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As Renton returns to the drug den, the choices for lighting and the colour aesthetic become darker, it includes more red and bluish hues. The red glare in the background symbolises Renton’s addiction to Heroin, as the colour is predominantly shown during bad choices, including drug taking and other illicit activities. All through this scene the camera is always brought back to the colour red, the lights, his blood and the carpet. The symbolism of red is used to represent danger and addiction and is constantly referenced during Renton’s dark times as a Heroin addict.

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Trainspotting | 'One Hit' (HD) - Ewan McGregor, Jonny Lee Miller | MIRAMAX

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Emma: Performance 3: City Of God- Lil Z about to ask a girl to dance

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Emma: Performance 3: City Of God- Lil Z about to ask a girl to dance

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Leandro Firmino’s portrayal of Lil Z, aims to disturb his audience with a psychopathic nature to his character, he lacks empathy and emotion. However, a scene in which I think Firmino truly demonstrates the complexity of Lil Z’s character, is at Benny’s farewell, where he asks a girl to dance. We see this uncomfortable encounter through the intimate lense of spectators, as we watch his experience of nerves, somehow allow us to sympathise and relate with his awkward manner.

0:40

Firmino began by looking around the party with a blank expression, separating himself from the other characters, who laugh and dance. When glancing at the young girl the camera shoots at a portrait angel, with his facial expressions becoming crucial tools in conveying his thought process, as he decides whether not to ask her to dance. He shows this discomfort through the movement of his mouth as he nervously rubs his lips together. Along with using his hands to pull his face, as he looks away from the girl, attempting to build confidence. Repeating this as he glances back towards her, and back to the camera, bouncing his head to the music in attempt to maintain a cool, relaxed manner. This scene exposes a level of intimate vulnerability to Lil Z’s character, with its extreme contrast to the earlier scenes, were he demonstrates confidence, presented through his bold, intimidating physicality and fearful tone. Through Firmino’s awkward manner, the audience are introduced to a more human side of Lil Z’s character, with the somewhat relatable scenario allowing us to pity the rejection he later receives.

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Apocalypse Now – Smell of Napalm in the Morning (Bea)

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Apocalypse Now – Smell of Napalm in the Morning (Bea)

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The colour scheme of Apocalypse Now has a largely yellow undertone, which is normally a representation of fire, candles or other light sources. However, in the Smell of Napalm in the Morning scene, yellow is present in the form of smoke grenades that are scattered across the war-torn ground. A range of different hues are shown to be littered around but they come together to create a wall of unnerving brightness in the war riddled area, specifically at 1:39 as Kilgore states he loves “the smell of napalm in the morning”. The yellow also acts as a divide between the audience and the destruction just caused by the bombs, however it soon disperses, and viewers are left to see the brutal attack burning away in the background. The use of the yellow may have been used to represent the act of war, as it is always present during the scenes including the violence and destruction caused by the Americans.

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I Love the Smell of Napalm in the Morning - Robert Duvall in APOCALYPSE NOW - Film Clip

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At 1:35 we see Scottie’s obsession with recreating Madeleine take form in a ghost-like reveal of Judy, as she has fallen back into the character for the sake of fulfilling Scottie’s perverse fantasy of a ‘dead’ woman. Hitchcock often used colour to portray a certain meaning or to carry a theme throughout the film, Vertigo is no different. The constant appearance of red and green throughout the film are used to represent obsession and fear, and ghostly and separate from reality. In this scene, Judy makes the final change to fully revert back to Madeleine all for the purpose of sedating his obsession. When she appears, the glow of the green light from the window combined with a ‘fog’ surrounding the door, causes Judy to materialise as some sort of phantom of the past. Hitchcock’s use of green in this scene suggests that this vision of ‘Madeleine’ is apart from reality and has only been created by Scottie to continue his love, however it is clear to the audience that she is a fantasy, this is further solidified by the green lighting and the flashback during the 360-degree kiss. Even after stepping out of the green ‘fog’, Judy remains framed by the green glow emitting from behind her.

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Vertigo (10/11) Movie CLIP - Judy Becomes Madeleine (1958) HD

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Vertigo movie clips: http://j.mp/1uuv3Xq BUY THE MOVIE: http://amzn.to/tLFCk2 Don't miss the HOTTEST NEW TRAILERS: http://bit.ly/1u2y6pr CLIP DESCRIPTION: Scottie (James Stewart) convinces Judy (Kim Novak) to do her hair like Madeleine and is overwhelmed by her appearance.

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Ivy: Mise-en-scene 3: Man With a Movie Camera - Hands (from 00:48)

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Ivy: Mise-en-scene 3: Man With a Movie Camera - Hands (from 00:48)

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According to Aristotle, the hand is the “tool of tools” - a notion which is presented in abundance all through Vertov’s Movie Camera. It can represent strength, power and protection whilst also having connotations of generosity and hospitality; “lend a hand”. This image in particular is important to Virtov because, in many ways, this film was a demonstration of communist success. A political ideology derived from Marxism that preached the importance of collectivism. Throughout Movie Camera, images of hands are shown performing various tasks: cleaning, folding, editing films. It is necessary for Vertov to put emphasis on hand gesture and body language because the film has no dialogue and therefore relies on physical storytelling. In the context of dream psychology, hands often symbolise fate. If in a dream you happen to hold something in your hands, this thing is a symbol of your destiny at that moment. The themes of fate and destiny are strong on Movie Camera, again linking to political propaganda; it was the fate of the western world, specifically America, to succumb to communism. In Hand of God art, the hand often represents divine approval, with open palms being a signal for forgiveness. These religious connotations further emphasise the strength behind Vertov’s appraisal of Russia and the newly formed Soviet Union, claiming that he has God on his side.

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Man with a Movie Camera (2014 Restoration trailer) In UK cinemas 31 July 2015 | BFI Release | BFI

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Ivy: Mise-en-scene 2: Vivre Sa Vie - Opening Sequence

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Ivy: Mise-en-scene 2: Vivre Sa Vie - Opening Sequence

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The mirror above the counter is used to show glimpses of Nana’s face in a shot which is predominantly filled with the backs of two individuals. These occasional looks maintain the audience's emotional connection whilst also frustrating their attempts to empathise with her during her conversation. Mirrors also hold great symbolic value throughout the film. Physically, mirrors reflect light and thus reflect the world around us. Spiritually, light has symbolic attachment to illumination, awareness and wisdom. Therefore, in terms of spiritual symbolism, mirrors reflect truth. This is somewhat ironic in the context of Godard’s intentions for Vivre Sa Vie. The film was created to represent stories as constructed narratives, with deep philosophical passages included to separate Vivre Sa Vie from other films that merely recreated what the human eye can already see. It is for this reason, that the psychological reading of mirrors is far more beneficial when looking at Vivre Sa Vie. In a psychological sense, mirrors symbolise the threshold between the conscious mind and the unconscious mind. By looking into a mirror, you may look towards the depths of your unconsciousness. The image the mirror produces is therefore symbolic and can be understood in both conscious and subconscious thought processes. This explicitly links to Nana’s character - for women, marriage was an economic proposition with so many remaining wedded not out of love but for the security that money provides. When she looks in the mirror, Nana would see society’s reject as a prostitute but her subconscious would see an independent woman with the strength to exploit a world where her gender is a commodity.

I can't find a clip of this on youtube, I only have the whole film downloaded -sorry.

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Ambrina (2) – soundtrack, Yellow – Boyhood.

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Ambrina (2) – soundtrack, Yellow – Boyhood.

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The soundtrack used to open Boyhood is highly emotionally evoking. A breezy delicate blue sky can be observed as the film opens with the track Yellow by Coldplay. The combination of key notes in the song with a slow and steady pace creates a warm cheerful melody, setting an inviting mood where the song invites the audience to embrace it in a welcoming style. Paired with a shot of a wispy blue sky, the image of a setting with no conflicts is immediately created. The film named boyhood, indicates that at this beginning scene, we are about to go a similar place in our lives, our own childhood. It can also be observed that the beginning notes of the song don’t progress in a volatile manner, the similar notes the song gives a safe and trustworthy feel to the setting of the scene, evoking nostalgia towards the distinct feel of feeling safe in your family setting.

The gentle strum of an acoustic guitar indicates associations of community, optimism and happiness, setting the mood for the scene. Furthermore, the blue sky reflects a relaxed burden free mind-set, amplifying the optimistic effects of the pleasant melody. This reminds audiences of a similar time in their lives and helps gently take back audiences, effectively manipulating the mind frame audiences enter the film with. Talking about the stars in the sky, audiences become influenced to remember a time where they first experienced aspirations and go on to remember a stage in life nurtured by motivation by their families.

Re-evoking precious moments in one’s life, the song is an excellent way to bring audiences back to a specific place, warping time and restarting the journey of growing up all over again. Effectively preparing the audience to be placed in the shoes of the young child on screen.

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Ivy: Mise-en-scene 1: Vertigo - Dining at Ernie's

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Ivy: Mise-en-scene 1: Vertigo - Dining at Ernie's

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Throughout the film there is a dynamic use of symbolic colour. In this scene specifically, Madeline’s satin green dress is immediately noticeable against the deep red walls of the restaurant. The dress regardless of its colour is an important piece of costume design, it’s the sign of wealth and high society - presenting Madeline as someone who is too good for a newly jobless Scotty. The green colour only furthers this image, green being the colour of the US dollar bill with connotations of envy. Everything about her outfit is telling the audience that she is a valuable character, with the dainty precision of her look hinting at the more sinister intentions behind her presence at Ernie’s. The colour itself introduces one of the more complex themes of the film: duality. Green would be most commonly associated with nature and therefore purity, but just as there is a dichotomy within the Garden of Eden, there is also a darker side to the colour green. When reflecting on the skin, green can make an individual seem ill or deathly and when this image is presented alongside the voyeuristic camera angles, or Scotty’s infatuation with Madeline, the audience are confronted with necrophilia. What was originally seen as a touching love story has become a harsh criticism of toxic masculinity and the oversexualised woman, and how the combination of the two produce fatal and grotesque consequences.

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Teddy: Mise-en-scene 3: Under the Skin – First victim scene

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Teddy: Mise-en-scene 3: Under the Skin – First victim scene

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In this scene, Glazer has the women driving while sitting next to her victim, and this scene perfectly portrays the women’s menacing nature and her ambiguous desire. The van is smothered in shadow, with the only clear things in sight being the two actors. Outside the window is the natural darkness of night, with there being no real sense of colour to stand out amongst the set. This represents that at this point the audience has no positive outlook for the man, as no matter where you turn there is more dread and unanswered questions. This trend only continues when they reach the house, as within there is no interior shown, which only a pitch-black void being presented. This shows that in the eyes of the man, nothing else matters apart from getting the women, and in the eyes of the women she only cares about her twisted goal relating to the stranger. By Glazer having the set simply be a black room, it helps us understand what he wanted us to focus on is the character’s inventions and how they’re willing to put environments to the side if they get what they want, showing just how animalistic human nature really is. By having the stranger gradually sink into the floor, it further shows just how unimportant it is where they are, and only that the women got what she wanted. Overall, the simplicity of the set design reinforced the audience’s interest in the women’s goals and what she was actually trying to do, showing that Glazer used minimalistic mise-en-scene to help us focus on what he wanted us to, which was the characters nature and desires.

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Teddy: Mise-en-scene 2: Vertigo – Opening chase

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Teddy: Mise-en-scene 2: Vertigo – Opening chase

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In this scene, Hitchcock heavily utilises set design to portray ideas of a dream like state to the audience, using a hazy, purple filter over the entirety of the scene to give the impression that it’s just one of Scottie’s dreams. The bizarre but vivid nature of the scene makes the audience question whether what’s happening is actually real, and whether it’s an accurate memory or just an over-exaggerated nightmare. In addition, the view of Scottie looking down from the roof is intentionally made to look almost comic, as the fall is greatly extended to what it would actually look like. Hitchcock likely did this with his set design as it’s a common trend in the film for people to take advantage and even make fun of Scottie’s vertigo, as scene from when he is tricked to climb the clocktower. Scottie’s costume is also used in such a way that makes him blend into the urban environment, as his black suit almost acts as a camouflage for him, with his white shirt representing the element of peace and purity he had before witnessing his friend die in front of his eyes. Overall, Hitchcock designs the set in a dark fashion to represent what a bustling city would like at the time, while deciding to have a purple filter over it to show that it’s not happening in real time, to represent the themes of bizarreness and mystery throughout the film.

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Vertigo (1/11) Movie CLIP - Officer Down (1958) HD

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Teddy: Mise-en-scene 1: NCFOM – Anton meets Carla Jean

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Teddy: Mise-en-scene 1: NCFOM – Anton meets Carla Jean

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The Coen Brother’s use of set design along with costume truly makes this scene stand out as Anton’s final killing in the film, and these features are used in such a way to portray both Anton’s and Carla’s determination to get what they want. While originally Anton was the only real character to constantly wear black, to show his menacing, dangerous nature, Carla also wears black in this scene to show her mourning for Llewellyn, essentially putting them on equal ground in this scene. One clear difference between this is while Anton is placed in the shadows to represent an arbiter of fate, Carla is placed in the light area of the room, showing her to almost defy the fate Anton has presented. The Coen Brothers wanted to show just how Carla is the only one to stand up to Anton by the end of the film, and dose this by essentially having the two actors in opposite ends of the spectrum, one in light and one in darkness, possibly showing her as the true hero of the story through simple use of set design. The room has a very natural design, as it was likely intended to just act as a normal house, and this contributes to the scene as it once again shows Anton breaching someone’s haven, showing as one step ahead against every other character. The one clear difference this time is Carla does not accept being threatened in her own home, unlike the initial coin toss scene in the gas station, showing that she is one of the most confident character’s despite losing everything, implying that the Coen Brother’s wanted us to stop underestimating the role of women in films.

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No Country For Old Men : Carla Jean and Anton Chigurh Scene Cut

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Issy: Sound Design 3 - Apocalypse Now, Ride of the Valkyries 

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Issy: Sound Design 3 - Apocalypse Now, Ride of the Valkyries 

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Coppola’s choice of sound design in this scene creates an effect so powerful it portrays one of the most iconic musical soundscapes in cinema. Wagner’s “Ride of the Valkyries” is a bold and powerful masterpiece that is able to command an audience with its full and recognizable leitmotif. It is a clever addition to this scene through the piece’s context and general strength of the song.

The music itself is both diegetic and non-diegetic, as it is played within the helicopter. It opens with the strings and woodwind, with all the ornamented trills and vibrato possible, a hopeful motif that signifies the preparation for what is to come. The high pitched, conjunct string melody begins to quicken in pace, building the tension. The chopper crew begin to load their weapons, preparing to fight. The music reflects this, as the camera zooms out to show the fleet of helicopters growing ever closer to their destination, the famous ascending melodic brass motif begins, like a battle cry. It is bold and aggressive, the use of brass emphasising this, symbolising the American fighters.

As the camera shifts to the Vietnamese base, the music pauses. It is peaceful and calm, the diegetic sounds of children learning creates a cold and sudden contrast in environment between the helicopters and the ground level. A painful reminder of the innocent lives lost, and a moment where the audience is aware of the brutality of the Americans.  As the helicopters are noticed and school children begin to scatter around the base, a distant and ominous hint of “Valkyries” can be heard. A combination between horror and exhilaration is shared as the helicopters are now amongst the Vietnamese. Coppola continues to show the triumphant strength of the Americans as the music is now accompanied by the operatic voice, a sinister and uncomfortable addition. The combination of gun shots, explosions and Wagner’s “Valkyries” is intense to listen to, reflecting the overwhelming environment of sound and attempts to immerse the audience within the scene.

The use of “Ride of the Valkyries” is so significant due to the song’s origin. Written as part of an opera, the piece revolves around mythic figures in Norse mythology during a celebration and preparation for an apocalyptic battle. Hence the contextual significance. Alongside this, Wagner was favoured by Hitler during Nazi occupation in Germany and attempts were made during this time to incorporate his music and operas into propaganda. Contextually, it is clear that Coppola’s choice to use the song was intentional and ultimately creates an interesting interpretation of the war.

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Apocalypse Now (1979) - 'Ride of the Valkyries' scene [1080p]

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Issy: Sound Design 2 - Trainspotting, "perfect day"

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Issy: Sound Design 2 - Trainspotting, "perfect day"

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1:14 - end of scene

The Trainspotting soundtrack is of major importance culturally and symbolically. The choice of songs and artists reflects the importance of music when the film was made whilst also incorporating the cultural code narrative format identified by Barthes.

In this scene Boyle uses music meticulously, the song “Perfect Day” by Lou Reed not only sums Renton’s addiction with drugs, but also creates an interesting interpretation of the scene. As Renton overdoses, he falls into the floor in an absorbing representation of the pre-death stage, as if he has fallen into his own grave. At this point the song begins, a gentle yet sombre piano melody with a slow, swung drum beat, almost satire in its likeness to smooth jazz. The songs minor and melancholy pace contrasts the lyrics, which speak of a “perfect day” describing a day out – “drink sangria in the park” … “it’s such fun”. The irony in these lyrics is comical, yet its not until you notice the context of this song that it makes sense within this scene. “Perfect Day” is described as being Lou Reeds ode to Heroin and addiction. He writes about a perfect day, yet the chorus’s lyrics of “you just keep me hanging on” portray the affect of drugs and addiction.

The diegetic sound of the siren shows the urgency of Renton’s situation, yet as the ambulance drives away it is a confronting reflection of how low and desperate Renton has become. Reed bursts into the chorus at this point, the climax of the song and the epitome of Renton’s lowest point of the film. In some sense this is Renton’s “perfect Day”, the aftermath of the overdose and consequence is that he is forced to get clean and restart his life.

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Trainspotting: "Just A Perfect Day" Scene (1080p HD)

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Issy: Sound Design 1- Under The Skin, driving scene

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Issy: Sound Design 1- Under The Skin, driving scene

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The soundtrack throughout under the skin is used heavily to build tension and create an effect on the audience. It is often used as a motif in the film, silently indicating what is about to happen, creating a sense of suspense. One of the most common soundtrack leitmotifs in the film is heard during this simple scene. The woman is on the prowl, searching for her next victim, the soundtrack elevates this, reflecting her actions.

The sound design is exceptionally clever, Mica Levi, the composer for Under the Skin, primarily uses orchestral instruments- violins and a range of percussion, however the sound that is produced is far from classical. The effect is artificial and mechanical. As the scene begins, we see the woman driving alone, hunting. the soundtrack launches into the three violin chords, played over three octaves, from a deep and heavy low base, to the violins highest range. The sharp chord lingers for an uncomfortable amount of time, ringing. Its effect is strained, and cyclical; listen closely to this chord and it begins to sound less like an instrument but like a machine, cogs turning in a mechanical structure. the violinists’ bowing is fast and synchronised; the chamber orchestra in theory is the machine, bows moving in a rhythm and pace that reflects the movements of a single contraption. Yet this sound is also characteristic of the woman; she, herself, is a machine, the embodiment of a woman but in reality, she is an alien programmed to act and talk like a human. the instruments are being pushed to their full potential used to create a sound that is uncharacteristic of the violin, they are becoming something they are not, and the noise is excruciating. Much like the woman, she is pretending to be something she is not, and the effect is detrimental. This violin motif is the woman’s theme.

After this note, the cog like beat begins, alongside the woman’s violin theme. This is repeated as an ostinato and continues throughout the scene. The woman is emotionless, she silently and calmly moves throughout the streets, yet the sound begins to build. A third element is added to the soundtrack, a two-note minor hum of strings. A ringing that manifests itself as something menacing an insect like, growing with a crescendo as if it is getting closer. Then to complete the cacophony, all elements come together with the addition of a minor three note drone. The combination of sound almost becomes diegetic. The musical elements repeat and rotate as if part of a conveyor belt. the actual sounds of the violins are painful, reflecting the physical sounds of a mechanism. The soundtrack represents the woman and her ruthless, unprejudiced actions. Alongside this, the music also reflects the structure of society, the film comments on the vain and capitalist society we live in, a never-ending cycle and structure, much like the soundtrack.

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UNDER THE SKIN - Night Drive - Film Clip

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Holly: Lighting 3: Kertz - Apocalypse Now

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Holly: Lighting 3: Kertz - Apocalypse Now

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The lighting in this scene adds to the ominous and mysterious character of Kurtz. In the opening and majority of the scene we can barely see him. He is drowned in darkness, representing his unpredictable nature and ambiguity but also his state of mind. He has essentially been overtaking by darkness within his mind as he sinks further into madness. When his face is lit up the chiaroscuro emphasises this further. The half of his face lit suggests that he can still interact with Willard, but the other half confirms that he is not completely sane. When we see the light on Willard's face is mimicking Kurtz's, we understand that Willard is also at risk of sinking into madness here if he stay any longer. The flickering orange light is the only form of light in this scene. It gives an underlying restless tone at it looks almost as if something has been set on fire. This reflects the scenes of the war and reminds us that danger is never far for Willard, possibly right in front of him. Overall, the lighting in this scene gives us an insight into how war is affecting their minds and slowly coaxing them into insanity, through which Coppola is criticising the mental deterioration that war encourages.

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"You're an errand boy" - Marlon Brando as Colonel Kurtz in "Apocalypse Now" (1979)

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Holly: Lighting 2: Club scene - Victoria

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Holly: Lighting 2: Club scene - Victoria

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In what is meant to be a happy scene we are left feeling saddened and apprehensive. The scene is definitely euphoric however we begin to understand that this is only temporary. When the characters run into the club, we are met with a strong fluorescent blue light. The tone of the light doesn't conjure up feelings of satisfaction or happiness, instead it indicates a sense of sadness. The cold atmosphere from the brightness of it almost gives off an exposing quality as if they are vulnerable, like a search light. Towards the sides of the frame there is a looming darkness. This vignette created increases our focus onto the character highlighted but also encourages the idea of impending doom and uncertainty. When the scene is nearing the end, they seem to be overtaken by darkness which suggests that this euphoria is over and things start to go wrong for them. It also has connotations with a police siren, foreshadowing the events to come. Overall, from this lighting we acquire a confused sense of tension and sadness which leaves us not knowing if they are truly safe and adding to the thriller genre.

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Victoria - Club After The Robbery (1080p)

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Holly: Lighting 1: Cinema scene - Vivre Sa Vie

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Holly: Lighting 1: Cinema scene - Vivre Sa Vie

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Godard uses the lighting in this scene as a vehicle to portray Nana's hopelessness and loneliness. In this scene Nana is in the cinema alone watching a movie. Behind her is a veil of darkness which symbolises the ambiguity and uncertainty of her future. Her hair is also fading into the black background, mirroring how she feels she's sinking into the darkness as a result of her prostitution which connoted ideas of evil and shame. In the foreground she is in sharp contrast to the darkness as her face is lit up by the screen. This chiaroscuro contrast between light and dark implies that she feels an internal conflict on whether her actions are right or 'pure', or bad. Furthermore, The bright light highlighting her face mirrors that of the actor on screen. This draws a parallel between the characters and suggests to the viewer that Nana also feels the pain and longing for death that the actor feels. Therefore, Godard's use of lighting indicates how Nana feels torn due to societal judgement and restrictions, causing her ache for death to escape it.

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Jean-Luc Godard "Vivre sa vie" (1962) - La mort

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Emma: Performance 2: Madeleines Transformation- Vertigo

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Emma: Performance 2: Madeleines Transformation- Vertigo

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James Stewart’s performance as Scotty in the scene were Judy becomes Madeline, invites the audience to envision Scotty’s sickened mind, as we witness his transition to madness. He successfully communicates this through his use of physical skills and desperate tone. “Please Judy”, Scotty’s addiction to Madeleine is notable , through his soft, weakened pitch, showing the audience his deteriorating state without her. He resembles a paranoid drunk with his desperation for something as simple as her changing her hair.
Starting from 0:46, Stewarts anxious, slow steps across the room, heightens the stress of the scene, as he glances out the window in a distressed manner, with the sickening green light reflecting on his face, clearly portraying Scotty as disturbed. Using a stiff posture, with his head raised and shoulders pushed back, a uncomfortable nature to Scotty’s character is exposed. Stewart used his eyes to lead his head, as they pull him along the room, glancing at the door, giving him a possessive quality, as he suddenly sits and looks away. His use of slow pace, when gradually turning his head to see Madaline, perfectly synchronised with the music, achieves the total dramatic effectiveness of the scene. With Scotty’s extreme wide eyes as he stands to see Madeline, resembling the insanity and madness he intended to embody. Gulping as she walks towards him, exaggerating and immersing the audience in this uncomfortable obsession.

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Vertigo (10/11) Movie CLIP - Judy Becomes Madeleine (1958) HD

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Vertigo movie clips: http://j.mp/1uuv3Xq BUY THE MOVIE: http://amzn.to/tLFCk2 Don't miss the HOTTEST NEW TRAILERS: http://bit.ly/1u2y6pr CLIP DESCRIPTION: Scottie (James Stewart) convinces Judy (Kim Novak) to do her hair like Madeleine and is overwhelmed by her appearance.

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Emma: Performance 1: Kertz introduction- Apocalypse Now

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Emma: Performance 1: Kertz introduction- Apocalypse Now

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Marlon Brandon’s portrayal of Kertz in his introduction, unsettles and engages the audience, he performs in a mysterious manner, convincing us to immerse in his madness.
“Are you an assassin?”, he communicates this through his vocal skills, with his raspy tone and low pitch, depicting the image of an intimidating man, as he questions Willard. With the use of frequent pausing and slow pace to build tension, as the dark ominous lighting hides Kertz’s face. However the few moments in which the orange light exposes him, Kertz widens his eyes or lowers his eyebrows, manipulating the shadows to gradually introduce his appearance, one feature at a time. Kertz response to Willard  “They told me you’d gone totally insane”, builds a sense of insanity through the simple grasp of his fist as he tenses his hand in a murderous manner.
Overall adding mystery and madness to his character and unsettling the audience through the tense atmosphere he successfully created.

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APOCALYPSE NOW Clip - Colonel Kurtz (1979) Marlon Brando

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Ambrina(1) – mise-en-scene, costume/props – Anton Chigurh, coin toss

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Ambrina(1) – mise-en-scene, costume/props – Anton Chigurh, coin toss

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Costume choices allocated to Chigurh’s character explicitly reveals the murderous shocking nature withheld from the light. Chigurh wears a soft bouncy bob. His face is long, wide with age and sagging with texture. This juxtaposes with the soft bouncy texture of his hair which associated and normally pictures with that of an angelic youthful character. The way the hair sits on the Chigurh is unsettling. The hair doesn’t fall correctly around the contours of his face and looks a size too small for him. This subtly suggests, size-wise, he has outgrown his hair style. This immediately creates a link between the villain we see on screen and childish characteristics. A relationship between Chigurh as a murderous villain to childhood is established. The resemblance to childhood suggests trauma and anger awoken at such a sensitive time in this character’s past. Unable to let go, Chigurh has carried his burden into adult hood, fuelling his cold-blooded intent to seek merciless revenge on the world. His involvement with a coin makes his rage and decision-making are childish too. With no display of reason Chigurh plays a game with who lives and who does not with his toy, the coin. These childish qualities arise questions as to what morbid events happened to a child to make a man so cruel and evil in his later life and degrade any feelings of compassion and care.

The costume choices could be alternatively perceived as an ageing mentality. The hair cut is a classic trend of past times, and this reflects where Chigurh’s mind set is at. Considering that the film is about letting older generation characters left behind for a new way of societal thinking, indicates that Chigurh is distinctly apart of the Cohen Brothers purpose to illustrate a pessimistic fate for those still stuck in the past. Whilst Chigurh gets away, He doesn’t win either, he is confronted by the faces of the new generation and gives up on his objective, walking away and leaving the frame defeated.

https://www.youtube.com/watch?v=OLCL6OYbSTw

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Mr Hutch: Sound Design 1: The Chicken Chase - City of God

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Mr Hutch: Sound Design 1: The Chicken Chase - City of God

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I'm talking here about the first 56 seconds primarily (though it's all good). Just listen to those knives being sharpened, the Samba swelling, and fingers mulching into the guts of dead birds.

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The show-stopping chase scene that opens 'City of God', in which a chicken destined for the pot successfully wriggles loose and is chased across one of Rio de Janeiro's favela districts by an armed gang.

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Mr Hutch: Sound Design 2: Victim #2 - Under the Skin

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Mr Hutch: Sound Design 2: Victim #2 - Under the Skin

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The sound design here actually causes the viewer to stop breathing and experience the sub-zero violence of an indifferent universe.

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Ambrina (3) – Cinematography – Trainspotting 

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Ambrina (3) – Cinematography – Trainspotting 

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The swerving cinematography use of a round lens in this scene, effectively communicates themes of unnerving chaos.

The scene begins with quick extreme close up shots of locks. Extreme close ups tighten the available space in the frame and immediately constricts any sense of freedom. This hence sets the scene up with an unnerving mood right from the beginning. Following this, we turn to the space in the room. It originally seems spacious but then our main character starts squirming and the camera closes in with a slow dolly. Renton becomes trapped in the frame, almost suffocated by the bed sheets enveloping him. In addition, while the camera is closing in on him, small amounts of jittery movement can be noticed. The camera movement isn’t completely evident to the point where it takes over the scene yet it there enough to be noticed in the background. The confusing amount of noticed camera movement hence becomes an itch in the background of the viewers viewing experience, they can start to feel the unusual discomfort, the prologue to Renton’s pain about to be endured.  At this point the audience’s perspective can feel the struggle that Renton is beginning to experience, and a sense of anticipation builds as we wonder when the worst part is come now that it has subtly arrived. Altogether, this gives the sequence an unnerving opening, with the use of subtle indicative movement and cinematography choices.

Chaos through the camera lens is then cleverly conveyed. From a low level, the room begins to move in the sense where it appears the camera is moving further and further away from the exit of his bedroom. The camera is moving backwards instead of forwards and in slow pace, this make us feel as if we’re being pulled back into the abyss, almost down to hell, creating a sense of panic and fatality. Furthermore, the camera moving in the opposite direction it’s facing totally restricts the audience’s knowledge as to where we are going, we cannot see into the direction we’re moving and so we become vulnerable. The cinematographic techniques strip us of omnipotent power, bound to this low angle. Paired with the uncertain movement, the uncertainty and vulnerability effectively conveys chaos and panic within the scene.

https://www.youtube.com/watch?v=5THh7yp530g

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Mr Hutch: Sound Design 3: The Unkinking Wrapper - NCFOM

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Mr Hutch: Sound Design 3: The Unkinking Wrapper - NCFOM

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Click straight through to 2.30 for the sound. Never has a candy wrapper been more powerful, more threatening, or more absurd. To look at that wrapper and hear its chittered unkinking is to experience a stark awareness of fragility of human life, but also to laugh at it blackly. The dry crepitation somehow has the feeling of tiny broken bones -- it's like the wrapper itself is a corpse.