All posts by Kendal Murray
Filters
CITY OF GOD
EDITING
Daniel Rezende said, “What we tried to do with the editing was attempt to use ‘effects’ whenever we thought that this could bring something extra to the sensation or emotion that we were aiming to evoke. If the situation is tense, and there’s no time to think, we speed it up and make it even tenser. If the
character is going to be important later, then we freeze the face to commit it to memory. If both things happen at the same time, then we split the screen, so as not to lose anything. In the third part of the film, we especially welcomed anything out of the ordinary for the editing style. If a ‘badly made’ cut could increase levels of discomfort in the viewer, then we incorporated it.”
Working with non-professional actors: – Used non-professionals as wanted to recreate the same feeling of the book as it would make the events of the film feel more natural and real. – Meirelles learned from Mike Leigh & Ken Loach to not give his actors a script
The ‘restless’ style, characteristic of the film, announces itself from the start. It begins not with the customary establishing shot but with flashes that illuminate a series of close ups – knife, hand, and stone – with a cut to black between each shot. Another photographic flash illuminates Rocket with his camera. He zooms out from behind a network of bars, which collapses down into his image. This is in fact a flash forward to the scene that will replay very near the end of the film, where we will see then that the reverse shot has denied us here, with Zé bribing the police after his gun battle with Ned and subsequent arrest. He has been introduced as a key player in the drama, but still only a fragment. The montage of conflicting shots and the collision of the fast-paced editing now gives way to the spectacular circling shots which will morph Rocket from a young man to a boy, and the favela to its former days of low-rise shacks and open spaces. The meeting between two of the principle characters initiates the story; the circular shot will provide the bridge between what they were and what they will become.
CINEMATOGRAPHY
• The series of tight close ups zooms in and out on further fragments of street life – faces, a guitar, a tambourine, hands with tumblers of drinks, hands scraping and chopping carrots, chicken feet and chickens being lowered into the cooking pot. The first mid shot of the film is of a live chicken on the table, tethered by its leg. A cut provides the first long establishing shot of the film. The chicken jumps down off the table making a bid for freedom. Brazilians describe a situation that appears to have taken off and be going but will soon crash to the ground as a “flying chicken”. This apparent freedom is illusionary – the chicken might try to fly but it can’t get very far. A close-up low-level shot from the chicken’s point of view shows a plate of blood on the ground, a reminder of the chicken’s fate. Hotel Robbery- the Lighting in this scene starts out as golden and warm, suggesting that the tender trio and Li’l Dice are in the exhilarating beginning stages of their criminal careers. The warm lighting and fast cuts also highlight an absence of the inherent evil that is being committed during this scene to represent this gang as “robin hood” figures who are stealing because they have nothing- this creates a stark comparison to the actions we see Li’l dice (Li’l Z) commit in the future acts of the film. The fast cuts of the scenes show the high tension of the film, the editing merges multiple different scenes together, most notably when a man seemingly gets hit in the head the scene cuts to one of the boys breaking in, using the sound of the door banging open to replace the sound of the man getting hit.
SOUND-
The diegetic sound in City of God is reflective of Brazilian culture. There is a mixture of Brazilian samba music which sets the scene for the film, as well as the sounds of traffic and knives. The sounds of knives in this beginning sequence, along with the layered sounds of music, traffic and scared clucks of chickens creates a sense of rising tension showing the oncoming and current threats for the people living in the favelas suffering through gang violence.
MISE-EN-SCENE
The first scene opens in the favelas with high contrast lighting; this technique allows the spectators to get a sense of the Brazilian culture shown throughout the film. There is a series of close-up fast sequences that show chickens running through the streets, as well as being killed, this highlights the jobs in the favelas born out of necessity and poverty. Additionally, Lil Z is introduced with a closeup- the choice of costume for this character presents him as a dominant antagonist, his gun {prop} further highlights his positioning as a villain within this film.
GENDER.
Within city of God gender is male central showing young men and boys to be predominant members of gangs and handling weapons, this can be seen through the character of Lil Z who is addicted to the idea of violence. Although, through the character of Rocket we can see that he defies the male expectations of joining a gang deciding to become a photographer and leave the favelas. Female representation is limited throughout the film presenting women as passive figures or victims- more specifically referring to the women who was killed for cheating on her husband- ultimately ending in the death of the man who she had an affair with, meaning that largely women are a plot device to further the events of the film.
AESTHETICS.
Throughout this film we are shown sequences that are shot in the slums of the favelas as the spectator is forced into confined spaces with the combination of a hand-held shaky camera constantly shaking and moving into maze-like structures to reflect the growing tensions and threat of violence within the favelas. Oppressive low-angle shots are utilised to show the confinement of the people living in this city, almost like an open-air prison. In comparison, the flashbacks to the old slums show a vast and open area, with warm hues of yellows and oranges representing the innocence of the city and children before gang violence made its way into the city.
HISTORICAL NOTES
{INFORMATION TAKEN FROM WJEC RESOURCES}
The use of digital editing allowed Daniel
Rezende to experiment and try out new ideas.
He claims that many of the interpretations
of the characters were created at the editing
stage. Brazil was colonised by Portugal in the
16th century resulting in almost genocidal
subjection of the indigenous people. Struggled
for independence, which was then gained in
the 19th century. Economy partly founded on
the transport of huge numbers of slaves from
the west coast of Africa, a practise abolished
in the second half of the 19th century. Their
multi-ethnic communities are today made
of the descendants of these slaves, together
with immigrants from all over the world.-
CITY OF GOD FIRST RESPONSE
9.5/10
A memorable scene in my mind was the coinciding scene at the beginning of the film and the end of the film, where Rocket comes face to face with L’il Dice and his gang.
This scene also matches with my memorable image as it is symbolic as to what Rocket must battle with, the temptations of gang culture throughout Rio, or his career and future as a photographer.
Pans labyrinth first response
I thoroughly enjoyed this film. The world building between Ofelias reality and her distorted dream world were visually and narratively striking, resulting in a varied crossover of each other. A scene that stuck out to me the most was the pale man waking up in the Dream world, this character and its time on screen is memorable because of his child-like design, mirroring something only a child’s nightmares could conjure
In the first 10 minuets we find out that:
Carmen is a soon- to-be mother
She has a daughter who is the protagonist
The daughter loves reading fairytales
Ofelias (daughter) father died in the Spanish civil war
Carmen, Ofelia’s mother is married to a Spanish general
Carmen is seemingly sick from her pregnancy
We find out that the general does not like Ofelia and treats her unkindly
In the first scene we can see that a girl is injured, but her blood is flowing in reverse
A dragon fly is seen following Ofelia from the woods all the way to the mill
The army have taken up residence in a civilian’s house
CINEMATOGRAPHY
In the opening scene of this film, we can see the camera tilting while simultaneously pushing into our subject, who we later find out is Ofelia. The camera repeats its first actions and pushes into Ofelias eye, making an opportunity for a transition into a description of her “Dream world”, where the camera pans around with a wide shot to show off the lengths of Ofelias imagination. The smooth movements of the camera during this scene present a smooth transition into the dream world while Ofelia is unknowingly dying similar to falling asleep into a dream.
MACRO ELEMENTS-
EDITING
The editing that accompanies the narrative of Pans Labyrinth meshes well with the aesthetic of the film. Del Toro uses several different styles for cuts in his scenes, most notably the fade cut/transition. The fade which has been used more than once in Pans Labyrinth strengthens the alternative reality idea that plays a very strong role throughout this film. The use of the fade transition gives the cuts a more whimsical, dream-like atmosphere further inviting the audience into the narrative ideas.
MISE-EN-SCENE
The mise-en-scene in Pans Labyrinth utilises its underlying ideas of villainism throughout its narrative. During the dinner scene (40:00) the General and his men and wife are having a dinner on a long dining table, this scene is a clear reflection of the pale man sequence. The feast that the pale man has laid out in front of him as well as the generals subtlety establishes that they are the antagonists of this film without explicitly telling the viewer. The lavish food and drinks during the general’s dinner additionally portrays the fascist army of Spain at the time, their overarching presence of wealth and tyranny over the Spanish people is mirrored in Ofelias imagined world.
AESTHETICS-
The world of the labyrinth in the film relies heavily on fantasy ideals, but it still has elements of realism. When the Faries are introduced, they have human like qualities- their silhouettes and specifically when they die, we see their blood and guts, as well as their screams. Del Torro also utilises colour to differentiate between worlds- using industrial blues and greys to represent Vidal and his fascist army, while using golds and oranges to showcase the dreaminess of Ofelias dream world
The creatures of this film are incredibly original- the director wanted to put an emphasis on not drawing inspiration from any other films to make his creatures. The monsters are partly generated in post-production through CGI and Green screens. Doug Jones played the pale man AND Pan.
GENDER REPRESENTATION
In Pans Labyrinth gender is an underlying theme that influences characters throughout the film. When Mercedes and Ofelia try to escape, they are caught by Vidal and his army- then locked up and tortured (Mercedes). When comparing this to the rebel army that commonly goes against Vidal (fully men) its portraits the men as more capable. The majority of men in this film being a part of either an army or resistance group in comparison to the solo females is a clear example of a binary opposite- showing the stereotypes of men holding more dominance over women commonly propped up by 1940s society. The pale man isn’t presented as any particular gender- being naked but presenting no female or male parts- as the pale man could be likened to the evils of the fascist army this decision could represent the right wing of Spain and how these ideals can be held by man or women- E.G “MAN-KIND”
HISTORICAL CONTEXT.
The Spanish civil war consisted of left leaning republicans who wanted a modern secular republic, while the opposite side who were right leaning nationalists who wanted to uphold traditional values and the power of the church. The right wing was led by Francisco Franco who was a fascist dictator, ruling over Spain until his death in 1975. Francos’s success of the war also represents the meaning of Ofelias death at the end of the film, showing that ultimately good did not prevail despite the death of Vidal.
Fascist Spain was supported by Nazi Germany and Fascist Italy.
Though Del Torro is Mexican- this is a Spanish film- (FILMED IN SPAIN- MAJORITY SPANISH CAST) Classed as a European production
Budget: $19 million
Pans labyrinth won 3 academy awards.
Wild Tales (Szifron, 2014) – Analysis Sheet for Evaluative Commentary
Film 1: Pasternak
| What did you like about the film? I liked the idea of making a film about revenge with themes of black comedy. I also liked the elements of mystery | What didn’t you like? I did not like the elements of Comedy, only because I am not planning on making a comedy specifically. |
| What ideas could you use? Narrative or style? Style- particularly the overhead shot we can see the lady is putting her bags in the overhead locker | What ideas won’t you use? Why? I will not be using a large cast or the lighter atmosphere of this film (visual elements) |
In-Depth Study – Film elements
| Film element | Example |
| Cinematography | Example 1: The overhead shot of the woman putting her bag in the locker. This shot feeds into the film’s narrative of Pasternak being in control of the plane and the fates of the people on it. This shot gives a sense that he is always watching, almost like a god figure who oversees when and how these people die. Example 2: The worms eye view shot in the opening of this film. The first shot we can see what is believed to be the main character of this film- excluding Pasternak who we do not see- This shot creates a strong basis of who we are following throughout this film, while also feeding into my previous idea about being followed. |
| Editing | Example 1: The final scene of this film. At the climax of this film, we are met with an old couple relaxing on their lawn. Pasternak’s plane is plummeting down behind them, although we do not see the impact of the plane- due to the freeze frame editing at the end, which also connotes ideas of this film being a black comedy, we can gather that this coupled died. This shows the impact of Pasternak’s violence without significantly changing the genre of this film. Example 2: The fast cuts when the plane is making its descent increase the emotional drive of the situation, expressing to the audience the passengers’ emotions and fear in their final moments, this technique creates chaos and tension not only with the performers, but also the audience |
| Sound | Example 1: when the people on the plane are all realising that they know Pasternak there is a building realisation shown through sound. The building strings are used as a connective to show that there is something amiss with their situation Example 2: Additionally in the final scene the high-pitched sounds on the plane impending on the couple add to the tension and tell the audience that their fate will be death, without imminently showing it. |
Inspirations – what ideas did this film give you for your own short film?
| Cinematography: Overhead shots and shots that create feelings of being watched | Editing: fast cuts to create confusion and tension. This technique raises stakes and anxiety for the viewer |
| Sound: Operatic sounds- such as strings to build tension and create an emotive drive. | Other: |
Film 2: The Rats/Las Ratas
| What did you like about the film? The dark atmosphere | What didn’t you like? The time it took to build up tension before the cafe sequences |
| What ideas could you use? Narrative or style? The visual elements were inspiring to me, the dark atmosphere. | What ideas won’t you use? Why? The clear-cut murder scenes- to keep mystery. |
In-Depth study – Mise-en-scène
| Feature | Example – how does it convey meaning or create an effect |
| Set Design | the cafe has old tablecloths which tell the audience that it is not a fancy establishment |
| Costume | the costume on the cook (murderer) tells the audience that she is of lower status compared to the man in the film is who wearing a tailored suit and trousers- their status is shown through physical appearances- rather than being explicitly expressed to the audience. |
| Space | the window in the kitchen which perfectly shows the waitress and cook which creates a satisfying set design with elements of symmetry |
| Lighting | the dark and contrasting lighting in this film connote ideas of death and violence, foreshadowing the impending doom for the man. The contrasting lighting in the kitchen makes for a clinical and detached atmosphere showing the lack of emotions regarding the cook, who will eventually murder the man. |
| Composition | |
| Hair and makeup | the makeup and hair of the cook is significantly drawn down, making her look dirty. This is a sharp contrast and counter-typical representation of a woman. This representation makes it easier for the audience to digest her as a murder, as if she was overtly feminine there would be room for excuse and sympathy for her actions. Having a more masculine presenting woman commit the murder, instead of the typically feminine waitress (who is dressed in a floral print dress) lets the audience focus their emotions on the waitress and view the cook as the driving violent force in the situation |
Inspirations – what ideas did this film give you for your own short film?
| Cinematography/Sound/Editing: I would take the shots with contrasting lighting into consideration for my film as it promotes the ideas of Levi Strause’s binary oppositions theory of good vs evil etc. | Narrative structure: I am inspired by the linear narrative of this story; my film will follow the same premise. |
| Establishing characters, setting, plot, theme: My film will not have a large cast so I will only have to establish a maximum of 2 characters. I will not be using the same settings although I could take inspiration from the plot. | Creating enigmas: |
Film 3: Bombita
| What did you like about the film? I liked the ideologies expressed throughout the film | What didn’t you like? The prison scene at the end- it felt ingenuine |
| What ideas could you use? Narrative or style? | What ideas won’t you use? Why? SPFx scenes as i do not have the budget for bombs |
In-Depth study: All elements
| Feature | Example |
| Narrative structure | The narrative allows for tension to be built, as well as empathy for Simón. We as the audience can see and feel his frustration due to the unfairness of the DMV. The narrative is “happily” resolved at the end, with Simón being recognised for his crimes and gaining sympathy from those around him, while also earning back his wife’s affections. |
| Establishing characters, setting, plot, theme | I like that the main character Simón is established as a “good” and regular person, as well as a father. He is not villainized and even shown to be loved and embraced by his fellow prison mates. |
| Mise-en-scene | Throughout the city there are many run-down and unkept signs, as well as desolate buildings with lines out the door. This mise-en-scene communicates to the audience that Simons frustration with the DMV goes beyond just his car being towed. The city has decided to put its focuses on making the people’s lives harder, rather than improving their city |
| Cinematography | The wide shots which were frequently used throughout this short film show the enormity of this problem for Simon, it has taken over his life, he has managed to push everything he loves away including his wife and daughter. The wide shots show the emptiness of his life after chasing the DMV for justice |
| Editing | When the bomb finally goes off the at DMV there are a series of cuts which show the actual bomb going off, as well as how the people around are affected by the explosion. The cuts also heighten the emotional value of the scene, this is Simón version of justice, so the emotive cuts express that |
| Sound | After Simón detonated the bomb at the DMV there was a following sequence reporting on the incident. The music playing over this sequence is similar to that on the news, this technique gives the short film a sense of realism that reflect current situations in the world. |
Inspirations – what ideas did this film give you for your own short film?
| Cinematography/Sound/Editing: wide shots to show perspective | Narrative structure: I didn’t get any inspiration from the narrative structure, although the narrative technique of the audience following Simón throughout his day-to-day life may be used |
| Establishing characters, setting, plot, theme: | Creating enigmas: |
Film 4: Til Death do us Part/Hasta que la muerte nos separe
| What did you like about the film? The subtle humor created throughout the film and the absurdity of the events | What didn’t you like? There was nothing that I disliked, but I will not be using a setting like a wedding or including romance in my film. |
| What ideas could you use? Narrative or style? I liked the spotlight and handheld camera at the end which showed the audience the raw love and passion the couple have for each other despite their actions throughout the film | What ideas won’t you use? Why? Romance and setting |
In-Depth study: All elements
| Feature | Example |
| Narrative structure | The narrative in this film is disrupted by the bride finding out about her husband’s cheating, this event creates a domino effect leading to the catastrophic situations that happen throughout the wedding, including the bride taking revenge on her husband by also sleeping with another man on the roof. This is an example of Todorov’s equilibrium |
| Establishing characters, setting, plot, theme | The groom is initially established as a stereotypical “bad” husband through his infidelity, but throughout the narrative we begin to see flaws in the couple and how fragile their relationship is. Alternatively, we find more out about the bride’s character as her mental state and reactions deteriorate throughout the film |
| Mise-en-scene | The near empty hall that the wedding takes place in reflects the couple’s relationship, we can see that there is no substance to them as a couple and all they have is each other and their mistakes-the lack Of mise-scene is a reflection upon them as characters. |
| Cinematography | The final scene of the couple embracing over the tables and cake is shot on a handheld camera with a prominent spotlight over them. This cinematography shows the tumultuous relationship they have with each other fuelled by rage for their cheating. The handheld camera shows the messiness and severity of the situation |
| Editing | When the couple is dancing towards the end of the film there are a sequence of closeups on them showing the development of them throughout their wedding. They share an intimate moment after the bride being thrown into a mirror and the husbands cheating being revealed. These closeup shots are revealing to the audience that the rocky relationship they have can only work with each other |
| Sound | Traditional fast paced wedding music is played after the bride is found cheating on the roof. This faced paced music is a reflection of her mania coming into play as a reaction towards her husband’s action- this music creates a fast-paced atmosphere which excites the audience |
Inspirations – what ideas did this film give you for your own short film?
| Cinematography/Sound/Editing: The way music is used to create tension and emotion throughout the film | Narrative structure: Todorov’s equilibrium being used to create a sequence of events throughout the film- leading to a resolution a conclusion |
| Establishing characters, setting, plot, theme: revealing character motives and personalities at different times to keep suspension and interest throughout the film | Creating enigmas |
La Jetée (Marker, Korea, 1962) – Analysis Sheet for Evaluative Commentary
Part 1: Brief Reference
| What did you like about the film? The darkness and bleakness of the post war society, and how the music blended | What didn’t you like? I liked the whole film |
| What ideas could you use? Narrative or style? Pictures in film (mix media) circular narrative and the mystery genre | What ideas won’t you use? Why? Post apocalyptic settings and dystopia |
Part 2: In-Depth Study – Narrative
| Narrative Feature | Example | Your own example |
| Establishing protagonist – what information do we find out? How is it conveyed? | Introduced only in narration – first in third person as “a man marked by an image”; then in first person -memory of incident at the airport. We don’t see him until the first experiment is shown. This shows how core the act of remembering is to his identity – indeed we find out very little about him (he remains nameless) apart from his ‘remembering’ (even when he is travelling in time). | When first introducing the protagonist, the narrator describes him as a “prisoner” and “guinea pig”. These descriptions give the audience a key insight into the fate of the man and ultimately what he means to the story- his life ends in tragedy. As most of his adult like was being a “guinea pig” for the scientists |
| Establishing other characters – what information do we find out? How is it conveyed? | The Woman is the first person we see (“the only image to survive the war”) – and she is defined only by the fact the narrator remembers her. Feminist critics may comment on the fact she barely seems to exist outside the experiences of the narrator and her growing belief in him. | We first see the woman through the eyes of our main protagonist, showing us that she is only a memory, like something that the protagonist is grasping onto. She is portrayed to have no agency, only existing throughout the story to serve as emotional motivation for the male protagonist |
| Establishing location (time and place) – what information do we find out? How is it conveyed? | The audience are told immediately that the location is Paris. The bombed-out wreckage of the city (real WW2 images) doesn’t immediately establish that this is the future until the narrator mentions radiation. The underground location beneath the Palais de Chaillot is shown by intercut images of broken cherubs and other sculptures. | In the beginning of the film, we are initially told that the traumatic death that the man seen many years ago cements Orly airport And Paris itself as a place which holds a lot of emotional strength for the man- not including the repeated images of a woman that he cannot rid himself of. |
| Creating Enigmas – what are they? How are they created? | The image the narrator obsesses over is the central enigma: who is the man he witnesses dying? How does he die? Who is the woman? The still images and voiceover powerfully evoke the nature of memory. | What other questions are posed throughout the narrative? -= who are the scientists- how are they sending the protagonist back in time, how are they in his memory |
| Narrative binary oppositions | The ‘Living Present’ vs Past/Future. As the film progresses, what constitutes the ‘present’ (for the protagonist) seems to shift from his dystopian subterranean society to the ‘past’ of pre-apocalypse Paris. This is conveyed by the faster rhythm of the montage and the sequence (18:00-18:49) where the images almost become like traditional cinema. | In the present, there is a stark visual contrast between the architecture seen in post/pre apocalyptic Paris. The set design and visual appearance of the set show the binary oppositions throughout the transition of Paris. There is no clear indication of what the underground tunnels look like, showing the desolate-ness of Paris post apocalypse. |
| Crisis – how was this conveyed? | Is it the first experiment? The moment the man spots the woman from the airport? Or is it when the future society offers him the chance to escape to the future? | What do you think is the crisis point? How does this affect the rest of the narrative? – the crisis point would be, the man figuring out that the scientists want to kill him, leading him to gain help from the future humans- which he ultimately rejects. |
| Resolution – is it closed or open narrative? | The narrative is closed – but it is also in a loop: the narrator is both the dying man and the child watching the scene. This ‘time paradox’ has inspired films as diverse as The Terminator and Looper (as well as 12 Monkeys which is almost a remake). | What do you think about the end? Is it closed – or endlessly circular? The story is circular, similar to the ending of lost highway by David lynch, these events will forever repeat as the protagonist cannot recognize their cations or mend them until it’s too late. but the spectator may feel robbed as there is not a resolution which is common in western mainstream cinema. |
Part 3: Meaning and Effect
| What did you think was the intention of the filmmaker(s)? Intellectual message? Emotional response? Everyone is trapped in their time – they cannot escape it, even though memory. It is also about the concept of photography and cinema itself, trying to ‘freeze’ time with images despite time always being in motion. | How was this achieved? The use of photomontage separates each frame of the story into a frozen image – even though these are joined together using traditional narrative film techniques such as voiceover, dissolves, fades and music. As the man begins to ‘live’ more and more in the ‘past’ with his lover, the space between these frames speeds up to resemble ‘motion picture’ speed at one point. The stuffed animals in the museum are also ‘frozen’ in a single moment. Your own idea: |
| Aesthetic binary oppositions The use of still photo images are combined with traditional narrative cinematic techniques that bring them ‘to life’… until the moment around 18:00 when they flow together. | Effect of these oppositions? Shows the intensity of emotion the narrator feels with his lover: like he is finally ‘living’ in moving time rather than a series of frozen, separated moments. Your example: Alternatively, this technique could be seen a an attempt to create a look of “found footage”- someone in the diegetic world or le jete, presumably in the future has found documentation of the man and his memories that the scientists recorded. The use of still image filmmaking creates the effect of someone looking through an album of pictures. Additionally, the score in this film could be an indicator of this presumed person’s feelings and emotions while looking through these findings. |
Inspirations – what ideas did this film give you for your own short film?
| Establishing characters, setting, plot, theme- The tragic romance and themes of memory in this film inspired me to base my stylistic choices on a French new wave technique, although I would like to take a different route away from having my film be a romance. The post-war industrial setting was not my preference, although the characters being doomed from the beginning is a plot/theme that I would like to explore further. | Creating enigmas- The themes of mystery and tension created throughout this scene have inspired my thoughts about set design. I liked the dark lighting and cinematography which influenced the dark themes of this short film. Although I do not plan on having a romantic interest in this film as I want to keep the cast as small as possible so that the audience can be enriched with the themes and aesthetic of the story. |
| Narrative structure (non-/linear? Open/ closed ending?) I like the idea of a circular story, finishing where I started | Striking use of technical features. I liked the idea of the circular story line, while also keeping elements of mystery. We do not find out if this process will repeat forever or if a resolution is ever found. |
NEW HOLLYWOOD/INFLUENCE OF FRENCH NEW WAVE
What is meant by “New Hollywood” New Hollywood, also known as the American New Wave, refers to the innovative movement in American film history during the late 1960s to early 1980s where young filmmakers gained creative control, emphasizing narrative style, and realism.
The Hollywood studio system started declining when TVs became more prominent and popular in American households. The habit of going to the cinema once a week was being broken because of at home entertainment. The film Cleopatra was a big flop, 20th century fox lost a lot of profit because of this film, which weakened young people’s confidence in the current studios. Young people found entertainment in French NewWave cinema, which was on topic for their generation and more experimental.
1. The Graduate (director) mike Nichols, melodrama, romance 1967
2. Midnight Cowboy (director) John Schlesinger, drama 1969
3. The Wild Bunch (director) Sam Peckinpah, western adventure 1969
4. Easy Rider: (director) Dennis Hopper, road adventure 1969
He establishment had lost its audience and not addressed them, leading to films like the graduate and easy rider being made.
Disgraced politician RICHARD NIXON. Watergate revolved around members of a group associated with Nixon’s 1972 re-election campaign breaking into and planting listening devices in the Democratic National Committee headquarters at the Watergate Office Building in Washington, D.C., on June 17, 1972,
Vietnam war, proxy war America tried to stop the spread of communism through the Vietcong. Protests all over America rose which led to violence around the country.
In the ghettos black Americans started protesting because of racial discrimination.
RFK and MLK get shot weeks apart in the late 1960s
What is meant by the cinematic term French New Wave– The term French New Wave comes from the French film movement which was incredibly self-aware and rejected the traditional styles of classical filmmaking, leading to an experimental era of film, which notably influenced American filmmaking styles for years to come. 50s-60s. Working with a low budget because of post ww2 France.
•What specific stylistic and structural elements are present in French New Wave Films?
- Deemphasized plot & dialogue was often improvised
- Jump cuts rather than continuity editing
- Location shooting
- Handheld cameras- Gives a documentary style
- Long takes
- Direct sound & available light (live recordings, often didn’t adjust light)
•Which directors and films from the French New Wave influenced Arthur Penn as he was making Bonnie and Clyde? Why do you think this was the case? François Truffaut inspired Arthur Penn, particularly with his film Jules Et Jim which was a 1962 French new wave film- this film challenged the gender ideals of men and women which could also be seen in Bonnie and Clyde 1967 while also utilising voiceovers, snappy editing and fast pacing to show the newer European era of cinema.
•Identify at least 3 scenes from Bonnie and Clyde where stylistic links are created with French New Wave cinema and say why this was the case. In the opening scene of Bonnie and Clyde we can see an extreme close-up shot of Bonnie which breaks the traditional style of the classic establishing shot. The multiple jump cuts of Bonnie in the first scene creatively showcase the influence of snappy fast paced editing that French directors started to use in this era. The use of jump cuts speed up the pace of the film which was enjoyable for younger generations of America and Europe.
Another notable scene in Bonnie and Clyde which showcased the French new wave influence was the famous death scene. Penn ends this film with a cut to black to show that his characters were dead and gone. There was no tidying up the end of the story or hopeful resolutions which was a direct steer away from the traditional classical Hollywood style. There was an abundance of violence in this scene, it was bloody and chaotic. Penn’s use of violence shows the move away from the Hayes code which limited violence and crude acts. This showcase of violence was an allegory for the Vietnam war which acts were dutifully hidden from the Americans at home. The ending of Bonnie and Clyde ushered ideas that criminals might be loveable, adding to the idea that violence could be art.
Lastly, when bonnie meets her family, and then cuts to her running through the field this scene is another notable example of the break away from the classical Hollywood style which always made the effort to frame the characters. The handheld shaky camera shows the influence of a documentary style of filmmaking which made its way over from France during this era. A filter is used in this scene which creatives a dream-like atmosphere which connotes a life that Bonnie could have lived if her life was not corrupted by crime. This also subverts from the technical rules followed by directors in classical Hollywood who did not experiment with filters and colour (post 1927).
1.How did New Hollywood directors like Penn approach film narratives? Penn abandoned the traditional “prude” style of filmmaking commonly used by directors in the classical era who were under the Hayes code. Penn used brutal violence, sexual innuendos, and casual humour in Bonnie and Clyde specifically to show the change from traditional Hollywood to the new Hollywood.
2.What is discontinuity editing? discontinuity editing is an editing style that is the opposite of classical editing. In a discontinuous sequence, the filmmaker will deliberately use an arrangement of shots that seem out of place or confusing relative to a traditional narrative. There’s no smooth or logical flow to the shots as they are edited together. This can seem disorienting or ambiguous, but it is used to demand participation on the part of the audience to engage in the intention of the plot
A great example of discontinuity editing is the famous (and favourite of mine) ritual/killing of colonel Kurtz in Apocalypse Now. The disorientating cuts between Willard and the ritual show the morality and differences between the American soldiers compared to the Cambodian tribe, ultimately showing the death, killing, and violence takes shape in every culture, but is perceived differently as to reason of cause. To further explain this… Willard has been sent on a mission by the American government to kill Kurtz for his actions with the Cambodian tribe. Willard began his journey travelling up the Cambodian river from Vietnam, he starts with American ideals of patriotism which is paired with continuity editing. Slowly as he gets closer to Kurtz leading him to the ritual scene, discontinuity editing takes over showing Willard’s loss of morality as he begins to take the place of Kurtz, falling into ideals of animalistic killing shown through the water buffalo killing (which was a very real water Buffalo being killed)
3.Why is this time in film production sometimes referred to as “The Rise of the Auteurs” in Hollywood? in “Old Hollywood” many actors, producers and studios were credited as the main workers on a film and given the spotlight. Once the French new wave era started many thought that the directors or the “Auteurs” should be credited as the storytellers of the film. The directors started to be seen as the creative driving force.
4.What is the lasting impact of the New Hollywood style on modern films? We can see the lasting impact of the French new Wave era in films today, With projects like Francis Ford Coppola’s Megalopolis (2024) which used experimental editing with aspect ratio. Or we could go back to 1994 to see Quentin Tarantino’s Pulp Fiction which creatively used discontinuity editing to piece together multiple storylines into one. Martin Scorsese also used many French New Wave influences in his films like Casino which used snappy jump cuts to showcase the rise of Ace Goldstein’s casino.
NEW HOLLYWOOD BONNIE AND CLYDE
I liked this film. I like how the film starts with bonnie and we get to see the majority of the film from her perspective, bonnie is not treated as a trophy to be won, and she also joins Clyde in committing crimes which was a new outlook on how women were perceived in cinema. The opening of the film puts the main female character at the centre, as well as showing her as partially naked. conveying the female lead as naked and having her as the first thing the audience sees would have been a revolutionary move in cinema at this time, regarding the hayes code and societies view on women. This film gets a 9.5/10
CASABLANCA
Humphrey Bogart was an American actor. His performances in classic Hollywood cinema made him an American cultural icon. In 1999, the American Film Institute selected Bogart as the greatest male star of classic American cinema. Humphrey Bogart’s breakthrough came with his 1941 film High Sierra, although he rose to stardom after acting in John Huston’s Maltese Falcon, which is considered to be one of the great noir films. Bogart was on contract to warner bros who were known for their gritty gangster films, which Bogart was commonly cast in. -made his name as a character who is tough without a gun.
RICK BLAIN
Ingrid Bergman rose to stardom after acting in Casablanca which was her second English speaking role. With a career spanning five decades, Bergman is often regarded as one of the most influential screen figures in cinematic history.
ILSA LUND.
Paul Henreid was an Austrian-American actor, director, producer, and writer. He is best remembered for several film roles during the Second World War, including Capt. Karl Marsan in Night Train to Munich, Victor Laszlo in Casablanca and Jerry Durance in Now, Voyager. Mr. Henreid’s first big American success was in another such role, that of the bombastic German consul in the Guild Theater production of “Flight to the West.” The play opened in New York on Dec. 30, 1940, and helped get him his first Hollywood contract, with RKO Radio Pictures in 1941.
Claude Rains was known for many roles in Hollywood films, among them the title role in The Invisible Man, a corrupt senator in Mr. Smith Goes to Washington, and, perhaps his most notable performance, as Captain Renault in Casablanca.
Hans Walter Conrad Veidt was born on 22 January 1893 in his parents’ home at Tieckstraß. A new career path for Veidt opened up in 1911 during a school Christmas play in which he delivered a long prologue before the curtain rose. The play was badly received, and the audience was heard to mutter, “Too bad the others didn’t do as well as Veidt.” Veidt began to study all of the actors he could and wanted to pursue a career in acting, much to the disappointment of his father, who called actors ‘gypsies’ and ‘outcasts’.
Greenstreet’s stage debut was as a murderer in a 1902 production of a Sherlock Holmes story at the Marina Theatre, Ramsgate, Kent.[citation needed] He toured Britain with Ben Greet‘s Shakespearean company, and in 1905 made his New York City debut in Everyman. He appeared in such plays as a revival of As You Like It (1914). He appeared in numerous plays in Britain and America, working through most of the 1930s with Alfred Lunt and Lynn Fontanne at the Theatre Guild. His stage roles ranged from musical comedy to Shakespeare, and years of such versatile acting on two continents led to many offers to appear in films. He refused until he was 61.
He began his stage career in Vienna, in the Austro-Hungarian Empire, before moving to Germany, where he worked first on the stage, then in film, in Berlin during the late 1920s and early 1930s. Lorre, who was Jewish, left Germany after Adolf Hitler and the Nazi Party came to power Lorre caused an international sensation in the Weimar Republic–era film M (1931) where he portrayed a serial killer who preys on little girls. His second English-language film was Alfred Hitchcock‘s The Man Who Knew Too Much (1934), made in the United Kingdom.
Eventually settling in Hollywood, he later became a featured player in many Warner Bros. crime and mystery films. He acted in Mad Love (1935), Crime and Punishment (1935), The Maltese Falcon (1941), Casablanca (1942), Arsenic and Old Lace (1944), Passage to Marseille (1944), and My Favorite Brunette (1947). During this time he acted in several films acting alongside actors Humphrey Bogart and Sydney Greenstreet.
THEMES AND ISSUES
ISOLATIONISM- a policy of remaining apart from the affairs or interests of other groups, especially the political affairs of other countries. Isolationists believed that World War II was ultimately a dispute between foreign nations and that the United States had no good reason to get involved
When WW2 first erupted America quickly decided to stay neutral and not get involved in any affairs regarding the war. Rick Blain is the personification of Americas Isolationism in WW2, he starts the film off by being heavily removed from any situations regarding the Nazis or Allies, until, someone he cares for, Ilsa Lund turns up, as kind of his own pearl harbour that pushes him to fight against the Nazis around him. In the early days of the war, 96% of Americans expressed that they did not want America getting involved and thought of it as a “phony” war. Rick Blain starts off the film very cynical and hard-headed, but as the film comes to an end after reuniting with Ilsa his patriotism rears is head.
REPRESENTATIONS IN CASABLANCA- MIS-EN-SCENE
1. Lighting
- Casablanca makes use of high-contrast lighting, which is characteristic of the film noir genre. Dimly lit interiors and shadows that create an air of mystery and tension. This lighting emphasizes the moral ambiguity of the characters, particularly Rick, whose personality is reflected in the shadowy spaces around him.
2. Set Design and Location
- The setting of Rick’s Café Americain is central to the mise-en-scene. The cafe itself, with its stylish but slightly worn-down décor, represents a neutral space in the conflict between the Axis and the Allies. It’s a microcosm of the larger world outside.
- The backdrop of war-torn Casablanca, with its French colonial influence, reflects the theme of escape and the complexity of wartime decisions, particularly in how the city is portrayed as a place of both opportunity and corruption.
3. Costumes
- Characters are dressed according to their roles and personalities, often in a way that subtly communicates their inner struggles or alignment. Rick’s tailored suits highlight his status and sophistication, while Ilsa’s elegant wardrobe conveys her grace but also her inner turmoil.
5. Props
Key props like the letters of transit and the piano play significant symbolic roles in the film’s themes. The letters represent the hope for escape, freedom, and a way out of Casablanca’s perilous political situation. The piano, particularly in the famous scene where Sam (Dooley Wilson) plays “As Time Goes By,” becomes a symbol of the past, love, and nostalgia, echoing Rick and Ilsa’s romance.
EDITING
The letters of transit is an important example of editing in Casablanca. This pivotal moment occurs near the end of the film, when Rick makes the sacrificial decision to ensure that Ilsa and Victor leave Casablanca, even though it means losing Ilsa forever. The editing here is crucial in building the emotional weight of the scene.
Cross-cutting between characters: The scene is carefully edited with cross-cutting between Rick, Ilsa, and Victor. As Rick makes his decision, the editor uses quick, tight shots of each character’s face, showing their emotional reactions—Rick’s stoic resignation, Ilsa’s tears, and Victor’s determination. The cross-cutting between them increases the emotional tension, as the audience feels the internal conflict each character is experiencing.
SOUND
1. Dialogue
- Dialogue: The dialogue in Casablanca is sharp, witty, and often filled with subtext. Rick’s dialogue, in particular, is filled with cynicism, reflective of his character’s emotional journey. His famous lines, like “Here’s looking at you, kid” or “We’ll always have Paris,” have become iconic for their mix of romanticism and bittersweetness.
2. Underscoring
- Max Steiner’s Score: The film’s musical score, composed by Max Steiner, uses underscoring to emphasize the emotional tone of key moments. One of the most notable ways this is done is through the recurring use of “As Time Goes By”, a song that becomes an integral part of the narrative and a thematic anchor for the film. The melody plays during key moments, such as when Sam plays it on the piano, reminding Rick and Ilsa of their past love and setting the nostalgic and tragic tone.
- Use of Music to Convey Emotion: The film also uses music to heighten tension and drama. For example, the score swells during dramatic moments of decision or sacrifice, adding weight to the characters’ choices and reinforcing the emotional stakes. The music’s swelling intensity complements the on-screen action and deepens the audience’s emotional engagement with the narrative.
3. Sound Motif
- “As Time Goes By” as a Sound Motif: The song “As Time Goes By” is more than just a piece of music in Casablanca—it functions as a sound motif that recurs throughout the film, representing Rick and Ilsa’s past love and the passage of time. The motif appears in different variations, from Sam playing it on the piano to the orchestral arrangements in key moments. The song’s repeated use ties together the themes of nostalgia, love, and lost time, creating a powerful emotional connection for the audience. It reminds the audience of the characters’ shared history and the poignant inevitability of their separation.
REPRESENTATIONS OF CHARACTERS.
WOMEN; In Casablanca, Ilsa Lund is the only prominent female character we meet. Ilsa is being competed over by Victor Laszlo and Rick Blain. Her character represents how women are viewed as trophies and never given enough agency to lead themselves, even in the face of persecution all the men in Ilsas life believe that she needs a man to take care of her.
MEN; The plot and the historic timeline that it follows reflects stereotypically masculine concerns: war, duty to country, and freedom. Every decision-maker depicter, regardless of his political affiliation, is a man. All viewers, both male and female, are forced to see the world of Casablanca through the eyes of a man – the lens of a masculinized camera.
AUTHORITY FIGURES; Captain Renault is represented by his corruption, although being the chief of police in Vichy French territory he still has his indulgences and helps refugees escape in exchange for sex. Eventually Renault decides to put his faith in rick and they form a friendship, this is symbolic of an alliance between the United States and France, emphasizing cooperation against the common enemy of fascism.
AMERICANS; when Ilsa walks back into Rick’s life, the American character (in a time of war) crystallizes: when circumstances demand heroism, Americans get tough on the outside and moral within, capable of sacrifice and romance and rugged individualism, shaping democracy, sticking their neck out. Rick’s Café, in itself, exalts the power of American diversity and the guarded optimism located in America in the forties.
The Birth of Hollywood (1900-1930)
why did filmmakers and producers move to Hollywood- The mountains, plains and low land prices made Hollywood a good place to establish film studios, this year-round climate was the best atmosphere for shooting films.
Big stars from this era, (filmmakers and actors)- Billy Wilder (director) Humphrey Bogart (actor) John Wayne (actor)
In what ways were the early Hollywood system like a factory or production line– actors were practically owned by production companies with extremely strong contracts that they could not get out of.
When and what was the first talking picture? The jazz singer, 1927
why did the end of the silent era cause problems for performers working in the industry. A lot of silent film stars disappeared from the movie industry, because they didn’t possess the right kind of voice for spoken cinema. There were other reasons: failure to understand the mechanics of sound and also not taking the new medium seriously.
what events were happening in America during this time– Prohibition, economic disaster, dustbowl catastrophe, WW1
THE HOLLYWOOD STUDIO SYSTEM
•1) What were the Big 5 studios & what type of movies was each studio famous for? Metro-Goldwyn-Mayer, Warner Bros., Paramount, Fox, and RKO.
•2) Explain what vertical integration and block-booking was? Vertical integration means that production, distribution, and exhibition were handled “in-house.” although the proper definition of it being; the combination in one firm of two or more stages of production normally operated by separate firms
•3) Why and when did the original studio system collapse? The studio system was challenged under the antitrust laws in a 1948 Supreme Court ruling which sought to separate production from the distribution and exhibition and ended such practices
•4) What was happening in America(and around the world) at this time? (post WW2) A new world order began to emerge in 1948. The U.S. announced the Marshall Plan to help rebuild Europe, while a group of European nations formed an alliance that would evolve into NATO. The Berlin Blockade escalated tensions between the emerging superpowers, which eventually would come to result in the cold war, lasting until 1991
•5) What genres were popular and why did people go to the movies in this period? Westerns, musicals, screwball comedies, and film noir. Films at this time were crafted to be grand spectacles, and cinema was the only entertainment that the public had, many thought of it as an escape.
CLASSICAL HOLLYWOOD STYLE
in Casablanca, invisible editing is used to silently back up the dominant use of story telling. Continuity editing is also a technique used by old Hollywood directors. This is an editing technique where shots are arranged in a certain way to suggest a progression of events. This style of editing was popular in old Hollywood as they relied heavily on dialogue and story telling to create a cinematic experience for the viewer, while small unnoticeable edits are used to add to the aesthetic of the film
Invisible story telling was an unnoticeable technique used by editors to immerse the audience within the story without making the edits and cuts obvious.
HISTORICAL AND POLITICAL CONTEXTS.
ALLIES- America, Britian, USSR.
AXIX- japan, Germany, Italy.
France was occupied by the Germans early into WW2, this sparked outrage within some of the French, causing a group of rebels to form a new territory of France called Vichy France which seen little to no German occupation. Casablanca was in this Vichy French territory located in Morroco.
America joined the war in 1941, after the bombing of pearl harbour which took many American lives.
Operation Torch. -was an Allied invasion of French North Africa during the Second World War. Torch was a compromise operation that met the British objective of securing victory in North Africa while allowing American armed forces the opportunity to begin their fight against Nazi Germany and Fascist Italy on a limited scale.[6] Nov 8, 1942 – Nov 16, 1942- it “Captured the zeitgeist”- General release January 1943
in a pre-internet era of the 1940s people used radios and newspapers to get their news. also film reels, were projected before films.
On November 26, 1942– first screening of Casablanca, in New York City.
Casablanca conference -was held in Casablanca, French Morocco, from January 14 to 24, 1943, to plan the Allied European strategy for the next phase of World War II. The main discussions were between US President Franklin Roosevelt (with his military staff) and British Prime Minister Winston Churchill