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The film is one of Wong Kar Wai's tributes to Hong Kong and urban loneliness.

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Rashomon (1950). The film was developed and released in Japan in 1950, just around the time it was considered to be the Golden Age of Asian Cinema. 

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Questions:

1. Based on these details and any additional knowledge you have about Japan in the 1950s, what were your observations of the film?

2. Why do you think this Japanese film would have made such a splash internationally?

3. What were scenes that stood out to you - whether good or bad and why?

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Robin Hood: Men in Tights (1993) is often described as a parody of swashbuckling films. 

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Questions:

1. Based on the film's conventions, what genres does the film fit into? Describe at least three elements of the film that showcase these conventions.

2. Based on the film's iconography, what genres does the film fit into? Describe at least three elements of the film that showcase these conventions.

3. Having little to no knowledge of swashbuckling films, would you be interested in exploring the classics of the genre?

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Based on the film's conventions, robin hood men in tights fits into the genres of satire, comedy, and adventure. It being a swashbuckling film as well, a subgenre of the action genre, conventions of these are apparent in various aspects of the film, such as its absurd plot, over the top humor, and action packed add more words to this, continuing it "based on the film's conventions, robin hood men in tights fits into the genres of satire, comedy, and adventure. It being a swashbuckling film as well, a subgenre of the action genre, conventions of these are apparent in various aspects of the film, such as its absurd plot, over the top humor, and action packed adventure scenes. Three elements that showcase these conventions are the use of parody and satire to poke fun at the classic robin hood story, the exaggerated performance of the cast members, and the up-played action sequences, which include swordplay, chases, and stunts."adventure scenes. Three elements that showcase these conventions are the use of parody and satire to poke fun at the classic robin hood story, the exaggerated performance of the cast members, and the up-played action sequences, which include swordplay, chases, and stunts.

As for the film's iconology, robin hood men in tights also fits into the genres of satire, comedy, and adventure, as well as the genre of fantasy, due to the use of magic and mythical elements. the iconography of these genres is evident in the film's costume design, set design, and visual effects. Three elements that showcase these conventions are the over dramatized costumes worn by the characters, the whimsical sets that create a fantasy-like atmosphere, and the use of visual effects, such as green screen and animated sequences, to create a magical and comedic feel.

As for the last question, I would definitely be interested in exploring the classics of the swashbuckling genre after watching this movie. The film is a classic example of a satirical comedy adventure. Moreover, the up-played action sequences featuring swordplay, chases, and stunts are an essential part of the swashbuckling genre. The film's use of satire is evident as it makes fun of the traditional Robin Hood story. The film takes full advantage of the audience's familiarity with the classic tale to create a humorous and absurd plot. For example, the film plays with the idea of the Merry Men being a diverse group of outcasts. Instead of being a serious group of bandits, they are portrayed as a group of misfits with diverse backgrounds and quirky personalities. The cast's exaggerated performances add to the film's humor by taking the already absurd plot and making it even more ridiculous. Every character is portrayed with a unique personality, and all of them are played to the hilt. The actors' comedic timing and delivery are perfect, making the film even more enjoyable. The film's ridiculous take on the genre's conventions was both entertaining and informative, and has piqued my curiosity to learn more about the classic movies that inspired it.

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Question:

identify the following archetypes and their counterparts in the film:

Protagonist < --- > Antagonist

Reason < --- > Emotion

Sidekick < --- > Skeptic

Guardian < --- > Contagonist

In your entries in padlet, give a short explanation about what scenes or moments in the film truly show that the character is representative of the specific archetype.

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Protagonist < --- > Antagonist:

Protagonist (Neo): Neo serves as the film's protagonist, the central character who undergoes a transformation and takes on the role of "The One." His journey from a skeptical computer programmer to the savior of humanity is evident throughout the film. Moments such as his training sessions with Morpheus, his determination to save Morpheus from the agents, and his ultimate battle with Agent Smith in the climax highlight his evolution into the hero of the story. Neo's struggle for self-discovery and his acceptance of his destiny symbolize his growth as the film's central hero.
Antagonist (Agent Smith): Agent Smith represents the primary antagonist, an unrelenting force opposing Neo and the resistance. His desire for control, his pursuit of Neo, and the cat-and-mouse chase within the Matrix exemplify his role as the central source of conflict in the narrative. Agent Smith's unwavering determination to maintain the machines' dominion over the human race solidifies his position as the film's formidable and relentless adversary. The contrast between Neo's journey and Agent Smith's unyielding opposition forms the core of the film's dramatic tension.

Reason < --- > Emotion:

Reason (Morpheus): Morpheus embodies the archetype of reason. He is the wise mentor who provides Neo with knowledge and guidance on the nature of the Matrix. Moments such as when Morpheus calmly explained what the Matrix is and his belief in the Oracle's prophecies show his role as the rational guide.
Emotion (Trinity): Trinity represents the emotional aspect of the story. Her deep emotional connection with Neo is evident in moments of affection and devotion. Her love for Neo, especially during their romantic scenes and when she professes her belief in him, underscores her role as the emotional anchor of the narrative.

Sidekick < --- > Skeptic:

Sidekick (Cypher): Cypher initially appears as a loyal member of the resistance and serves as a sidekick archetype. However, he later becomes a skeptic when he betrays the group. His scenes with the rest of the team, particularly the dinner scene where he expresses his disillusionment with reality and his desire to return to the Matrix, showcase his transition from a sidekick to a skeptic.
Skeptic (Cypher): Cypher fully embodies the skeptic archetype as he questions the reality of the world outside the Matrix and ultimately chooses to betray his comrades in favor of a life of comfort and illusion. His conversations with Agent Smith, where he expresses doubts about the truth, shows that his role in the story is a skeptic.

Guardian < --- > Contagonist:

Guardian (The Oracle): The Oracle serves as the guardian archetype, offering guidance and prophecies to the characters. Her scenes, particularly those where she imparts her wisdom and insights to Neo, Trinity, and Morpheus, emphasize her role as the guardian figure who aids the heroes in their journey.
Contagonist (The Machines): The machines themselves can be seen as the contagonist archetype. Their constant control over the Matrix and their relentless pursuit of Neo and the resistance create an ever-present threat throughout the film, showcasing their role as the overarching force opposing the protagonists.

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Questions:

1. Break down the narrative structure of the film according to it's features in the three acts. Using the features discussed during class (and outlined in the PPT):

ACT I Setup

ACT II Confrontation

ACT III Resolution

2. What were your expectations of the film when it began?
3. After watching the film, were those expectations you had fulfilled, cheated or disappointed? How so?

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Act I: Setup

The film begins with novelist Paul Sheldon (James Caan) meeting a tragic fate in a snowstorm. The, we’re introduced to his biggest fan, Annie Wilkes (Kathy Bates), who rescues him and tends to his injuries. The initial setup paints Annie as a caring and somewhat odd nurse. We are drawn into a seemingly simple story of survival, with Paul as our sympathetic protagonist and Annie as his savior.

Act II: Confrontation

This is where the film takes a dark and unexpected turn. Annie's obsession with Paul's novels, particularly her attachment to his heroine, Misery Chastain, begins to surface. The film leaps from being a mere story of survival, to a horror, almost psychological thriller. The tension escalates as Annie's behavior becomes increasingly erratic and controlling. The "confrontation" is not between Paul and the harsh winter outside, but between Paul and the very woman who saved his life.

Act III: Resolution

In the final act, the narrative tension reaches its climax. Paul realizes that his only way out is to cater to Annie's delusional demands. The resolution isn't given a nice and clean, but a gut-wrenching struggle for freedom. This is where "Misery" brilliantly subverts traditional horror tropes. There are no supernatural forces, no masked killer lurking in the shadows. The horror stems from the disturbing reality of obsession and captivity.

As someone who isn't really into the film's genre, my expectations for the film was just that I wasn’t that familiar with it itself, so I kind of just approached it blindly. I'm not much of a horror fan myself. The whole blood, gore, and jump-scare extravaganza usually doesn't float my boat. Nonetheless, I was open to looking into this film. Honestly, they weren't particularly high. I figured it would be your run-of-the-mill horror flick, filled with the usual violence and a predictably spooky soundtrack. Though, I’ve heard my friends speak highly of this movie, so after having watched it, it was worth the watch. I loved how the film emphasized just how dangerous extreme fanaticism can be, and as a fangirl myself, with intrusive thoughts similar to Annie, it felt very real and such a swerve from your usual thriller movies.

After watching the film, I wasn't cheated, nor was I disappointed. In fact, I was pleasantly surprised. "Misery" gave me an experience that transcended the boundaries of its genre. It didn't just entertain; it left me genuinely captivated and disturbed. The film was an intense, character-driven exploration of obsession and captivity, which gripped me in a way I hadn't expected. So, in the end, my journey into the world of "Misery" as a psychological thriller wasn't about giving you the usual “spooks”, but about challenging the genre and proving that a film can be so much more than what it initially appears to be.

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These films in the THREE...EXTREMES anthology strongly utilize these two components of the mise en scène to achieve an effect.

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Questions:

Why did you think the directors of the three films chose their specific color palettes for the sets and props?

What do you think these choices for the set are meant to convey to the audience?

In your opinion as an audience member, were these choices for the setting used effectively?

For you as a viewer, what were the standout costume and makeup choices in these films?

What were these costume or makeup choices meant to say about the characters we were watching?

Of all three shorts, which film did you like best and why?

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The film is a much lauded and reviewed thriller film of the 90s, and a favorite among many cinephiles. 

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Questions:

The ensemble cast of this film includes the characters of Verbal Kint, Agent Kujan, Dean Keaton, Michael McManus, Fred Fenster and Todd Hockney. Select three characters from this list and discuss the specifics of the following things they used to bring their characters to the screen:

1. Figure Expressions

2. Figure Movements

3. Sound Elements

Select two scenes from the film that you feel made great use of blocking and explain why you think it was presented so well. What did these two presentations convey to you as an audience member watching the film?

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The anthology "Three... Extremes" takes viewers on a thrilling journey, with each director imprinting their unique style on the screen. A silent language is evident through the color palettes utilized in each segment, and they communicate their intentions vividly. In "Dumplings," the warm, almost sickly shade of yellow used in Aunt Mei's apartment visually conveys the discomfort and unease that the audience experiences during the film's progression. The color is unsettling, reflecting the grim events of the plot. In "Cut," the sterile white room serves as a surgical slap to the face, mirroring the cold and calculated games being played out. Finally, in "Box," the grungy blues and blacks transport viewers to the depths of despair, reflecting the profound inner turmoil of the characters. The directors skillfully use color as an emotional scalpel, cutting deep into the audience's emotions.

As for the costumes and makeup, I would consider them as the unsung heroes of this anthology. My standout costume and makeup choice in Dumplings, would be Aunt Mei's ensembles. They are a peculiar blend of nurturing and sinister. The cheerful apron contrasts with the horrors of her dumpling recipe, creating an unsettling dissonance. In Cut, the character in the wheelchair dons a slick suit, projecting an appearance of confidence as everything falls apart. This visual choice serves as a metaphor for the fragility of sanity. Lastly, in Box, the disheveled appearance of the lady in the box suggests she just clawed her way out of hell, capturing the raw and jarring psychological trauma on display. These costume and makeup selections are not mere adornments but rather reveal the characters' troubled psyches, offering whispers to the audience of the characters' inner turmoil.

As an audience member, the choices made by the directors were impeccable. The sets and visuals successfully immersed me in each story, heightening the impact of the unsettling narratives being portrayed. The colors and costumes weren't merely aesthetically pleasing; they played a significant role in the psychological manipulation the directors were attempting. It's as if they were aware that we, the audience, would be scrutinizing every detail for significance, and they delivered accordingly. These choices weren’t just effective but essential.

The film I liked the best would definitely be "Dumplings". It's not about flashy visuals or convoluted plots; it's the gut-wrenching revelation of a message that got me hooked. This short dives deep into the murky waters of human desires, showing just how far people are willing to go to satisfy their cravings. The simplicity of the narrative belies its unsettling impact — a stark reminder of the dark corners within us all. While the other shorts offer their own brand of horror and shock, "Dumplings" stands out by hitting you where it hurts the most, questioning the limits of personal desires and the disturbing lengths some are willing to go. It's a cold and calculated journey into the depths of human nature, and that's what makes it my favorite in this anthology.

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Daniel, R. (2018, August 19). Three. . . Extremes (2004) - Review - Far East Films. Far East Films. https://www.fareastfilms.com/?review_post_type=three-extremes

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Questions:

How did the film's lighting distinguish the scenes concerning the four main characters' POV?  Discuss in terms of Lighting Quality, Direction, Source and Color.

Woman in the Blonde Wig

He QiWu (Pineapple Man)

Cop 663

Faye

What do these specific lighting choices for each character convey to you, as a viewer?

Whose lighting setup, among our four characters, gave you the clearest idea of the character you were watching?

As a matter of personal preference, which character's lighting scheme was your favorite?

As a matter of personal preference, who was your favorite character and why?

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The film almost has lighting as a character itself, contributing extensively to the mood of each of the four protagonists. First, with the Woman in the Blonde Wig, is surrounded by an enigmatic and surreal blue light. The cinematographer's lighting choice creates a smooth and dreamlike quality, adding to the character's mystique. The direction's subtlety casts shadows that blur the lines between reality and illusion. It's challenging to determine the source of the lighting, as it seems to emanate from both everywhere and nowhere, echoing the character's mysterious nature. The choice of color, an ethereal blue, suggests a sense of detachment, as if the character exists in her own world.

Second, He QiWu, known as Pineapple Man, has scenes where the lighting is bold and intense, most likely because of it being sharp, giving his character a commanding vibe. The lighting is often straightforward, coming from a single, powerful source, which casts dramatic shadows. The color temperature is warmer, creating a sense of urgency and unpredictability. It's as though his scenes are illuminated by the fiery determination within him.

Third, Cop 663, utilizes a muted color palette. The lighting quality is somber, casting a haze over his scenes. The direction is often from the side, casting long shadows, emphasizing his solitude. The source seems like it's a mix of ambient light and the glow of a lonely streetlamp. The color leans towards melancholic tones, reflecting his emotional state. It's like the light is trying to navigate through the emotional fog that surrounds him.

Lastly, we have Faye and her quirky charm. Her lighting is playful, with a mix of warm tones and vibrant colors. The quality is soft, creating a cozy atmosphere. The direction is more scattered, giving a sense of randomness, picturing her unpredictable nature. The source is like a mishmash of different lights, as if she's creating her own world with whatever is available. The colors convey a sense of warmth and joy, like a burst of sunlight on a rainy day.

As a viewer, these lighting choices create a visual translation for each character. The Woman in the Blonde Wig is this elusive and mysterious character. Pineapple Man is bold and determined. Cop 663 is trapped in his own emotional struggles. Faye is a burst of energy and unpredictability. Among them, Faye's lighting setup gives the clearest idea of the character. It reflects her personality, as her scenes are bursting with playful, soft, and vibrant lighting. The warm tones and vibrant colors create a cozy and inviting atmosphere, reflecting Faye's approachable, free-spirited, and friendly demeanor.

My favorite lighting scheme would be Cop 663's. The hazy effect adds this dreamy, almost otherworldly vibe to the scenes. It's like you're wandering through a misty memory. I love how it plays with the atmosphere, giving everything this soft focus that's both calming and a bit disorienting.

As for characters, my favorite would be is the Woman in the Blonde Wig. Her mysterious nature intrigues me. She's an unsolved mystery under that blonde wig. The way she moves through the story, leaving a trail of questions and intrigue, it's just captivating. You're left wondering about her past, her motivations, and it adds this layer of complexity to the whole narrative.

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Alphonsewords. (2017, July 12). Colors in Chungking Express. Site Title. https://alphonsewords.wordpress.com/2017/03/12/use-of-color-in-chungking-express/

Hkcinemag. (2014, August 21). Wong Kar Wai’s visual style in Chungking Express. Hkcinemagroup3. https://hkcinemagroup3.wordpress.com/2014/08/21/wong-kar-wais-visual-style-in-chungking-express/

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The three characters I've chosen are Verbal Kint, Dean Keaton, and Todd Hockney. Verbal Kint, played by Kevin Spacey, exudes a subtle yet captivating figure expression that conceals the depth of his character. His physicality enhances the mystery, keeping the audience hooked. Dean Keaton, played by Gabriel Byrne, uses a more stoic figure expression, depicting his complex moral compass. The tension in his movements and the quiet strength in his demeanor add layers to the character. Lastly, Todd Hockney, portrayed by Kevin Pollak, stands out with his sharp figure movements and a touch of humor. His body language and expressions bring a dynamic energy to the group.

As per the sound elements, Verbal Kint's distinct voice, marked by a calm cadence, adds an eerie quality to his character. Keaton's voice carries the weight of his past decisions, resonating with a mix of regret and determination. Meanwhile, Hockney's sharp wit is skillfully emphasized by his tone and timing, adding a touch of humor to even the most serious moments.

Two scenes that made great use of blocking would be the lineup scene and the confrontation between Kint and Kujan in the detective's office. The lineup scene stands out as a masterclass in suspenseful blocking. The characters' positions create visual intrigue, keeping the audience on edge. The interplay between the characters' movements and the shifting focus adds a layer of tension that permeates the entire scene. It's a showcase of controlled chaos, making the audience question every detail. The confrontation between Kint and Kujan in the detective's office is a dance of power dynamics. The shifting physical proximity and the strategic use of space heighten the psychological intensity. As Kint weaves his narrative, the blocking accentuates the manipulation at play. I would describe it as a cinematic chess match.

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Quiroz, M. A. (2018, January 19). Trust Me: Usual Suspects the Movie and Selling are Related. Medium. https://medium.com/@michaelangelo_q/usual-suspects-selling-e876b0b4044a