Revision

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 Revision


Autumn 2020 - Component 2 Section D

Discuss how either editing or cinematography contribute to the experimental nature of your film option [20]


Editing

Cinematography

For storytelling - Each story has a title card to signpost it

Interaction of spectators - e.g Mia overdose and Vincent drives her, the camera feels like its on top of her head as the characters are confused - POV from Mia’s perspective - creates rush, intensity, no time to spare - very visceral for spectator

Episodic editing for each sequence

Lighting - many violent moments take place in the light of day - e.g diner sequences; weird scene in the pawn shop during the day, but the setting is low key - lighting techniques in relation to time of day

Editing in relation to non-chronological sequencing e.g diner sequence at start/end


Disorientating and time-restrictive - restricted narrative - creates abstract and absurd humour


Editing contributes to themes and develops experimental style


“Dont be a square” memento with Mia - Reinforces that the film is fiction and hyper-real


Same with Mr Wolf - The speed of his arrival


Long takes, editing pace; characters talking - not much happens; makes violence more effective



Component 1 Section C BRITISH FILMS: Two film study


  • Narrative - Including theory
  • Ideology (critical approach)
  • Key elements of film form (mise-en-scene and performance)
  • Wider context and representation


Ideology - Set of ideas and values

  • The connotations of visual elements and sounds
  • Binary opposition, both those contained in the narrative and those contained in film’s
  • Use of formal elements
  • The implications of spectator positioning and address
  • Ideological perspectives appropriate to the text (such as feminist or a political perspective)
  • An evaluations of the ideological critical approach  to film


Performance in Sweet Sixteen

  • Non-professional actors - Loach consistently uses this approach
  • Authentic performances
  • Consistent with social realism
  • Naturalistic 
  • Not always scripted - Improvised acting
  • Portraying nuanced emotions - range of emotions
  • E.g Jean leaving Liam’s flat - Going back to Stan
  • Elliptical nature of the character life and the narrative as a whole
  • Liam and Chantelle - young characters, taking on roles where they are young, but have to be more adult for their age…
  • Liam - 15 - in his performance, he takes more responsibility; becomes led gun and less chilling; he becomes separated fro, Pinball
  • Actors should be from the area they act in - lending authenticity and realism
  • Relevance of authentic Scottish dialogue - performance
  • Incorporate acting, without having to try - e.g Jean - wanting to go back to Stan
  • Performance - on screen presence
  • Character/s actors - environment
  • When Liam and Chantelle fight at the end framing focuses on Chantelle’s perspective 


Mise-en-scene

  • reflects narrative and themes/lives of the characters
  • How is chaos and family break visualised through mise-en-scene?
  • Use of colours/saturated colour; objects/props, characters, clothing 
  • Environment - Key British cinema


Critical Approaches

  • Marxist, political and/or feminist
  • Marxist Approach:

Core ideas - application to a study of film

Marxism essentially about class conflict and differences. Marx argues that inequalities exist because the middle classes exploit working class people

Dominance of the middle classes, values and ideas - and the alienation of woking classes - excludes - EDUCATION


Marxist Ideas in Secrets and Lies

  • Class conflict - differences between Cynthia’s life and opportunities compared to Monica
  • Monica owns her own house, Cynthia rents her house
  • Monica - wealth and white goods compared to Cynthia
  • Monica unashamedly says what is money for other than spending it
  • Roxanne lacks faith in possibilities of going to college - trapped in her thinking
  • Cynthia - lack of education; both accept the way things are
  • Maurice and Cynthia (he inherits money) Maurice starts a business and she struggles
  • Has struggled as a single parent - Marxist ideas, feminist ideas 


Hortense alone (lonely character)

  • She has consumable goods but life is empty
  • Monica and Maurice live empty life - have money and wealth, but life is empty or lacking (MONEY DOES NOT LEAD TO HAPPINESS)
  • Consider hoe for class conflict is responsible for other conflict in the narrative


Guilt between Maurice and Cynthia - he left her behind; blood ties


Class conflict works in the film - Binary Tension

  • Siblings, Maurice and Cynthia
  • Monica and Cynthia
  • Power dynamic Jane and other characters


Mise-en-scene and Performance - Maurice visits Cynthia

  • When Cynthia opens the door ‘what are you doing here’ - her questioning of his appearance; middle class dont interact with the working class because off their opposing life style
  • Maurice more calm, grew up working class - can flip between both classes; whereas Cynthia is more uncomfortable


Marxist critical approach - Maurice visits Cynthia

  • When Maurice talks about Monica stencilling - Cynthia cannot fathom this. Clear distinction between their two lifestyles; Cynthia’s dismay
  • Stencilling represents: Middle class ‘taste’; leisure time
  • It also represents the opportunities that the middle class have; money they can spend- e.g wallpaper; time and what one does in this time
  • It seems they have grown apart\ Maurice more calm, grew up working class - can flip between both classes; whereas Cynthia is more uncomfortable


Marxist and Feminist critical approach

  • Monica middle class stay at home wide - has sense of authority; she has power over home and even husband
  • Cynthia - asking if its okay to go over - implying that the home is Monica’s more than Maurice’s
  • Monica’s authority (turns Hortense away - racism)
  • Idea that Roxanne has a man suggests she is fulfilled 
  • Cynthia may feel that Monica has taken her brother away/resentment
  • Cynthia resents Monica taking money away from Maurice which she may have has or spent
  • Food and class - what Cynthia can afford to eat


QUESTION 

 

To what extent have mise-en-scene and performance enhanced your understanding of conflict, in the narratives of your chose films? [40]

INTRODUCTION

SECTION 1-  

(Secrets and Lies) - Party sequence/Barbecue

Performance - Hortense withdrawn initially, she keeps her distance; Cynthia trying to include her Cynthia’s performance very emotional and edgy; always seems to be at a breaking point

Cynthia’s humiliation when Monica and Maurice give Roxanne money

Hortense is still in mourning, difficult to enjoy the occasion; no family of her own; Hortense’s performance is awkward (she is to blame for the outburst) she indirectly finds herself in the spotlight, taking attention away from Roxanne


Performance in relation to class and race - Revelling of British Society - exposure of hidden elements

You’re never completely on someone’s side

Paul’s silence reflects his awkwardness - he reacts but doesn’t speak


Mise-en-scene - Cake, utensils and plates - symbolise differences between this house and Cynthia’s 

Props in the sequence highlight the separate aspects of these two families - creates conflict and intensity


Narrative conflict and/or resolution - 

FILM 1

SECTION 2- FILM 2

FILM 2

CONCLUSION

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