, the close up helps to establish the anger and fear in her eyes as well as the extent of her injuries, this catches the audiences interest as the opening shot is already full action. This scene is also filmed in black and white, it establishes the fact that this is a flashback, this is also established by the narrative that follows the shot with the bride saying “Looked dead, didn’t I?” At this time there is also a quiet soundtrack that consists of violins and after the gunshot to the head the soundtrack grows louder and harsher, which grows to be similar to the soundtrack in Hitchcock’s Psycho. This soundtrack creates tension and drama, and a sense that something is building up and is about to happen.
The second scene is a medium close up of the bride in a car driving along the road, this slowly zooms in on her face as her speech grows more and more intense and violent, this creates the illusion that the viewer is being pulled in closer to the bride and as the camera zooms closer her monologue seems more personal as though she is talking to each individual in the audience, along with the soundtrack this creates a growing tension.
.jpg)
This scene is also in black and white, and the way the car is set on a fake background creates a reference to the 1940’s style noir filming.
Scene 7
Scene 7 is the graveyard scene where the bride is buried alive. This is a good example of generic thriller conventions such as entrapment where the bride is tied up, also when she is buried six feet under the ground. Also the graveyard location is empty, unglamorous and secluded.
The lighting is non-ambient, chiaruscurro, it's very harsh lighting
with alot of light contraating against dark, this indicates a nightmare scenario which is ironic as the nightmare of being buried alive is something alot of people fear so the audience can relate to this scene.diagetic sound is used which includes the sounds of shovelling, footsteps, the chain on the truck. This is used very effectively as the sounds are made very crisp and clear as to put the audiences in the brides shoes as this is what she is hearing although she can't see it.
When the bride is pulled out of the truck and onto the ground medium shots are used from a high angle which is used as a point of view shot of what Budd is seeing when he is looking down on her, it also makes her seem helpless and him seem more powerful.
A similar shot is used of Budd and his friend standing over the bride when they are talking and joking about her, this shot is a low angle shot from the brides point of view making them seem powerful and in total control.
Extreme close ups are used on the brides eyes to emphasise her anger and horror.
When the bride is in the coffin the same technique is used with the diagetic sound with the sharp sounds of mud being shovelled on top of her and the nails being knocked into the coffin, it adds to the tension as it can be heard but not seen.
Finally, when the bride begins to punch at the coffin non-diagetic western music is played in the background, this is an intertextual reference to Clint Eastwoods The Good, The Bad and The Ugly, this shows a sign of hope as it is hopeful music.
Representation
This film is very stereotypical and at the same time very farfetched. It has the main character punching her way out a coffin under six feet of solid ground which is impossible, she has had god knows how many near death experiences and every single time miraculously survived, but the character is the typical beautiful, powerful heroine. Budd especially is portrayed as the stereotypical redneck hillbilly, living in a caravan with a job as a bouncer at a strip
club with long greasy hair, stubble and the cowboy hat he has been made into a very typical character. Also he is quite womanizing, the way he discusses the bride with his friend during the graveyard scene including sexual innuendo directly in front of her while her mouth is gagged so she can't fight back shows his low standards.
This film is very stereotypical and at the same time very farfetched. It has the main character punching her way out a coffin under six feet of solid ground which is impossible, she has had god knows how many near death experiences and every single time miraculously survived, but the character is the typical beautiful, powerful heroine. Budd especially is portrayed as the stereotypical redneck hillbilly, living in a caravan with a job as a bouncer at a strip
club with long greasy hair, stubble and the cowboy hat he has been made into a very typical character. Also he is quite womanizing, the way he discusses the bride with his friend during the graveyard scene including sexual innuendo directly in front of her while her mouth is gagged so she can't fight back shows his low standards.Brick by Rian Johnson
Institutions
Directed by Rian Johnson
Production Company: Bergman Lustig Productions
Released 12 May 2006 (UK)
Made in USA
Critical Review by http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20060406/REVIEWS/60403003/1023
Brick is a great thriller when it comes to looking at the codes and conventions of the thriller genre. It has also been a huge influence on my own thriller film without me even realising it. A couple of weeks ago me and freya noticed how similar a few key shots in our film were to that of shots in Brick including the alarm clock, the blood down the hand, the dead arm, the phone box and the close up of the item by the feet.
This close up of the eyes is a great way of showing feeling and emotion, the dim ambient lighting gives the character a sense of mystery and danger, it also has a slight western feel - that of the general close ups used in a showdown.
This is another very similar shot to a key shot in our film, where there is a close up of feet and - in this film the hand picking up a note - in our film the hand picking up a ribbon.
The depth of field in this picture forces the viewer to focus on the main action only - indicating that it is key action and a strong part of the storyline. Both the background and foreground are out of focus, and only the arm with the note, and the locker it's going into are in focus. The bracelet is in the centre third of the screen indicating that this also is a key feature, which it is, as it is shown later in the puddle of shallow water on a limp, obviouslt dead arm. Like alot of femme fatales there is usually a main item of clothing or accessory that is linked to her fate and with this girl it's her bracelets. With the femme fatale in our film it's her ribbon.
This is the shot with the bracelets being once again the centre of focus on the dead arm in the water. The positioning of the arm is exactly the same as the above shot making it extermely memorable to the viewer and cleverly triggers their mind back to the previous shot. Also the cameras focus in this shot is alot clearer and harsher mirroring the fact that the action is harsh, in comparison to the above shot which with the shallow focus looks very roseate and dreamlike connoting a happy, soft storyline.
Directed by Rian Johnson
Production Company: Bergman Lustig Productions
Released 12 May 2006 (UK)
Made in USA
Critical Review by http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20060406/REVIEWS/60403003/1023
Brick is a great thriller when it comes to looking at the codes and conventions of the thriller genre. It has also been a huge influence on my own thriller film without me even realising it. A couple of weeks ago me and freya noticed how similar a few key shots in our film were to that of shots in Brick including the alarm clock, the blood down the hand, the dead arm, the phone box and the close up of the item by the feet.
This shot is very similar to the opening shot of our thriller film.
Mise En Scene
Location: In this shot the location is hard to establish due to the shallow depth of field but it is distinct that the background is a dull location and shows no signs of being a lavish setting therefore this shot shows a conventional thriller setting.
Props: The alarm clock is a generic thriller convention as it is keeping track of time, also the contrast of the vibrancy of the numbers against the dim background emphasizes the time and gives it a sense of importance and relevance most likely to something that is going to happen later in the film.
Lighting: The lighting in this shot is ambient as it gives a dull, dingy effect which makes clear to the viewer that this is a real, uncomfortable situation and it also gives a sense of danger as the dim lighting along with the shallow focus adds to the uncertainty.
Camera Angle: Close up of the clock, with the clock being the only object in focus emphasizes the importance of the time and also forces the viewer to notice the time which hints at the idea that this time is going to be important later in the story.
This close up of the eyes is a great way of showing feeling and emotion, the dim ambient lighting gives the character a sense of mystery and danger, it also has a slight western feel - that of the general close ups used in a showdown.
This long shot of the phone box emphasises the seclusion and emptiness around Brendan (in the phone box) making him extremely vulnerable as there would be no witnesses if he was attacked or hurt. The phone box itself threatens Brenden by putting him into an enclosed space which is a genetic thriller signifier. The red glow of the single lamp above the pone box gives an ominous warning sign, the red connotes danger. The noir lighting also adds to the mystery of the surrounding and consequently Brendens vulnerability. The rule of thirds has the phone box (the main action) in the centre third of the screen, also very small, emphasising the phone box being lost and insignificant within its surroundings, but it also draws the viewers eye straight to the centre of attention.
This is another very similar shot to a key shot in our film, where there is a close up of feet and - in this film the hand picking up a note - in our film the hand picking up a ribbon.
The close up on the feet gives a sense of mystery, it also focuses the viewers attention on key action (the picking up of the note). In this shot the surroundings are grotty and unglamorous which is a genetic thriller signifier. There is also the watch on the wrist, which gives the viewer the idea that time is essential in this film, which is something that is kept track of often in thrillers.
The depth of field in this picture forces the viewer to focus on the main action only - indicating that it is key action and a strong part of the storyline. Both the background and foreground are out of focus, and only the arm with the note, and the locker it's going into are in focus. The bracelet is in the centre third of the screen indicating that this also is a key feature, which it is, as it is shown later in the puddle of shallow water on a limp, obviouslt dead arm. Like alot of femme fatales there is usually a main item of clothing or accessory that is linked to her fate and with this girl it's her bracelets. With the femme fatale in our film it's her ribbon.
This is the shot with the bracelets being once again the centre of focus on the dead arm in the water. The positioning of the arm is exactly the same as the above shot making it extermely memorable to the viewer and cleverly triggers their mind back to the previous shot. Also the cameras focus in this shot is alot clearer and harsher mirroring the fact that the action is harsh, in comparison to the above shot which with the shallow focus looks very roseate and dreamlike connoting a happy, soft storyline.
Camera Training
To do our camera training we tried to find an area that would reflect the thriller aspect so we found an empty overgrown passageway next to empty basketball courts which reflects entrapment and a rundown place which is a general convention of a thriller film, we also thought the wire fencing of the basketball courts gave a good feel of danger and entrapment
This is a canted extreme long shot, Freya is just visible in the centre of the picture.
This viedo has been made using the Single Shot Filming technique that tends to require skill and planning. This particular shot was made quickly during a lesson simply to show different types of shots in our ability. This is a good shot to use though, in our thriller opening. Within this video the shot is an over the shoulder shot.
This video is a medium close up tracking Freya as the leaves the alleyway.
This is a canted extreme long shot, Freya is just visible in the centre of the picture.
This is a canted close up of an object, it is also a long shot of Freya running away in the background.
This is a two shot with a close up of Jonny looking over his shoulder and Freya is in the background in long shot, this is a good example of debth of field and deep focus.
This again is a canted long shot, it's another confined space between the crate and the fence, also the graffitti on the crate enhances the gritty surroundings.
This shot is great at making a character look menacing and powerful, it's a low angle shot, and also the lighting in this picture i think is brilliant, the shadow across one side of his face makes him look really shifty and threatening, along with the creepy tree branches in the background like old mans fingers.
This viedo has been made using the Single Shot Filming technique that tends to require skill and planning. This particular shot was made quickly during a lesson simply to show different types of shots in our ability. This is a good shot to use though, in our thriller opening. Within this video the shot is an over the shoulder shot.
This video is a medium close up tracking Freya as the leaves the alleyway.
The following three shots don't work as well as the others in portraying shot types in a thriller sense but they are atill good at showing different shot types.
This is used as a point of view shot, with a person being trapped behind the fence, looking through.
This is used as a point of view shot, with a person being trapped behind the fence, looking through.
This is a canted extreme close up of a hand, it could be concealing the persons identity, or they could be reaching out for help?
This is a low angle shot.
Thursday, 27 November 2008
Preliminary Filming Task - Continuity Filming
Within the preliminary filming task we have been aiming to use the following rules to broaden our knowledge on filming and camera techniques.
The 180 Degree Rule
The 180 degree rule is set to establish a relationship between two characters or 'subjects' without confusing the audience. With this there is an invisible line which the two c
haracters/ subjects are standing on and the camera must stay on one side of the line at all times in order to avoid confusion as the audience automatically associate certain characters to be on certain sides of the shot, changing this will reverse the characters positions and cause confusion. The only way of breaking the 180 degree rule without causing confusion is if the camera shows it being broken by panning around the back of one character for instance with the other character still in view so it is visible that the camera angle is being changer but both characters are still in the same position.
Shot /Reverse Shot
This is where there is a shot of one character looking at another, followed by a reverse shot of the other character looking back at them.
Match on Action
This is where action begins in one shot and continues into another shot to create two different views of the same action at the same moment in the same movement.
We were then asked to make a short film that would include those techniques. Here is our plot.
The 180 Degree Rule
The 180 degree rule is set to establish a relationship between two characters or 'subjects' without confusing the audience. With this there is an invisible line which the two c
haracters/ subjects are standing on and the camera must stay on one side of the line at all times in order to avoid confusion as the audience automatically associate certain characters to be on certain sides of the shot, changing this will reverse the characters positions and cause confusion. The only way of breaking the 180 degree rule without causing confusion is if the camera shows it being broken by panning around the back of one character for instance with the other character still in view so it is visible that the camera angle is being changer but both characters are still in the same position.Shot /Reverse Shot
This is where there is a shot of one character looking at another, followed by a reverse shot of the other character looking back at them.
Match on Action
This is where action begins in one shot and continues into another shot to create two different views of the same action at the same moment in the same movement.
We were then asked to make a short film that would include those techniques. Here is our plot.
Original Ideas
- Jonny rushes down the corridor. With a pan shot of him.
- He stops at the door and thinks for a minute. The camera is focussed on the side of Jonny.
- The camera then moves for a close up of the door and his hand reaching for the handle.
- The camera then moves to the inside of the room having a medium shot of the door using 'match on action'.
- The camera then pans Jonny from the top of the room (birds eye) walking to a seat opposite Freya, the other character.
- The camera will then use the '180 degree rule' to concentrate on the actors and their conversation using over the shoulder shots and 'shot/ reverse shot'.
- At the end of the conversation Freya will give jonny his wallet and the camera will pan him leaving the room. The door closes behind him.
- Script
(Jonny walks into the room, Freya is sat down reading a book)
Jonny: Hey Freya!
Freya: Morning Jonny. What you up to?
(Jonny looks around)
Jonny: Well I've lost my wallet and I think I might have left it in here.
Freya: Well I think I picked it up for you when I was leaving.
Jonny: Oh thanks Freya! You're a dream.
Freya: I know.
(Jonny looks around again)
Jonny: I'm so hungry! I'll see you later ok, and thank you again Freya.
Freya turns back to her book as Jonny leaves
Freya: You're welcome Jonny
Storyboards
Final Piece
Report
Within our short film we managed to include a match on action shot as well as abiding by the 180 degree rule. We also included a birds eye view shot as the opening shot, a high angle shot during the conversation, a close up when opening the door, a wide angle shot as Jonny walks towards the camera, tracking as the camera follows Jonny through the corridor, an over the shoulder shot during conversation, we also used a tilt shot when Freya picked up Jonny’s wallet and gave it to him.
During edit, we used the razor tool to separate and cut clips, we used a dip to black video transition to close the short film, we used two layers to display and alternate our clips to prevent confusion and make the timing and cropping easier to see.
We used a digital camcorder to capture the film onto tape, then we uploaded the raw footage onto a computer using a usb cable connected to the camera and on Adobe Premier Elements we used the ‘Capture’ tool to copy the video from the tape into digital format on the computer. When all the footage was captured we separated the different shots into individual clips and named them accordingly to make the library of different clips simple and clear and easier to use when arranging clips on the timeline. Once this was done we ordered our clips on the timeline by the process of eliminating bad quality clips and trying to include a varied range of shot types. We then cropped the different clips so they fitted together in a logical order and the film ran smoothly, then we put on the finishing touches such as the dip to black effect and the 5 second title at the beginning. We then exported the film as a movie and as a windows media file, as one will be compatible with DVD and one will be compatible with Youtube. Finally we uploaded the film onto the Youtube account and embedded the film into each of our blogs.
We struggled to collect a series of shots that could easily be put together during edit although we managed to film most of the shots we found that we were unable to place them together in a chronological order due to the fact that we had no shots to fill transition periods and struggled to synchronise the audio in alongside the actors facial movements within the shots. We did manage to collect all the shot types that were required though including shot/reverse shot, it was just a shame that we couldn’t use the footage due to lack of transition shots and time to re-film.
Our original briefing was to create a film using a variety of shots which would prepare us to make our final product and make us more competent with a camera. Therefore in spite of the fact that we were unable to include some of the shots that were specifically asked for such as shot/reverse shot, we still managed to make a film that had a varied range of shots and good quality camera control, also this exercise will help us in our thriller filming as it highlighted our weak points and allowed us to pick up on what we need to change when filming in the future.
Wednesday, 26 November 2008
History of Social Realism in British Film
Realism began in the 1930’s with documentary films, and a prime example of this is with the ‘father of documentary’ John Grierson, who founded the British documentary movement and created classic films such as Drifters (1929), Industrial Britain (1933), Song of Ceylon (1934) and Night Mail (1936). In these films he gave an insight into not only the different type of jobs within Britain but also to the people behind those jobs, and he made their lives 
poetry, literally. Take for instance the film Night Mail, not only did he film how the postal service worked but he noticed that something was missing and realised he needed to catch the peoples journey, not just the post, and on top of this he had W.H. Auden write verse for the film that described what was happening making it literally poetry.
Social realism came into full swing during the 1960’s where a whole new style of British film was made, and has highly influenced film ever since. Back in the 60’s this style of film was known as ‘British New Wave’. This film style represents real life subjects and stories in true form, with all bared and no roseate cover pulled over the top to make the subject seem less harsh than it is. The stories tend to be about people and their struggle to endure everyday life in down and out areas and working class society. The typical settings are gritty, destitute areas. A lot of the films were adapted from books and plays as social realism was active in literature and theatre at this time.
From social realism came the “kitchen sink” dramas which some also referred to as “angry young men” films. Most of the directors of this style of filming had a background in theatre, television and documentaries such as Tony Richardson, Karel Reisz and Lindsay Anderson. Their films were dubbed as “angry young men” films as they tended to focus on the “economic and social problems of a frustrated male protagonist who attempted to make free from society and its expectations through the use of alcohol, sex, sports and money etc.”
Tony Richardson was very much a part of ‘free cinema’ which is what he described to be “independent of commercial cinema, free to make intensely personal statements and free to champion the director's right to control the picture”. These films were made without inhibitions, and led to the social realist aesthetic of putting ordinary people with problems onto the big screen. He is a key example of a director that adapted films from literature and theatre that was thriving with social realism. He adapted stage plays such as Look Back in Anger (1959) and A Taste of Honey (1961) and literary classics such as Tom Jones (1963), The Loved One (1965) and The Charge of the Light Brigade (1968).
Ken Loach is a very political director, still alive today he stands by social realism and has not allowed himself to be influenced by Hollywood or anything else that threats corrupting his style of
direction. He started began doing docudramas such as Cathy Come Home (1966) which told the story of homelessness and its effect upon families, but he’s best known for his film Kes (1969) which focuses on the story of a young boy in a mining town whose life is altered by his relationship with an injured kestrel that he nurses back to health, but even with this there’s no escape from his fate of being trapped within drudgery of the industrial North. This film became a massive hit and a ‘school movie’ favourite. He is still making movies today and one of his more recent ones Sweet Sixteen (2002) is about a teenage boy who resorts to dealing drugs in an attempt to escape the poverty of the housing estate and create a new life with his drug addict mother.
These type of films have influenced the British film industry greatly and films today are still based upon similar views about society and the working class such as Ratcatcher (1999), Billy Elliot (2000) and This is England (2006) which are all based around the bottom of the social hierarchy and the struggle to fit in and survive within the community and other peers.
poetry, literally. Take for instance the film Night Mail, not only did he film how the postal service worked but he noticed that something was missing and realised he needed to catch the peoples journey, not just the post, and on top of this he had W.H. Auden write verse for the film that described what was happening making it literally poetry.Social realism came into full swing during the 1960’s where a whole new style of British film was made, and has highly influenced film ever since. Back in the 60’s this style of film was known as ‘British New Wave’. This film style represents real life subjects and stories in true form, with all bared and no roseate cover pulled over the top to make the subject seem less harsh than it is. The stories tend to be about people and their struggle to endure everyday life in down and out areas and working class society. The typical settings are gritty, destitute areas. A lot of the films were adapted from books and plays as social realism was active in literature and theatre at this time.
From social realism came the “kitchen sink” dramas which some also referred to as “angry young men” films. Most of the directors of this style of filming had a background in theatre, television and documentaries such as Tony Richardson, Karel Reisz and Lindsay Anderson. Their films were dubbed as “angry young men” films as they tended to focus on the “economic and social problems of a frustrated male protagonist who attempted to make free from society and its expectations through the use of alcohol, sex, sports and money etc.”
Tony Richardson was very much a part of ‘free cinema’ which is what he described to be “independent of commercial cinema, free to make intensely personal statements and free to champion the director's right to control the picture”. These films were made without inhibitions, and led to the social realist aesthetic of putting ordinary people with problems onto the big screen. He is a key example of a director that adapted films from literature and theatre that was thriving with social realism. He adapted stage plays such as Look Back in Anger (1959) and A Taste of Honey (1961) and literary classics such as Tom Jones (1963), The Loved One (1965) and The Charge of the Light Brigade (1968).
Ken Loach is a very political director, still alive today he stands by social realism and has not allowed himself to be influenced by Hollywood or anything else that threats corrupting his style of
direction. He started began doing docudramas such as Cathy Come Home (1966) which told the story of homelessness and its effect upon families, but he’s best known for his film Kes (1969) which focuses on the story of a young boy in a mining town whose life is altered by his relationship with an injured kestrel that he nurses back to health, but even with this there’s no escape from his fate of being trapped within drudgery of the industrial North. This film became a massive hit and a ‘school movie’ favourite. He is still making movies today and one of his more recent ones Sweet Sixteen (2002) is about a teenage boy who resorts to dealing drugs in an attempt to escape the poverty of the housing estate and create a new life with his drug addict mother.These type of films have influenced the British film industry greatly and films today are still based upon similar views about society and the working class such as Ratcatcher (1999), Billy Elliot (2000) and This is England (2006) which are all based around the bottom of the social hierarchy and the struggle to fit in and survive within the community and other peers.
Tuesday, 18 November 2008
Hopes Costumes
Hopes daytime outfit has been chosen to flatter her and make her look sexy and confident to coincide with her personality. The long black jacket was chosen as it elongates the figure and mainly to keep the actor warm as the shooting will take place in winter, therefore we worked around that finding something that is sexy and suitable, the jacket fits this. The original idea was to have a pencil skirt, but this is slightly overdressed for working in WHSmith, also it wouldn't look very good with a long jacket, therefore we decided on smart jeans with high rich purple heels that add glamour and the deep purple connotes wealth and royalty, which fits in with Hopes personality where she is so vain she classes herself as royalty.
The jogging outfit has been chosen to be suitable for jogging, yet still look relatively sexy and smart, so a black and white outfit has been chosen so that Hope still looks quite smart, this just shows that she takes care in her appearance at all times. The white jumper will show up well on camera in the evening, along with white trainers, the black jogging bottoms will be bootlegged to add to the well presented look, they also are figure flattering and sexy.
Tags costume
The costume is simple, and not overcomplicated with accessories. I have decided to keep his outfit simple to reflect his character where he is described as a bit of an outcast, with this though I don’t want him to blend in. He must stand out on screen. Therefore, I have made his outfit a simple deep red hoodie with dark, simple jeans and dark shoes. This is a risky outfit to choose as the character could end up being portrayed as the ‘gangsta’ type with the hoodie which is definitely not what I am aiming for Tag to be, so when the outfit is on him it shall be tweaked somehow to avoid this. The hoodie is red as it represents danger and blood, it also stands out in a crowd, which isn’t usually something you would want for a shifty character but we are aiming at creating a very obvious irony that will make it clear to the viewer from the beginning who he is and what he does. The hoodie will have ‘TAG’ written on the back in big, clear white letters as this can be zoomed in on to use as the film title in the opening credits as the film is called ‘Tag’. This will also add to the ‘in your face’ style irony and make it crystal clear who he is from the beginning. Jeans were chosen to keep the outfit very casual in contrast to Hopes work outfit which will create an obvious contrast between the two characters. Dark shoes were chosen simply as to not draw attention to them.
Storyboards
Lighting is added in type as it was not present in the storyboard drawings.
The lighting in storyboard 1 and 2 will be ambient daylight.
The lighting in storyboard 3 will be ciaruscurro.
The lighting in storyboard 4 will be ambient daylight.
The lighting in storyboard 7 and 8 will be non-ambient, light will be shone from above to make shadows visible below the eye.
The lighting in storyboard 1 and 2 will be ambient daylight.The lighting in storyboard 3 will be ciaruscurro.
The lighting in storyboard 4 will be ambient daylight.The lighting in storyboard 5 will be ciaruscurro.
The lighting in storyboard 6 will be non-ambient, there will be daylight along with the light of a bathroom light and added light to prevent darkness in the mirror if required.
The lighting in storyboard 7 and 8 will be non-ambient, light will be shone from above to make shadows visible below the eye.The light in storyboard 9 will be ambient daylight.
The lighting in storyboard 10, 11 and 12 will be ambient daylight.
The lighting in storyboards 13 and 14 will be ambient daylight.
The lighting in storyboards 16, 17 and 18 will be non-ambient as they will be aided by extra light to make up for lack of streetlights. In storyboards 17 and 18 the light will be directed towards Hope and away from Tag as it puts her in clear view and him in the shadows, emphasising Tag's shifty character.
The lighting in storyboards 19, 2o and 21 will be non-ambient due to added light makig up for lack of street lights, also in storyboard 20 a light will be shone from directly above to make the facial expression more emphasized and create a good contrast between light and dark on the characters face.
In storyboard 22 no light is required.
The lighting in storyboard 10, 11 and 12 will be ambient daylight.
The lighting in storyboards 13 and 14 will be ambient daylight.The lighting in storyboard 15 will be non-ambient, as it is in the evening there will be street lighting and added light shone from the same direction as street lights just to make sure the character is visible whilst looking like natural lighting.
The lighting in storyboards 16, 17 and 18 will be non-ambient as they will be aided by extra light to make up for lack of streetlights. In storyboards 17 and 18 the light will be directed towards Hope and away from Tag as it puts her in clear view and him in the shadows, emphasising Tag's shifty character.
The lighting in storyboards 19, 2o and 21 will be non-ambient due to added light makig up for lack of street lights, also in storyboard 20 a light will be shone from directly above to make the facial expression more emphasized and create a good contrast between light and dark on the characters face.
In storyboard 22 no light is required.In storyboards 23 and 24 the lighting will be non-ambient as chirascurro lighting will be used to create vivid light angainst dark contrasts making the scene seem like a nightmare.
In storyboard 25 lighting will be non-ambient as a light will be shone above the eye to create dark shadows on the face.
In storyboard 25 lighting will be non-ambient as a light will be shone above the eye to create dark shadows on the face.In storyboards 26 and 27 lighting will be ambient daylight.
Brainstorming and development of ideas for my thriller plot
First Draft
Second Draft
Second Draft
Third Draft
Opening Shot
Opening Shot
Subscribe to:
Posts (Atom)
