The post-production process ran extremely smoothly. Using LumaFusion, I sequenced the 25 or so shots together, being sure to cut at the appropriate time for the two examples of match on action which I implemented.
I slowed the speed of one specific shot (throwing the squash down the sink) for dramatic effect. In addition, I added a title card, as well as credit titles.
Title card
Although I am pleased with my finished film, there are a number of things that could’ve been better:
Making sure the focus is appropriately managed
Controlled camera movements
Background sounds should be lower in the mix, unless they are the focus
Overall, I think that the Kitchen Sink Drink project went relatively well. I enjoyed the conception of ideas, scriptwriting, as well as the filming process. My least favourite part of the project was definitely the floor plan and storyboarding.
I attempted to employ techniques throughout the film, such as matching on action and camera panning. In addition, I tried to obey the 180º rule throughout.
The process of filming ran relatively smoothly with no major issues. We filmed for around an hour, despite the final film being around 2 minutes long.
The main point of interest is that I decided to utilise a number of shot types and techniques that I hadn’t considered in the storyboard. This included filming from the bottom of the glass, as well as from inside the cupboard. I also tried including a body wipe, where Scarlett appears to walk through the camera.
In addition, the sun began to set after a period of filming so I was careful to not include any shots which pictured a window in the frame.
The two filming locations – dining room and kitchen
The next step in the process was to take photos of the filming location, in this case being the dining room and kitchen. In addition, I had to draw a rough floor plan of the area. Below are both the images taken and the floor plan.
My film will involve two characters, a father and a daughter.
We open on a closeup of an empty glass containing a few drops of water which the father then inspects to see if there is any water remaining. After discovering it is practically empty, he picks up the glass and he heads towards the kitchen. Before he reaches the kitchen, he encounters the daughter holding another empty glass. The father then asks the daughter if she can refill his glass, seeing as she is doing the same anyway. She reluctantly accepts the request and takes the glass from him.
We cut to the daughter in the kitchen pouring squash into one of the glasses, then diluting it with water. She moves onto the father’s glass and pours some squash into the glass. She then realises that he asked for water, and proceeds to carelessly throw the squash into the sink, unknowingly leaving a minuscule amount remaining in the glass. The camera focuses on this. She dilutes the squash with water, realising her mistake and masking the contents of the drink. The daughter enters the dining room and she places her squash down on the table. She then gives the other drink to the father. The daughter takes a sip of her squash, scrutinising the father. As he takes a sip of the drink, we cut to a reactionary shot of the daughter’s devious expression. The film ends on a closeup of the father’s confused reaction to the extremely dilute squash before any dialogue can ensue between the two characters.
We have been tasked to plan, film, edit and upload a sequence featuring two characters in a kitchen, during which a drink is offered and accepted but secretly has something added to it.
The first order of business is to write a treatment. A treatment is a document that presents the story idea of a film before writing the script in its entirety. They are often written in present tense, in a narrative-like prose. Information included within a treatment usually contains the title of the film, a story summary as well as character descriptions.
Throughout the film, Wes Anderson chooses to represent a variety of groups in a particular way. For example, Anderson chooses to expose our cultural understanding of the Nazis in order to depict the prominent “ZZ” fascist group throughout the film.
Without explicitly telling us, everything we need to know about this group is implicitly hinted at through the use of mise-en-scène and performance. The homogeneity of the costume design reiterates the uniformity of the fascist group. Alongside this, the performances are extremely well-choreographed and synchronised to emphasise this.
The film frequently focuses our attention towards the familiarly designed “ZZ” insignia which is extremely reminiscent of the SS Nazi police force. Through this, Anderson manages to use the shared understanding of this symbol to his advantage in order to silently represent the prominent fascist group in this way.
The “ZZ”
Another example of representation reinforced throughout The Grand Budapest Hotel is the differentiation in class. The lavishness of the hotel’s interior as well as the opulence of the guests purport a sense of aristocracy. Conversely, the appearance of the crippled shoeshiner emphasises the harsh reality of the working class during this time period.
Difference in class represented within The Grand Budapest Hotel
Throughout the film, Wes Anderson utilises a number of techniques in order to illustrate intriguing and enthralling aesthetics throughout.
Primarily, the implementation of three different aspect ratios create a distinctive aesthetic throughout the film. Anderson utilises a different aspect ratio to represent each time period. These include 1.37:1 (1932), 2.4:1 (1968) and 1.85:1 (1985). In effect, this subtly informs the viewer of the current scene’s time period.
Each aspect ratio was carefully chosen in order to accurately reflect the time period in which it represents. Beginning in the 1980s, the film utilises a standard widescreen aspect ratio which was typical of film during that specific time period. During the 1960s section, an anamorphic aspect ratio is implemented in order to indicate a sense of comfort and luxury during this point in Zero’s life. Finally, the majority of the film takes place during the 1930s in which the vintage ‘Academy Ratio’ is utilised to authentically represent the Golden Age of cinema during this time.
Aspect ratios within The Grand Budapest Hotel
Another aesthetic Anderson utilises is an enchanting colour palette. Making apt use of cremes, pinks, reds and beiges, Anderson diligently illustrates a vibrant and distinctive colour palette which astutely complements the film’s narrative and style.
In addition to this, the film intelligently makes use of zeitgeist in order to reiterate the time period as well as the opulence and aristocracy associated with it. Each and every costume worn by the actors is meticulously selected to insinuate a sense of authenticity.
Colour palette and costume within The Grand Budapest Hotel
Characteristic of Wes Anderson’s filmography, The Grand Budapest Hotel features a highly stylised utilisation of symmetry and framing. Throughout the film, Anderson typically establishes a symmetrically composed frame, through which a character or object will then enter. The viewer’s attention is then focused towards this object which is almost always centrally framed.
We were tasked to analyse the performances from the 4th and 5th chapters of The Grand Budapest Hotel. In class, we discussed the expressive use of voice, intonation, movement and physicality throughout.
The scene opens on a silhouette of M. Gustave (Ralph Fiennes) standing by a balcony. Through a diligent use of posture, he is depicted as a reflective and insightful person.
Throughout this sequence, Ralph Fiennes gives an extremely expressive performance as M. Gustave. He uses lots of hand gestures and other precise motions to oversee and instruct the hotel workers.
His performance can be described as instructive and clear, as well as naturalistic. Fiennes utilises a very particular way of speaking, which illustrates his character as a member of aristocracy. Gustave additionally establishes a tone of authority, through which he asserts himself as a self-assertive figurehead. His words are chosen conscientiously in order to meticulously instruct the members of the working class.
During the conversation with Madame D, Fiennes uses subtle gestures such as a smile in order to feign intrigue. Interestingly, his measured demeanour is shattered when he makes notice of her nail varnish. Gustave’s precise movements are abandoned during this revelation which gives the viewer an invaluable insight into Gustave’s true colours.
Fiennes’ movements throughout are choreographed and precise and are meticulously timed to Anderson’s predetermined camera movements. As the camera crabs left, Fiennes naturalistically glides left. Anderson additionally makes use of blocking throughout this sequence, Gustave is always centrally framed in order to emphasise his authority.
We were tasked to analyse the mise-en-scène from the 5th chapter of The Grand Budapest Hotel. In class, we discussed the partial and complete control of environment throughout the chapter.
Chapter 5: Lobby
It is important to establish the two key intentions the director attempted to achieve through the use of mise-en-scène throughout this sequence. Firstly, Wes Anderson’s first intended aim is to illustrate the opulence and grandeur of the hotel itself, emphasising the upper-class society of the time period. Secondly, Anderson attempts to present Gustave as an authoritative and self-assured figurehead through the use of mise-en-scène throughout.
From the very start, Gustave can be described as well-presented, well-groomed and polished. He dons an extravagant purple suit and bow tie and sports a meticulously slicked hairstyle, as well as a prominent moustache. All of this contributes to Gustave being perceived as a well-respected concierge in addition to being a member of aristocratic society. On the other hand, Zero dons a similar – albeit slightly askew – outfit, this is exemplified by a lop-sided “Lobby Boy” hat, as well as a fake moustache.
During the first scene of this chapter, Anderson utilises a range of flamboyant colours to reiterate the lavishness of the hotel itself. These include cremes, pinks and beiges as well as a generally snowy environment. Moreover, the lettering of the hotel sign is emblazoned in a flashy gold trimming which captures the audience’s attention.
Our first look at Gustave and Zero
During Gustave and Zero’s conversation, we cut to an appropriately dressed upper-class man having his shoes shined by a crippled working class boy, who is pictured as having scraggy clothes and dirty shoes. This emphasises the social divide presented to the viewer throughout the film. Moreover, the wagons parked outside the hotel contain a bountiful amount of luggage which purports a sense of immense popularity within the hotel.
Social hierarchy in The Grand Budapest Hotel
Inside the hotel, the interior is furnished with a vast array of luxurious decor, examples of which include crimson carpets and imported exotic plants. In addition, the entire lobby is grandly illuminated and every guest is well-presented and respectably dressed. There is a juxtaposition created between the wealth of the hotel and the mundanity of the workers’ duties.
During Zero’s interview, Gustave immediately deals with the multitude of interruptions by the hotel staff. Each staff member immediately moves out of Gustave’s way and astutely answers to his beck and call. This contextualises Gustave as a well-respected concierge and a force to be reckoned with.
Lavish costume and set design within The Grand Budapest Hotel
We were tasked to analyse the editing from the 28th and 29th chapter of The Grand Budapest Hotel. In class, we discussed the deliberate and considered pacing and sequencing throughout the chapters.
Chapters 28-29: Second Copy of the Second Will
Anderson begins the chapter with an exterior extreme long shot of the hotel, in order to establish the setting. From this establishing shot, the viewer is informed of the fact that the rest of the scene will take place from within the hotel. After this, we enter a sequence of rapid straight cuts of items such as a bell, a pigeon hole and a shaker, all of which are embossed with the “ZZ” insignia. This montage-like sequence informs us that the fascist group are indeed present within the hotel.
We then cut to a sequence of fairly short continuity cuts during which Agatha presents the hotel guard with a Mendl’s cake. Simultaneously, the scene with M. Chuck is taking place, through which the two sequences of continuity editing become a parallel edit. Anderson then cuts to a single sequence of continuity editing of Agatha walking up the stairs and into the storeroom.
Anderson then makes use of a glance object shot, having Agatha glance at the note and subsequently cutting to a closeup of the note. This allows the viewer to read the note for themselves and understand the important details written upon it. We then cut to another two sequences of continuity editing (Agatha upstairs, Dimitri and M. Chuck downstairs) which converges in another sequence of parallel editing.
During the conversation between Dimitri and M. Chuck, Anderson makes use of an editorial technique known as an “insert”. We are shown the mugshot of Agatha to inform us of the fact that Dimitri is aware of her existence, however the characters on-screen are unable to see this. Afterwards, an unconventional chase sequence ensues between Dimitri and Agatha during which Wes chooses to avoid the use of edits and instead decides to implement longer takes, as well as camera movements. For example, Anderson uses a two-shot in place of a shot/reverse shot sequence to avoid editing.
After utilising two reaction shots for Dimitri and Agatha respectively, the viewer can empathise with the both of them. We then cut to another slow chase sequence in the hotel hallway in which Anderson employs long takes and infrequent edits. It is interesting to make note of the fact that the few cuts used are in time with the music. During this, parallel editing is present between the chase and the other ZZ soldiers pursuing Gustave and Zero.
Anderson then makes use of a zoom honing in on Gustave and Zero, during which the pace of editing quickens for chaotic effect. Afterwards, a shot/reverse shot sequence between Dimitri and Gustave takes place to establish continuity. A satisfying rhythm is created during this sequence when the men with guns enter through the expert use of cuts and sound design choices.
When the shooting ends, the pacing of the editing slows as the camera pans 90º between each of the characters. Another sequence of parallel editing takes then occurs depicting Zero running around the hotel as well as Agatha outside hanging on the ledge. Through this, Anderson makes use of cross cutting to emphasise the concurrency of the scene.
We were tasked to analyse the sound from the 25th and 26th chapter of The Grand Budapest Hotel. In class, we discussed the deliberate and considered use of diegetic and non-diegetic sound throughout.
Chapters 25-26: The Remote Foothills
The first use of sound featured in the chapter is the implementation of Alexandre Desplat’s non-diegetic composed score. Featured throughout the entire duration of the two chapters, Desplat’s score can be described as dark in nature as well as layered. For example, the pulsing rhythm employed in the first scene perfectly matches the on-screen visuals. Furthermore, the utilisation of particular instrumentation such as a pipe organ foreshadows Gustave and Zero’s later visit to a church.
Anderson expertly makes use of layered diegetic wind sounds, as well as subtle ambient sound effects in order to attract the audience’s attention. The first scene also uses diegetic dialogue as well as emphasised diegetic sound effects attributed to Joplin’s character. Examples including the brandy bottle and the coat poppers attribute a sense of menace to his character.
It is also important to make note of the fact that only the objects of diegetic significance receive sounds, such as the coins as well as the crunching snow. During the startup of the motorbike engine, Anderson interestingly cuts off the sound as the shot cuts to the jarring train whistle. This is then followed by the non-diegetic narration from Zero, during which the other sounds decrease in the mix.
As the train comes to a halt, the diegetic sounds of hissing steam and brakes increase in the mix. During which, the repeated rhythmic pulsing score give the film a playful pace. The score reduces in the mix as the train door opens to reveal Henckels’s character. The emphasised diegetic sniffs inform the viewer that the ZZ is now aware of Gustave’s presence.
As we cut to an extreme long shot of the observatory, the mix becomes more echoey. The movement temporarily stops, during which the diegetic wind ambience is attributed. Due to the fact that the characters are far away, the dialogue decreases in the mix and increases as we move in closer. As a new character enters, the diegetic footsteps become gradually louder to focus our attention.
As our characters are instructed towards their next goal, the non-diegetic composed score rises in the mix to create a loud and dramatic atmosphere. Anderson then interestingly makes the stylistic choice to make the screeching of the cable car occur in time with the score. This exemplifies the rhythmic flow of the film and instills satisfaction within the viewer.
The score rises in the mix as the characters approach their destination. It also illustrates a sense of playfulness to perfectly match the cartoon-like nature of the characters. As the characters enter the church, the timbre of the now diegetic score becomes echoed a capella voices. As the characters sit down, the score lowers in the mix to a single voice to focus the viewer’s attention on the ensuing conversation between the characters.
The movement stops as we cut to the confession booth, in doing so the dominant sound that can be heard is the diegetic dialogue which is accompanied by a very low, mournful score. The score then slowly rises in the mix as Gustave makes the revolution that there is a second will. As the scene cuts to black, we are forced to picture the scene as we hear the diegetic sound of the body falling . As the chase ensues, the driving percussive elements of the score increase and proceeds to stop as the movement stops.
We were tasked to analyse the cinematography from the 21st chapter of The Grand Budapest Hotel. We discussed each individual shot in class and analysed the employed cinematographic techniques throughout.
Chapter 21: Check-Point 19 Supply Depot
In the first long shot, Anderson establishes a symmetrical frame with in a frame. The ratio is 4:3 to inform the audience of the time period (1932). Our attention is then focused on a car which enters the frame towards the centre. The camera then pans 90º to the right, through which our attention is now drawn towards the manhole cover illuminated from above. The camera then dollies forward to allow the viewer to read the text on the manhole cover. Zero then enters the frame to the left and peers into the manhole.
Anderson then cuts to a symmetrically framed long shot of the prison cell interior, in which more frames within frames are featured. The lights then go out while the actors perform highly choreographed movements in order to escape. As the lantern is lit, the viewer’s attention is focused towards the hole in the ground. The camera then pedestals down, following the centrally framed lantern through the floor and into the tunnel.
We then cut to a centrally framed, symmetrically composed closeup of a conveniently illuminated and labelled button, expertly focusing our attention.
The camera then crabs right to reveal the labelled dumbwaiter, through which another frame within a frame is composed. The viewer’s eyes are drawn directly to this specific location, as a character then enters the frame through the dumbwaiter. The camera then crabs back left, resting on the symmetrically framed door. As the camera continues to crab left, we follow the running men as we come to rest on the ladder.
It then cuts to a symmetrically composed frame of the prison gallery, through which our attention is directed to the centre. The long ladder then descends through the established frame. We then cut to a different view of the ladder, which presents us with a labelled wall, in order to inform the viewer of the location.
Anderson cuts to the opposite 180º angle, breaking the 180º rule in the process. Through a symmetrically constructed frame within a frame, our attention is focused on the smaller frame through which a character appears. A shot/reverse shot sequence then takes place, between the escapees and the prisoner, in which the characters are framed appropriately.
We then cut to a wide shot through which the characters enter the frame. The camera pans 90º and rests on a labelled lift door. We then dolly forward into the guard bunk room. The frame is dimly lit and the shadows are meticulously framed as the characters nimbly navigate their way through the bunk room. The film then cuts to a low angle shot of the men crawling under the bunks.
We cut to a frame within a frame of the characters cutting the prison bars in sync. It then cuts to a wider shot in order to show the frame in the larger context of the prison wall. The characters then throw the long ladder outside.
Anderson cuts to a birds-eye-view shot which shows the colossal height of the building as well as the length of the ladder. The frame is conveniently lit to show the path. We then cut to an extreme long shot which shows the men climbing down the side of the building, emphasising the sheer size of the prison.
It cuts to a shot depicting the windows as the escapees climb along the edge, the camera then crabs right to show the progress. The frame within a frame features a conveniently labelled steam vent.
A wide shot is established to portray the laundry basket landing point, our attention is focused on this centrally framed area. The men enter the frame downwards through the vent which is lit from above. As the characters land, they are symmetrically placed. We then pedestal down to reveal a centrally framed trapdoor.
We then cut to a worms-eye view frame within a frame of the prisoners looking down the trapdoor. A sequence which alternates between birds-eye and worms-eye shots then occurs. The trapdoor remains consistent and the characters are symmetrically positioned.
The film cuts to a wide shot, through which a prisoner armed with a knife enters. We cut to a worms-eye view portraying the other characters’ reactions in which they are all still symmetrically placed. Finally, a birds-eye shot displays the aftermath of the stabbings.
Throughout the film, Wes Anderson makes reference to a number of contextual ideas. These include:
Cultural/Social
What sort of person might have stayed at The Grand Budapest Hotel? What sort of lifestyle does the film evoke?
The hotel is home to many aristocratic, wealthy guests which reinforces the theme of class portrayed throughout the film.
The film evokes a life of extravagance and oozes style throughout. The vibrant colour palette emphasises the upper class society in which the inhabitants of the film are members of.
Historical/Political
Was there a real “Grand Budapest Hotel”? What inspired the filmmakers?
The “Grand Budapest Hotel” is indeed fictitious, however many elements of the film take influence from the style of Karlovy Vary, the colorful spa town in the Czech Republic, primarily the Grandhotel Pupp. In addition to this, the model of the hotel featured in the poster of the film, is the historic Bristol Palace Hotel.
Grandhotel Pupp and Bristol Palace Hotel
What key historical events are portrayed in the film?
The main historical event portrayed throughout The Grand Budapest Hotel is the stylistic portrayal of a fascist army which holds a strong resemblance to the Nazis. The costumes are emblazoned with a “ZZ” insignia not unlike the SS. It is interesting to make note of the fact that they are never referred to as “Nazis”, it is only subtly implied.
The “ZZ”
Institutional
How does The Grand Budapest Hotel fit into Wes Anderson’s canon of work?
The Grand Budapest Hotel is Wes Anderson’s eighth film and is considered by many to be his magnum opus. Through the use of an array of aspect ratios, an ostentatious colour palette and a vast ensemble cast, Anderson forges an unforgettable cinematic experience appreciated by critics and audiences alike.
Wes Anderson filmography
Technical
What interesting technical techniques does Wes Anderson employ to tell the story?
Wes Anderson uses a number of techniques throughout the film such as lighting, depth of field and narrative editing in order to reflect Zero’s emotional recollection of events. Anderson often establishes a frame within a frame and focus the audience’s attention by having an object enter the frame, which is often accentuated by convenient lighting.
The Grand Budapest Hotel(Wes Anderson, 2014)is a crime/comedy detailing the adventure of an eccentric concierge and his newly befriended lobby boy protégé. The film contains an ensemble cast containing the likes of Ralph Fiennes, Bill Murray, Edward Norton and Saoirse Ronan to name but a few.
Grand Budapest poster
We follow an unnamed author (Jude Law) who is interviewing Zero – the owner of the prestigious Grand Budapest. We learn the story of M. Gustave (Ralph Fiennes), the famed concierge of the hotel and a young Zero (Gustave’s newly appointed protégé) in a daring and adventurous rags to riches quest.
Wes Anderson uses many interesting techniques throughout the film. Firstly, the narrative structure of the film is nonlinear as we flick back and forth between three key time periods: 1932, 1968 and 1985. Anderson expertly makes use of three different aspect ratios for each time period in order to subtly inform the viewer when each on-screen event is taking place.
Use of aspect ratios in The Grand Budapest Hotel
The film’s aesthetics are enchanting throughout. Anderson makes full use of the key elements of film form, predominantly the cinematography and mise-en-scène to produce a emphatic and flamboyant impact.
Use of cinematography, framing and mise-en-scène
Being only 7 years old at the time of writing, The Grand Budapest Hotel will surely become a cult classic in the future. The filmmaking is nothing short of masterclass and each shot of the film could be a framed piece of artwork. Wes Anderson’s legacy will surely inspire aspiring auteurs to shape the future of cinema.
The film explores themes of class and wealth throughout, emphasising the occupants of the hotel as being members of upper-class society and illustrating the employees as subservient.
Personally, I thoroughly enjoyed The Grand Budapest Hotel from start to finish. Each shot was visually breathtaking and the all-star ensemble cast were a joy to witness on-screen. However, I do personally believe that the plot at some points delved into the realm of being ‘convoluted for the sake of complexity’. Additionally, in my opinion, a large part of the film’s selling point is the eclectic cast and I think it would not be as critically acclaimed without it. In saying that, I would highly recommend the film to anyone purely from the aesthetics alone.
My favourite sequence would perhaps be the fantastic ski chase scene. Anderson intelligently makes use of many filmic elements – particularly editing and special effects to construct a tense and enthralling sequence.
Ski chase scene
Overall, I would rate The Grand Budapest Hotel ★★★★.
We were tasked to recreate the opening sequence from Reservoir Dogs (Quentin Tarantino, 1992). The scene consists of the characters walking in slow motion to a car. It focuses in on each character individuallywith accompanying title cards. The scene contains no diegetic sound and is accompanied by the non-diegetic song Little Green Bag by George Baker Selection.
Reservoir Dogs opening sequence
In groups of eight, we spent a lesson planning the logistics of filming. The discussion included costumes, props, filming locations and shots. The two chosen filming locations were the canteen and school entrance.
School entranceSchool canteen
After overcoming a few small hurdles such as creative disputes, the filming process progressed smoothly and we captured all the necessary footage after one lesson.
Making use of transitions, key frames, overlay titles and slow motion I edited the film together using LumaFusion and produced a final product as accurate to the original as possible.
We were tasked in groups of two to share ideas about how representation is presented within City of God. Specifically answering the questions asked in the mind map below, we considered how representation can be perceived in many different ways across the film.
Representation can be defined as how the world of the film is presented to the spectator. This can be done through techniques such as embracing or denouncing common stereotypes associated with the themes presented throughout the film.
Representation in film refers to many topics such as age, culture, ethnicity and gender.
Aesthetics can be defined as the general look, mood and feel of a film stylised by the film’s key elements. In the context of an exam, this entails discussing the five key elements of film together – as opposed to focusing in on a single element.
We were tasked to consider the key contexts of City of God, specifically considering what questions we would have to ask to further understand the contextual aspects of the film.
Social Definition: How films can communicate truths about the society they portray and are influenced by the society in which they are produced.
For example: Sorry We Missed You (Ken Loach, 2019) explores the contemporary problems of zero-hour contracts and poverty.
For example: The Breakfast Club (John Hughes, 1985) contains casual racism and homophobia that was common in teen comedies of the 1980s.
Cultural Definition: How films can communicate messages and values.
For example: the strong message of equality and tolerance in recent Marvel films.
Historical Definition: How films portray history and are representative of the period in which they are produced.
For example: Dunkirk (Christopher Nolan, 2017) explores from a modern perspective the experiences of soldiers retreating from an approaching army in the Second World War.
Political Definition: How films portray and are influenced by the politics of the society in which they are produced.
For example: The Hurt Locker (Katheryn Bigelow, 2009) questions the role of American soldiers in combat.
Technological Definition: How films are influenced and limited by the technology available at the time of their production.
For example: the increasing use of CGI, 3G and IMAX in films at the beginning of the 21st Century.
Institutional Definition: How films are reflective of the industry in which they were produced.
For example: the highly stylised 1960s Hammer Horrors and the superhero focus of Marvel studios.
We were tasked to rewatch the opening scene of City of God and in small groups were assigned to comment on one particular element of film form. In my group, we were assigned the element of mise-en-scène.
After sharing our ideas with the rest of the class, we compiled the ideas into a mind map.
City of God (Fernando Meirelles, 2002) is a Brazilian crime drama that details the life of Rocket, a young aspiring photographer living in the slums of Rio de Janeiro. He is faced by many challenges and obstacles across the course of his life, primarily the over-bearing presence of street gangs and hoodlums.
The events are recounted by Rocket himself, and we view the events of the film through his eyes. The film begins with the ending sequence, immediately establishing an interesting enigma and in doing so, creating a nonlinear narrative structure. This produces an interesting perspective for the viewer. The film additionally uses flashback sequences to convey important information to the audience.
City of God opening sequence
The film additionally follows the harsh lives of other characters living in the slum such as Knockout Ned, Carrot, Shaggy and maybe most importantly, Li’l Zé. Arguably the most intriguing character in the film, Li’l Zé (previously known as Li’l Dice) is City of God’s main antagonist. He terrorises the streets of Rio throughout the film but the audience forges a personal connection with Li’l Zé and can empathise with him, due to the fact that his backstory is expertly crafted, and his reveal as the villain is delightfully unexpected.
Li’l Zé’s troubling backstory
The filmmakers additionally use many interesting techniques throughout. For example, during scenes in which Li’l Zé is the focus, Meirelles uses low-angle shots to emphasise his dominance over the other hoodlums of Rio. In addition, the director uses blurriness and deliberate unstable camera movements to reinforce the severity of certain scenes, such as the deaths of Shaggy and Benny. The dark lighting throughout these scenes also imply a sense of hopelessness.
Benny’s death scene – dark lighting used for effect
Personally, I thoroughly enjoyed City of God from start to finish and the film kept me consistently intrigued and enthralled throughout. Meirelles’ gritty and realistic directorial style was immediately apparent and set the brutal, unforgiving tone for the duration of the film. My personal favourite scene was definitely “The Story of Li’l Zé” sequence, seeing as it completely caught me off guard and effectively developed him as an antagonist.
I think that the main message that Meirelles was trying to convey was the sheer brutality and barbarity of the Rio de Janeiro slums during the 60s and 70s. The film’s final scene conveys the message that the perpetual cycle of violence is eternal, and is passed down unto the next generation.
After researching some key filmmaking techniques, we reshot our knock-knock joke short films, this time with added improvements and developments.
Firstly, we made use of both matching on action and the shot/reverse shot. Unfortunately, the 180º rule was briefly broken, but I was not behind the camera this time.
The 180º rule is a general guideline regarding the on-screen spatial relationship between two characters within a scene. The rule involves keeping the camera on one side of an imaginary axis between the two characters.
In effect, the first character is always frame right of the second character. If you were to cross the imaginary axis with the camera, this is known as “breaking the 180º rule” and it visually confuses the audience as to where the characters are standing in relation to each other.
A shot/reverse shot is a film technique where one character is shown looking at another character (usually offscreen). The second character is then shown looking back at the first character. This leads the viewer to believe that the characters are facing each other.
A shot/reverse shot from The Wolf of Wall Street (2013)
During the filming of our knock-knock short film, there were a number of variables which were done and well, as well as some which could be improved upon
What went well:
The close-up was well filmed (filled the frame)
Lines were delivered well
The boom mic was never in frame
Continuity was sound
What could be improved:
Tracking shot could’ve been filmed more effectively
We were assigned to plan, film, edit, and upload a sequence showing two characters coming together, telling a knock-knock joke, and departing.
We worked in groups of four and each had a dedicated role:
Director (me)
Boom Mic Operator (Grace)
Two actors (Finley and Georgia)
After an initial struggle of setting up the equipment and a few bloopers later, we produced a film utilising seven shots in total. We used a variety of shots such as two-shots, closeups and handheld tracking shots.
Cinema is a relatively new dominant art form, being around 130 years old. It is ever-evolving and was a revolutionary way in which humans could express themselves. It is also a knowable concept, due to the fact that the entire history of cinema is mapped out and is within our great-grandparents’ lifetimes.
An early cinema – only one person was able to watch a filmat a time
The history of cinema starts in the 1800s, when photography was first invented. This was a revolutionary moment in history, as now you were able to capture a moment of reality. This was done through the process of exposing a camera obscura containing photosensitive chemicals to light. However, early photography took hours and the subject was forced to sit still for a prolonged period. Subsequently, photography quickly developed and soon enough became a business. Afterwards, people began to ponder the idea of moving images, and soon realised that if many images were sequenced together in rapid succession, it created the illusion of movement. This led to the production of early films – which were reminiscent of flip books.
Early photography
By 1895, technologies were competing to produce moving images, however, it was a mere novelty at this point. There was no infrastructure, film now existed but was solely a “seaside attraction”. Despite this, film soon caught the imagination of the population and was consistently developed and commercialised. Two key pioneers for the film industry were the Lumiere brothers, who developed iconic early films such as Employees Leaving the Lumiere Factory and The Arrival of a Train. These short experiments did not tell a story of any kind, but merely showed the audience of the late 19th Century what film was capable of.
The Arrival of a Train (1896)
At this point in time, theatre was cheap entertainment and music halls were common place. As these attractions fell out of favour, music halls were replaced by cinemas and soon enough – every town had a cinema. Because of this, the snowball effect began to take place and there was a sudden explosion in both cinemas and film production. Particularly in America, film was recognised as an incredible business model and many entrepreneurs jumped straight to it. Filmmaking was quickly transformed into a factory assembly line in which the studio completed every task. This was known as vertical integration and the money was gained from the public. The American film industry was constantly competing to be bigger, better and have more assets and this was done by spending the most amount of money. Every stereotypical trait that Hollywood is associated with (glamour, scale, money etc.) originated from this point.
Hollywood sign
Another key trailblazer in the world of filmmaking was George Melies, who invented both substitution splices and double-exposure: two key techniques in modern day cinema. Melies’ most iconic work was A Trip To The Moon (1902) which made great use of both techniques.
A Trip to the Moon (1902)
During 1900-1910, cinema went from being the “theatre of attractions” to narrative-driven. Films were no longer a series of stills – technology had greatly advanced and full stories were being told. 35mm film was used to shoot, process and produce films. Physical film was used for mainstream cinema up until about 15 years ago until digital filming was used. In order for the human eye to be fooled into perceiving a sequence of images as movement, 24 images must be displayed every second.
By 1920, film was the most popular art form in the Western world due to the fact that it was accessible to everyone. However, colour and sound were problems to be solved. The idea of painting sets was briefly considered, but was deemed far too impractical. Dubbing was also attempted to solve the sound problem, but this didn’t work. At this point, all films were shot in 4:3 aspect ratio (square), as widescreen wasn’t considered until much later.
35mm film
Throughout the later 20th Century, cinema continuously developed and many problems were solved. The first film with synchronised sound was released in 1927 and two key actors who were famous before and after sound were the comedy duo Laurel & Hardy. Film was used for World War propaganda, as well as many other commercial items.
However, the invention of the television instantly established itself as the main opponent for the film industry. Initially, TVs were far too expensive for the average person, but by the 1950s most average families owned a television. Ticket sales began to decline as there was no reason to go the cinema anymore when you could watch the latest films from the comfort of your own home.
The film industry constantly attempted to overcome the TV problem by initially making cinema screens much wider than TV screens. Going to the cinema now became a prestigious event, rather than a day-to-day activity. New films were additionally not shown on television until many months down the line, this was done to increase cinematic demand. The film industry also briefly dabbled in 3D, but this wasn’t commercially viable.
An early television
By the 1970s, VCR was a new competitor for the film industry and video rental shops, such as Blockbuster, dominated the market. As each new obstacle arose, cinema threw money at the problem to counteract it. However, this ultimately failed and by the 1980s, almost every cinema in the UK closed down.
In present day society, the film industry faces many opponents such as TV channels, internet and streaming services.
Cold War (Pawel Pawlikowski, 2018) is a Polish drama that explores the relationship between two characters: Zula and Wiktor during the period between the end of WW2 and the beginning of the Cold War. Throughout these years, we witness the tumultuous romance between Zula and Wiktor as their relationship develops and devolves throughout the duration of the film.
Cold War (2018)
The film uses many interesting techniques to portray the time period accurately. Firstly, the film uses 4:3 aspect ratio, and it is also in black and white. These two cinematographic choices are typically associated with early filmmaking, due to the fact that these were the only options available at the time. This contributes to the film’s authenticity; as well as creating an aesthetically pleasing frame.
The film incorporates a number of prolepses throughout, which effectively and efficiently conveys the passing of time and emphasises how estranged the pair’s relationship becomes. Clever use of hair, costume design and makeup is also utilised to illustrate similar effects.
Cinematography of Cold War (2018)
I personally reacted to the film in a mixed way. The film was consistently visually striking throughout and the performances (albeit in Polish) were excellent. However, I found myself losing interest periodically throughout the film due to the fact the events that took place throughout were relatively mundane, and the story didn’t particularly develop until the last 10 minutes. Although the arguments between the pair were compelling, I didn’t particularly connect with either character. Consequently, I didn’t have an investment in the film and this was detrimental to my overall opinion of it.
I think that the filmmakers were trying to emphasise the brutality of post-war life, as well as nullify the preconceived stigma of typical romance portrayed throughout cinema during this time period. Everything isn’t a happy love story, and Pawlikowski expertly conveys this message throughout the film.
We were assigned to gather images to represent each lyric of We Didn’t Start the Fire by Billy Joel. This was done in small groups through a shared Dropbox folder. We then edited the images together in iMovie sequencing each image to the rhythm of the music.
I am studying the Eduqas A-Level Film Studies course. This specification is made up of two examined components, as well as a third coursework component.
Component 1 is entitled Varieties of Film and Filmmaking and is worth 35% of the A-Level qualification.
Component 2 is entitled Global Filmmaking Perspectives and is also worth 35%.
Component 3 (Production), requires independent work and is worth 30%.
The two exams assess knowledge on 14 films; ranging from many categories. Three assessment objectives are measured here, these include:
AO1 – demonstrate knowledge and understanding of elements of film.
AO2 – apply knowledge and understanding of elements of film to:
analyse and compare films, including through the use of critical approaches.
evaluate the significance of critical approaches
analyse and evaluate own work in relation to other professionally produced work
AO3 – apply knowledge and understanding of elements of film to the production of a film or screenplay.
Throughout the course, the key elements of film form will be assessed. These include:
Cinematography – deliberate and considered use of photography and lighting
Editing – deliberate and considered pacing and sequencing
Sound – deliberate and considered balance of diegetic and non-diegetic sound
Mise-en-scène – partial or complete control of environment
Performance – expressive use of voice, intonation, movement and physicality
The final component of the course is the filmmaking coursework aspect. This will entail the production of a 5 minute short film in which every aspect will be overseen by me alone. These aspects include:
Parasite (2019, Bong Joon-Ho) is a Korean comedy/thriller, which won Best Picture in the 2020 Oscar Academy Awards. It is renowned for being the first foreign film to win this prestigious award and this marks a key point in history. The film revolves around the struggling Kim family who seek out an opportunity to usurp the places of the working class members who serve the wealthy Park family.
Parasite (2019) ★★★★★
The narrative format and structure of Parasite is extremely interesting. The film is initially established as a light-hearted comedy in which the Kim family frolic their way into a position of power, in which each family member occupies a different role. Ki-taek becomes the family’s chauffeur, Choong-sook becomes the maid, Ki-jung becomes the son’s art therapist and Ki-woo becomes the daughter’s English tutor.
However, near the end of the film’s second act, Parasite undergoes a dramatic tonal shift. The film shifts from a light-hearted comedy to a suspenseful thriller. Bong expertly executes this a naturally subtle way, through the narrative device of the video call between Choong-sook and Moon-gwang.
Personally, I was absolutely enthralled with Parasite from the first second until the last. Over the course of the film’s 2hr 12min runtime, I was highly entertained with every scene which were all crucial to the film’s plot. Parasite is a masterclass when it comes to pacing – no scene drags on for too long or rushes by too quickly; and this is perfectly demonstrated in the film’s 5 minute montage near the middle.
Parasite’s Perfect Montage
I think that the meaning Bong Joon-ho was trying to convey throughout the film was the social hierarchy portrayed throughout South Korea. The tonal dissonance in the film could potentially be a metaphor, with the wholesome comedy section representing the rose-tinted life that the Park family happily live through; whereas the Kim family’s poverty-stricken lifestyle is represented by the suspenseful and intense second half.
An auteur is defined as a film director who influences their films so much that they rank as their author. Some classic auteurs include Alfred Hitchcock, Quentin Tarantino and Christopher Nolan; due to their extremely characteristic directorial traits.
Susanne Bier
My chosen auteur candidate is Susanne Bier. She is a director, screenwriter and producer from Denmark, who is best known for films such as Bird Box, Brothers, After the Wedding and In a Better World. She is also the director of the HBO minseries The Undoing and the AMC miniseries The Night Manager.
Her typical genres includes dramas, romance, thrillers and occasionally horror and war. Films such as Bird Box (2018) use tension to build atmosphere, as well as interwoven storylines of past and present to create a thrilling mystery. Bier’s visual flair in other films such as Brothers uses a combination of stylistic choices such as Dogme light and various small montages and extreme close-ups.
However, in my opinion, I think that Susanne Bier cannot be considered an auteur due to the fact that her films do not particularly make use of unique and creative cinematography and her stylistic choices do not particularly stand out from the crowd. Additionally, she is not the writer for many of her films, such as Bird Box which was based upon a novel of the same name written by Josh Malerman.
The first film that I saw in the cinema was Toy Story 3 (Lee Unkrich, 2010). I don’t have many clear memories of my first time watching the film, however, I remember really enjoying the cinema experience and seeing a film on the big screen for the first time. In my opinion, the film holds up extremely well and the ending makes me tear up every time I watch it. The characters and setting are both timeless and I revisit the trilogy every year or so.
Toy Story 3 ★★★★
The film that has had the most emotional impact upon me is Whiplash (Damien Chazelle, 2014). I watched it for the first time about a year ago and I was utterly astounded. I have a personal relationship to the film due to the fact that I play the drums and I could relate to the struggles and challenges that Andrew Neimon had to overcome during the course of the film. I absolutely adore the film’s cinematography, pacing, as well as the phenomenal performances from Miles Teller and JK Simmons.
Whiplash ★★★★★
A relatively underrated film that I enjoy is Phone Booth (Joel Schumacher, 2002). It is a psychological thriller that takes place in one single location: a public phone booth. What I like about the film is that it is very short (1hr 21 mins), meaning that it doesn’t overstay its welcome and is completely self contained. The film expertly uses tension to build atmosphere and it ultimately results in a satisfying conclusion.
Hello! My name is Otis Morley and I am an avid lover of film who has decided to study Film Studies at A-Level. This blog will contain all of the work needed to complete the course, as well as anything related to film in general.
Otis Morley’s A-Level Film Studies Blog 
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