Monday, 17 January 2011
Thursday, 13 January 2011
Our individual roles within the group,
My role is to be focusing on mise-en-scene, I shall be looking closely into costumes and props for our characters as well choosing an appropriate location and also be making decisions on the lighting. I shall be investigating how our characters will present themselves and how it is best for us to put our representations across.
Chris is going to look closely into sound and is going to experiment into how we could use different things to create sound effects, for example stabbing a cabbage to create the sound of stabbing somebody. He is also going to think about any non-diegetic sounds such as music and ways that we could use it without breaking the terms of copyright.
Anastasiya is going to be in charge of editing She will be looking in detail at the camera effects and how to do them and which ones will be best for our project. She will be experimenting with different editing programs to see what ones are best to edit our final OTS on.
We all have individual roles, and are responsible for separate things to research and work on, however we will be filming and editing it together, so we can all share our thoughts and produce the best work possible.
Chris is going to look closely into sound and is going to experiment into how we could use different things to create sound effects, for example stabbing a cabbage to create the sound of stabbing somebody. He is also going to think about any non-diegetic sounds such as music and ways that we could use it without breaking the terms of copyright.
Anastasiya is going to be in charge of editing She will be looking in detail at the camera effects and how to do them and which ones will be best for our project. She will be experimenting with different editing programs to see what ones are best to edit our final OTS on.
We all have individual roles, and are responsible for separate things to research and work on, however we will be filming and editing it together, so we can all share our thoughts and produce the best work possible.
Tuesday, 11 January 2011
Tuesday, 14 December 2010
Our Concept Board - Prezi.
http://prezi.com/lbaiphzilqfs/copy-of-concept-board/
We are having difficulty uploading our prezi, in the meantime here is a link to the html.
Our concept board is yet to be presented, and when this takes place an evidential video will be posted.
We are having difficulty uploading our prezi, in the meantime here is a link to the html.
Our concept board is yet to be presented, and when this takes place an evidential video will be posted.
Ideas for our concept board
My group (Chris, Anastasiya and I) came up with the following ideas.
Title:
Genre: Film Noir
Plot: Order/Structure of narrative
Narrative: Story (editing, transition, titles)
Cast: Character - accents, mannerisms
Representation - style, props, costume
Set:
Mise-en-scene: Lighting
Connotation: Suggestion/Meaning/Implied
Denotaition: Emphasised/Explicit/Factual/Stated
Sound: Diegetic, Non-Diegetic, Effect, Foleying, Synchronous/Asynchronous, Contrapunctual, Ambient
Camera: Shot, Place, Angle, Transitions
Mood:
Style:
Target Audience: Demographics (factual date, age, gender, class) (analytical)
Projected/Preferred - who it is aimed at.
Audience groupings:
Traditional (fixed)
Post Modern (open minded)
Hedomist (experimental and risk taking)
Niche
Main stream
Conventions: Established or expected rules of genre
Title:
Genre: Film Noir
Plot: Order/Structure of narrative
Narrative: Story (editing, transition, titles)
Cast: Character - accents, mannerisms
Representation - style, props, costume
Set:
Mise-en-scene: Lighting
Connotation: Suggestion/Meaning/Implied
Denotaition: Emphasised/Explicit/Factual/Stated
Sound: Diegetic, Non-Diegetic, Effect, Foleying, Synchronous/Asynchronous, Contrapunctual, Ambient
Camera: Shot, Place, Angle, Transitions
Mood:
Style:
Target Audience: Demographics (factual date, age, gender, class) (analytical)
Projected/Preferred - who it is aimed at.
Audience groupings:
Traditional (fixed)
Post Modern (open minded)
Hedomist (experimental and risk taking)
Niche
Main stream
Conventions: Established or expected rules of genre
Wednesday, 10 November 2010
What actually is 'Film Noir'?
Film noire is a genre that began in the early 1940's, and Film noir literally means "black film" in French and it features themes which are particularly more negative than positive, with an overall dark and shadowy outlook - being filmed in black and white. This film genre takes in detective and crime noir as well as many gangster films of the 1930's.
Characteristics and Conventions of Film Noir:
The genereal moods of classic film noir were melancholy, alienation, bleakness, disillusionment, disenchantment, pessimism, ambiguity, moral corruption, evil, guilt, desperation and paranoia.
Heroes or even anti-heroes, corrupt characters and villains included down-and-out, conflicted hard-boiled detectives or private eyes, cops, gangsters, government agents, a lone wolf, socio-paths or killers, crooks, war veterans, politicians, petty criminals, murderers, or just plain Joes. These protagonists were often morally-ambiguous low-lifes from the dark and gloomy underworld of violent crime and corruption. Distinctively, they were cynical, tarnished, obsessive (sexual or otherwise), brooding, menacing, sinister, sardonic, disillusioned, frightened and insecure loners (usually men), struggling to survive - and in the end, ultimately losing.
Storylines were often elliptical, non-linear and twisting. Narratives were frequently complex, maze-like and convoluted, and typically told with foreboding background music, flashbacks (or a series of flashbacks), witty, razor-sharp and acerbic dialogue, and/or reflective and confessional, first-person voice-over narration. Amnesia suffered by the protagonist was a common plot device, as was the downfall of an innocent Everyman who fell victim to temptation or was framed. Revelations regarding the hero were made to explain/justify the hero's own cynical perspective on life.
Film noir films (mostly shot in gloomy grays, blacks and whites) thematically showed the dark and inhumane side of human nature with cynicism and doomed love, and they emphasized the brutal, unhealthy, seamy, shadowy, dark and sadistic sides of the human experience. An oppressive atmosphere of menace, pessimism, anxiety, suspicion that anything can go wrong, dingy realism, futility, fatalism, defeat and entrapment were stylized characteristics of film noir. The protagonists in film noir were normally driven by their past or by human weakness to repeat former mistakes.
Film noir films were marked visually by expressionistic lighting, deep-focus or depth of field camera work, disorienting visual schemes, jarring editing or juxtaposition of elements, ominous shadows, skewed camera angles (usually vertical or diagonal rather than horizontal), circling cigarette smoke, existential sensibilities, and unbalanced or moody compositions. Settings were often interiors with low-key (or single-source) lighting, venetian-blinded windows and rooms, and dark, claustrophobic, gloomy appearances. Exteriors were often urban night scenes with deep shadows, wet asphalt, dark alleyways, rain-slicked or mean streets, flashing neon lights, and low key lighting. Story locations were often in murky and dark streets, dimly-lit and low-rent apartments and hotel rooms of big cities, or abandoned warehouses. Often-times, war-time scarcities were the reason for the reduced budgets and shadowy, stark sets of B-pictures and film noirs.
Characteristics and Conventions of Film Noir:
The genereal moods of classic film noir were melancholy, alienation, bleakness, disillusionment, disenchantment, pessimism, ambiguity, moral corruption, evil, guilt, desperation and paranoia.
Heroes or even anti-heroes, corrupt characters and villains included down-and-out, conflicted hard-boiled detectives or private eyes, cops, gangsters, government agents, a lone wolf, socio-paths or killers, crooks, war veterans, politicians, petty criminals, murderers, or just plain Joes. These protagonists were often morally-ambiguous low-lifes from the dark and gloomy underworld of violent crime and corruption. Distinctively, they were cynical, tarnished, obsessive (sexual or otherwise), brooding, menacing, sinister, sardonic, disillusioned, frightened and insecure loners (usually men), struggling to survive - and in the end, ultimately losing.
Storylines were often elliptical, non-linear and twisting. Narratives were frequently complex, maze-like and convoluted, and typically told with foreboding background music, flashbacks (or a series of flashbacks), witty, razor-sharp and acerbic dialogue, and/or reflective and confessional, first-person voice-over narration. Amnesia suffered by the protagonist was a common plot device, as was the downfall of an innocent Everyman who fell victim to temptation or was framed. Revelations regarding the hero were made to explain/justify the hero's own cynical perspective on life.
Film noir films (mostly shot in gloomy grays, blacks and whites) thematically showed the dark and inhumane side of human nature with cynicism and doomed love, and they emphasized the brutal, unhealthy, seamy, shadowy, dark and sadistic sides of the human experience. An oppressive atmosphere of menace, pessimism, anxiety, suspicion that anything can go wrong, dingy realism, futility, fatalism, defeat and entrapment were stylized characteristics of film noir. The protagonists in film noir were normally driven by their past or by human weakness to repeat former mistakes.
Film noir films were marked visually by expressionistic lighting, deep-focus or depth of field camera work, disorienting visual schemes, jarring editing or juxtaposition of elements, ominous shadows, skewed camera angles (usually vertical or diagonal rather than horizontal), circling cigarette smoke, existential sensibilities, and unbalanced or moody compositions. Settings were often interiors with low-key (or single-source) lighting, venetian-blinded windows and rooms, and dark, claustrophobic, gloomy appearances. Exteriors were often urban night scenes with deep shadows, wet asphalt, dark alleyways, rain-slicked or mean streets, flashing neon lights, and low key lighting. Story locations were often in murky and dark streets, dimly-lit and low-rent apartments and hotel rooms of big cities, or abandoned warehouses. Often-times, war-time scarcities were the reason for the reduced budgets and shadowy, stark sets of B-pictures and film noirs.
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