Friday, 16 January 2009
Shots list of first scene.
Crabbing shot of mans feet walking, to have credits coming up.
Tilt shot from mans feet to his head.
Zoom out of mans head down, puff of smoke.
Point of view shot of man watching mysterious lady walking towards him on the pier.
Medium close up of womens feet walking along the pier towards man.
Medium close up of mans feet walking along the pier towards the lady.
Static two shot shot of feet stopping parrelellel to each other.
Tilt up to women passing man a note, stopping for a second and continuing to walk in opposite directions.
Tilt shot from mans feet to his head.
Zoom out of mans head down, puff of smoke.
Point of view shot of man watching mysterious lady walking towards him on the pier.
Medium close up of womens feet walking along the pier towards man.
Medium close up of mans feet walking along the pier towards the lady.
Static two shot shot of feet stopping parrelellel to each other.
Tilt up to women passing man a note, stopping for a second and continuing to walk in opposite directions.
Our first attempt
We did our first attempt at filming to try out our ideas and to see what they would look like, also to show that we have got some footage and are able to edit somthing as it may come in handy later on. We faced a few problems as per usual as the weather wasn't in our favour and we didn't plan to film it in the rain. Therefore this made our original idea not possible to do, meaning we had to come up with a whole new idea on the spot and improvise as we went along. The pouring rain meant we were unable to use a tripod as this would have resulted in the camera getting wet, which was not an option. So this nfootage has showed that no matter what we need a tripod as it isn't good enough. Now when we go to film we will have to choose between our 2 idea's all depending on what the weather is like. On the weekend if it is raining again rather heavily then we will stick to the idea we have just filmed as that is able to be done in the rain, however if its just cold and not raining then we will do our original idea on the bridge which would make it possible to do, as like iv said its not possible to do in the rain, so the weather is deciding our fate. But both are very similar in the type of film opening it is, therefore changing it but not to drastically
Wednesday, 14 January 2009
Meeting 1
Our first meeting that we had was discussing what we are going to do and trying to compromise how and when we will achieve our filming with all the people that we will need at that time, so we were trying to figure out the time. We have both agreed to meet after school on thursday, meeting on sunday and willing to stay behind school friday, monday and tuesday to catch up with all our editing, this is due to the fact that have been faced with a problem that we weren't able to loan a camera as the media teacher wasn't in and exams have been going on. So all together we have been lagging behind a bit and willing to catch up.
Tuesday, 13 January 2009
Planning
We have decided to film around the time of 6 o clock in the evening. As it is January time this enables us to get the setting of dusk. As we are filming on Torquay harbour side, near a main road, this could create a few issues for us, such as the traffic, though our film noir proposal is set in the present day in which cars are a fluent thing, we still need to consider sound editing ect.
Monday, 12 January 2009
Research
Film Noir.
The years immediately following the end of World War Two marked the start of a crucial phase in the creation, definition and popularising of both literary and cinematic noir.
Both literary and cinematic noir can be seen as closely related to the modernist crisis of culture – as reflecting the feelings of nightmarish alienation, disorientation and disintegration that are often taken as hallmarks of the modernist sensibility.
Discussions of noir often centre on visual and specifically cinematic elements – on things like low-key lighting, chiaroscuro effects, deep focus photography, extreme camera angles and expressionist distortion. But it is essential as well to take account of themes, mood, characterisation, point of view and narrative pattern.
The representation of the protagonist's subjectivity is crucial - his perceptions (both accurate and deluded), his state of mind, his desires, obsessions and anxieties. The need for attending to the handling of perspective in film noir is concisely summed up in Fritz Lang's explanation of his subjective camera work: 'You show the protagonist so that the audience can put themselves under the skin of the man'; by showing things 'wherever possible, from the viewpoint of the protagonist' the film gives the audience visual and psychological access to his nightmarish experiences.
We are brought close to the mind of a protagonist whose position vis a vis other characters is not fixed. Treacherous confusions of his role and the movement of the protagonist from one role to another constitute key structural elements in noir narrative. The victim might, for example, become the aggressor; the hunter might turn into the hunted or vice versa; the investigator might double as either the victim or the perpetrator. Whereas the traditional mystery story, with its stable triangle of detective, victim and murderer, is reasonably certain to have the detective as the protagonist, noir is a deliberate violation of this convention.
Shared guilt is often the only common bond amongst noir characters, who are usually doomed to be isolated . The main themes are generalisations of the ill-fated relationship between the protagonist and his society. Characters suffer either from failures of agency (powerlessness, immobilising uncertainty) or from loss of community (isolation, betrayal). Obsessed, alienated, vulnerable, pursued or paranoid, they suffer despair as they act out narratives that raise the question of whether they are making their own choices or following a course dictated by fate.
The years immediately following the end of World War Two marked the start of a crucial phase in the creation, definition and popularising of both literary and cinematic noir.
Both literary and cinematic noir can be seen as closely related to the modernist crisis of culture – as reflecting the feelings of nightmarish alienation, disorientation and disintegration that are often taken as hallmarks of the modernist sensibility.
Discussions of noir often centre on visual and specifically cinematic elements – on things like low-key lighting, chiaroscuro effects, deep focus photography, extreme camera angles and expressionist distortion. But it is essential as well to take account of themes, mood, characterisation, point of view and narrative pattern.
The representation of the protagonist's subjectivity is crucial - his perceptions (both accurate and deluded), his state of mind, his desires, obsessions and anxieties. The need for attending to the handling of perspective in film noir is concisely summed up in Fritz Lang's explanation of his subjective camera work: 'You show the protagonist so that the audience can put themselves under the skin of the man'; by showing things 'wherever possible, from the viewpoint of the protagonist' the film gives the audience visual and psychological access to his nightmarish experiences.
We are brought close to the mind of a protagonist whose position vis a vis other characters is not fixed. Treacherous confusions of his role and the movement of the protagonist from one role to another constitute key structural elements in noir narrative. The victim might, for example, become the aggressor; the hunter might turn into the hunted or vice versa; the investigator might double as either the victim or the perpetrator. Whereas the traditional mystery story, with its stable triangle of detective, victim and murderer, is reasonably certain to have the detective as the protagonist, noir is a deliberate violation of this convention.
Shared guilt is often the only common bond amongst noir characters, who are usually doomed to be isolated . The main themes are generalisations of the ill-fated relationship between the protagonist and his society. Characters suffer either from failures of agency (powerlessness, immobilising uncertainty) or from loss of community (isolation, betrayal). Obsessed, alienated, vulnerable, pursued or paranoid, they suffer despair as they act out narratives that raise the question of whether they are making their own choices or following a course dictated by fate.
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