29th September Contextual/theory Studies Part 2:

Here are notes from Part 2 on the 29th September 2016:

Umberto Eco:
Semiotics writer.

SAS Embassy Siege (1980):
First time the SAS were photographed, public.

Contextual/theory studies 29th September 2016

Here are notes collected during the theory session on the 29th September 2016:

Introduction to Television:
Texts, Contexts & Culture
MISE EN SCENE

Objectives:
-Intro to concept of mise en scene.
-How and why we use mise en scene.
-Understanding and interpreting mise en scene (semiotics).

What is mise en scene?
-Can be defined as 'what is in the scene' or visual frame.
-The visual aspect of storytelling in film and television.

What are the key elements of mise en scene?
-Costume
-Props
-Body Language
-Scenery/Location/Setting-Production Design
-Lighting.

Setting- the environment in which the story takes place (genre-sci-fi, western, etc)
Costume/makeup- what the visual look of characters conveys (e.g., good vs bad)
Lighting- how it affects setting and character (e.g., shadows for villains and thrillers)

Interpreting mise ene scene:
-How we read mise ene scene depends on our interpretation of visual codes, signs and symbols.
ne:

Context and mise en scene:
-How we interpret or decode elements of mise en scene also depends on cultural context.
-The communication test- changing the use or an element of the sign to see how this effects interpretation.

Context and mise ene scene:
-Star Wars and The Matrix are both Hollywood SF/fantasy genre inspired by Asian culture.
-Star Wars adheres to classical western (costumes, colour coding).
-Matrix takes inspiration from Asian film (roles reversal).

Youtuber- Philip DeFranco:

-Constructed set emulates 'geek' bedroom.
-Clothing signifies 'blue collar' authenticity.









Mise en scene in drama:
-Setting- Film & TV drama classically used studio sets.
-Costume/ makeup- designed as character-specific.
-Lighting-Classically high key designed.
-Staging- Director-specific.

Mise en scene in documentary:
-Setting- Classically uses 'real' locations.
-Costume/makeup- Typically authentic, but can be directed.
-Lighting- traditionally 'natural', but often artificial/designed.
-Staging- Typically 'natural', but often director-specific.

28th Sptember 2016 Camera workshop

Or workshop today has consisted of being able to become familiar with the Sony EX cameras and their components.

After being given a brief rundown of how to connect the camera t the tripod, lock the camera in place to avoid damages and how to use focus and zoom, we were split into groups of three and were given our own cameras and tripods to experiment with.

Our group initially had trouble with the tripod as it wouldn't balance out properly. we were given the advice of using an extra component which made balanced the legs of the tripod out.

This first part of this workshop has been very beneficial in working out how w should use te cameras correctly and safely.

'Soft' Pitch

Pitch for 'Soft' (Simon Ellis, 2007)

https://vimeo.com/19705053
The short film 'Soft' elicits many emotions such as anger and the eventual feelings of pride at the actions which the protagonists perform.

Simon Ellis had the idea when he saw a kid being bullied on a bus and their father was actually the bus driver but couldn't do anything about it.

Pitch for 'Soft':
Genre- Drama/ Social Realism
Setting- Urban/ Council estate/ community
Characters- Father/ Son/ Asbos/ Gang
Conflict- Violence/ boredom/ internal conflict/ emotional
Theme- Do what you think is right/ fatherhood/ fear/ respect/ masculinity
Others- Attitude/ change/ role-reversal/ social community/ growing up/ coming of age

25 word pitch:
Social realist film set in an urban village where both the father and son handle the same situation in different ways, despite internal conflict.

Improvement after feedback- social realist would indicate urban setting:

Social realist film where father and son handle a situation differently despite internal conflict.

Analysis of 'Soft'
-first video shots filmed on rough video phone footage, dates the film slightly.
-father parks up the car and perfects his parking-sensible.
-father steps out of car- wears suit, coming home- suggests afternoon time frame, professional job.
-first shot is used to bookend the beginning and ending- change in events.
-father already in conflict with his son-'Can you move your bag?'. No proper response from the son.
-first sight of cricket bag- foreshadows later events.
-father wears a short sleeved shirt- sensible, normal.
-father makes tea- easy task- routine action.
-first lines of dialogue- inaudible mumbling- father closed off from others.
-shot of father walking towards the camera- claustrophobic framing- closed off character.
-church bell sound- adds to the atmosphere- Bell tolling, leading to death/ execution, towards the gang members.
-no connection between the father and the local shop owner despite supposedly going there several times- proves that the father is not sociable.
-gang leader dance whenever he hits someone- trademark sign.
-father speaks to son almost antagonistically- not a close relationship.
-picture of cricket-foreshadowing- family interest.
-mention of mother- not present physically but in mention.
-dialogue between father and son signifies emotional conflict between the two.
-use of word 'victim'- suggests that the father and son are victims of the gang.
-blinds represent bars, prison- father and son are trapped.
-only time the father shouts is to his son- troubled relationship.
-car alarm in the background- adds to character- like a boiling pot, temper.
-father pov distorted frame, visual imagery of losing control, losing temper.
-cricket bat has been established, does not seem out of place when the son comes out with the bat.
-dropped the cricket bat- father is not worthy of holding the supposed 'weapon'.

Notes made from Intro to Screen Writing 26th September 2016

Here are notes made from the Screenwriting session with Steve Coombes on 26th September 2016:

Screenplay:
1 hour = 12000 words
10 minutes = 2000 words
Don't bother with adjectives
-Use Verbs- 'Excerpt from Alice in Wonderland'

Logline- Pitch for the pitch-Small summary of idea.

Pitch Process:
Elevator Process.
Treatment- Story- 5/10 pages long-Scene by scene.
Bible-Overview of characters-Story arch.
First Draft Script.
Get given notes.
Shooting Script.
Green Light.

Script writers get paid for writing scripts that often don't get made...this has changed.

STRUCTURE:
Screenplay
-Hypothesis
-Guide from start to finish
-Narrative structure/hints for characters.

Nobody can read screenplays- Stage directions are not usually read.

Timing (humour, camera angles) is important!

Movie business- Property law business.

Screenplay-Foundation.

FIRST GOLDEN RULE:
Audience don't need to know unimportant details- Tell them what they need to know.

SECOND GOLDEN RULE:
Showing, not telling. Write a scene that shows what is going on.

THIRD GOLDEN RULE:
The set-up, Distraction, Punchline/ Ending.
-Individual scenes, characters.
-Try to create a revolution.
-Create a metaphor- speaks for itself.

FOURTH GOLDEN RULE:
Know your ending.
-The final destination.

FIFTH GOLDEN RULE:
Moments- Obey rules but make it Memorable.

'One thing a screenplay cannot survive is a bad actor'.

This session has been very beneficial in knowing how I should create and improve on my screenplay over the next few weeks.

Intro to Theory/ Contextual Studies: 22nd september 2016

Here is what was covered in our introduction to Contextual Studies:

The Shock of the New:
-New Students
-New Course
-New Tutor

Louis Heaton (The Lecturer):
-Lecturer of Film and Television.
(Middlesex University, Winchester University, UCA)
-Film Critic, Arts Reviewer.
-Documentary Producer and Director.

Birth of Cinema- 1895

Television Texts and Context-
A series of lectures, screenings and seminars which explore film and television programmes (the texts) through an analysis of visual grammar, genre codes and conventions and critical theories.

Key Lessons: Term 1-
-Mise en scene
-Cinematography
-Editing
-Sound
-Documentary
Outcome: be able to discuss about the above.

Presentations:
In groups- Select programme (3 minutes)
-Analyse
-Last ten Minutes
-Discuss artistic/ technical merites
-Powerpiont Presentation
-Presented 10th-17th October.
Group A- (1pm-2pm)
-6 Groups of 3.

Useful Resources:
-Film Art (Bordwell and Thompson)-Key text for mise en scene, cinematography, editing and sound.

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Weeks 8-10:
-Understanding Genre:
-The Sitcom-'Vodka Diaries'.
-The Soap Opera-'Eastenders'.
-Crime Drama-'The Bill'.

Outcome:
500 word review of genre programs- December 9th 2016

Understanding Key Critical Theories:
How to be a filmmaker:
-Read a lot!
-Watch a lot!
-View as much as possible!

Work, 21st September 2016- Story Telling

Here are the notes made when creating our story telling piece today:

This activity has been very helpful in allowing me to understand how to create a cohesive plot out of a specific idea:

Title: 
ABDUCTION

Story:

Allison, a single mother living in a council house in Birmingham struggles to make ends meet after her former abusive husband Dan was convicted to prison a little over a year ago. When she takes her son Tim to school she believes it will be just another day in the ordinary but things today will change. Dan has escaped from prison after longing to see his son and approaches the nearby playground where his son is attending. He recognises Tim and calls him over. Teachers unaware of whats happening he manages to lift his son over the gate and take him.

When the Lunch time has finished the children go back inside and a register is taken. Tim is nowhere to be seen and the teachers ring Allison to see if he has walked to his home. When Allison questions why they are asking this her heart suddenly drops and rushes to the school. The police have been rang and inform both the teacher and Allison that her husband has managed to escape from prison and are on the look out for him. To Alison’s despair she panics and drives around in her car looking for the boy but he is no where to be seen.

Dan is with Tim in an abandoned house and explains to his son that he wants to be in his life and does not deserve the outcome that he was given. It is then revealed that he was not abusive towards Allison but was framed by her as she was having an affair and wanted him out the picture.

Characters:

 Single Mum (Allison)

Mid 20’s , has a strong personality and its currently unemployed. She lives in a council house with her son.

Convict Father:

Mid 20’s and its prison for an apparent abusive relationship with his partner Allison. He is the father of Allison’s child. He wants to see his son that he has not seen in years.

Son (Tim):

6 years old, very shy and is bullied for what happened between his parents. He doesn’t really understand what is going on between them.

Setting:

Birmingham

Playing field

It is lunchtime and is busy.

Reason for meeting:

The reason for the meeting is he is trying to find his son that he has not seen in a long time, it is not by chance, he is purposely trying to find him.

 Goal:

The goal is to escape from prison and abduct his son to have a happy life away from his ex-partner.

What is different?

The son finds out that the mother was having an affair and she purposely got bruises and scars to get her ex partner (Dan) in prison as she did not like him and has bad feelings for her. Dan wants to find his son to explain what really happened and he is not the person his mother Allison is making him out to be.

What have we learnt?

The father is not who he is made out to be.

The Brief, 19th September 2016

Today we were all given our brief for over the next several weeks.
Our brief informed us that we are to create an original ten page script/screenplay for a ten minute shot film with the stimulus title. 'The Meeting'.

Immediately ideas started to form in my head. I decided that my film should take the form of the thriller genre as it may prove interesting for me to experiment with audience expectations. My first idea included a scenario where a spy would come back to a small apartment and find that several of his small traps have been tampered with, indicating that an intruder has or is still in the room. inspiration for this obviously comes fro spy thrillers such as the 007 films and The 39 Steps.

However, another idea formed from a previous experimentation of mine, also inspired by spy thrillers. This idea includes two high ranking officers on opposing sides of a war covertly meeting to discuss terms of ending the war. As the short film goes on, negotiations start to become more tense as several underlying threats are made, finally leading to a tense conclusion.

This idea will allow me to prove my understanding of the thriller genre and also allow me to use spy film-related tropes such as code-words. Also, the scene would be much easier to film as the two characters will be sat at a bench in a quiet corner.
However, I realise that to be able to engage the audience, my writing of the dialogue must be of high quality and cinematography must be used in an interesting way to keep the pace of the scene at  high enough speed. My characters must be interesting as well because otherwise audiences will simply have no connection with the characters and would not care who will come out on top.

I will conduct research on various espionage/ secret meetings from past wars and act upon these as inspiration on how to tackle this script/screenplay.

Andrew Ayres Introductory Film and TV Production video at:

https://www.youtube.com/watch?v=kt0O3kA9oUE