"The Third Man" 1946 Director -'Carol Reed'
"The Third Man" is a black and white film more commonly known as a 'Noir' film.
The soundtrack called the 'Harry Lime' theme is played during the opening credits. The soundtrack connotes one of the characters in the film, 'Harry Lime'. It indicates from it's jolly melody, that the character 'Harry Lime' is cheerful, clever and somewhat of a comedian. However this music doesn't bide well with the thriller genre.
The film is set in Vienna, Austria just after the war. The soundtrack played over the shot of the city portrays that Vienna is glamorous and easy on the eye which connotes 'Harry Lime's' charm.
After the opening credits a voice is heard. The use of the voice over engages the audience.
This voice tells of the black market trade which is taking place within Vienna. The shot of the briefcase which is a generic signifier of thriller films, is shot on a slight tilt angle. When opened the camera catches the items within the case by using a close-up shot. all of these shots are simple to show the audience what is taking place.
The landscape shot of Vienna shows a sunken ship, along side it lays a dead person washed a shore. This connotes violence from the war.
The establishing shot of 'Holly Martins' is that of a close-up before he he leaves the train he is on. The voice over is that of his voice. His costume is similar to that worn by the lead character in "Once upon a time in America".
After leaving the train station 'Martins heads towards a hotel which is owned by his good friend 'Harry Lime'. The shot of him walking under a ladder connotes superstition and bad luck.
Upon entering the hotel, he walks up a stair well, however the shot shows his shadow from a different angle to what it should, perhaps the shadow is somebody Else's, this shot connotes mystery and illusion.
After hearing the news of the tragic death of his best friend, a high angle, close-up is used to show the dispair upon 'Martin's' face.
He travels to the graveyard where the funeral for 'Lime' is taking place. He runs into a British policemen named 'Callaway' who directs him to the funeral service.
At the burial, there is a two-shot of two suspicious looking men. Also at the funeral is that of widow of the deceased, 'Anna' who is made out to look like a femme fatale from her glamorous dress. From the close-up of her face she appears to be Enigmatic (difficult to understand) and inscrutable (hard to read) from her solome facial expressions. Despite being a femme fatale she is not depicted in any sexual way.
The transition shot relates to 'Anna's' sadness which catches the attention of 'Holly'.
All of the shots that feature within the sequence of filming for the funeral shots are all taken using close-ups.
After the funeral, 'Martin's' is seen in a bar. The tilt shot of him with 'Callaway' in the background represents the way 'Martin's' is feeling, drunk. Seating on his own makes 'Holly' seem Vulnerable.
He is then made to look like a fool by 'Callaway' teasing and mocking him, this could be a stereotypical viewpoint to make it look as though Americans aren't as clever as British.
'Holly' then claims that he will solve 'Limes' murder.
The next scene starts with the audience viewing 'Anna' acting, perhaps with her acting skills she isn't made out to be whom she seems, connotes disguise and split personality.
This then leads to 'Holly' starting his enquiries with 'Anna' at her apartment. The low-angle tilt shot of the butler and 'Martin's' cuts Anna out of the image this connotes suspicion. Then suddenly she is seen removing a photograph from 'Lime's' dressing table of her at the funeral of her dead partner however this can' t be possible, upon seeing the image there is a sense of suspicion.
Throughout the film there are no subtitles for when the Austrian natives are speaking so neither the audience or 'Martin's' can understand what is being said.
Whilst talking to 'Anna' at the window of the apartment a cat can be seen beyond both characters, 'Anna' and 'Holly'.
Having seen 'Callaway' search the apartment of 'Anna's', and having her fake passport taken away from her she is then depicted through a window as though framed.
'Martin's' and 'Anna' are then seen fleeing from a building and down some steps escaping from angry mob, this shot is taken from a low angle.
At the circular stair case the camera shows 'Martin's' face looking up showing the many flights of stairs. The stair well connotes confusion and 'Martin's' incapability to solve the case of 'Lime's' murder. (52 minutes into film)
After leaving the there the is a shot of him running through many streets, the Austrian streets are like a labyrinth that 'Martin's' is unable escape from.
Yet when he catches his breathe he spots a cat, (seen in a earlier apartment window 30 minutes in film). There is a close-up shot of the cat playing with the shoe strings of a disguised man lingering in the shadows. A light from an above apartment shines upon the face. The close up of the non-ambient lighting shining on the character connotes unanswered questions. This character turns out to be 'Harry Limes'.
After dialogue between the two male characters, 'Lime's' flees with 'Martin's' in hot pursuit.
He leads 'Martin's' into the Vienna sewers. The police get involved (1hr 35mins). They to are chasing 'Lime'. The sewers are a claustrophobic space which connote imprisonment.
The vanishing point of the tunnel which 'Lime' dashes for signifies freedom, "light at the end of the tunnel".
Footsteps can be heard in the sewage water(non-diagetic) however the character cannot be seen, not until a search light catches him running (Chiascruro lighting).
The amazing shot of 'Lime' surrounded by different sewage paths in an empty part of the sewer, is drowned out by the calling echos of the police hunting him. this connotes paranoia and anxiety.
Having been shot 'Lime's' makes one last effort to escape however his escape route is blocked by metal grills. there is then a close-up of his fingers through the grills which connotes being trapped.
'Martin's' then shoots 'Lime'.
the film ends where it started, at the funeral of 'Harry Lime'. The 'Harry Lime' theme starts to play again like it did at the start.
Monday, 26 October 2009
Friday, 23 October 2009
Aspire, Reach (My perfume advert)
My perfume advert would be aimed at Men between the ages of of 18 and maximum aged 30. It would appeal to them if they believe that they can see themselves in the image reaching for something, aspiring some what. It would be aimed at those who are deem themselves to be either 'Mainstreamer's', 'Aspirers/Social climbers' or 'Esteem seekers'.
The above type of people strive towards excellence, with their desire to succeed in life through ambition.
The camera angle used for the image was a slight low angle shot of the model reaching up, this gives the impression of aspiring and ambition. Having then placed the models image onto the background I then moved the image of him, to make it look as though he is reaching over the balcony.
The font I used for the brand name of my perfume relates to the image and also how the font is simply and delicate, looking as though in a dream.
The image was created using the programme "photoshop". In my opinion the programme was fairly simple to use, the tools that you are able to use in order for the Creator of the image to make certain effects. The fonts used on the image where downloaded from "Dafont", being able to get a font which suits the perfume brand and name was key. Having got the font i then edited them in "photoshop" to change the font outline and colour.
The image created represents the male social group rather well in my opinion. The model used in the image captures different aspects within the social group, claiming that all men are ambitious and brave. The use of a younger model in the picture means that it is aimed towards the age group of the model, which therefore is saying that the younger generation of males have more desire and ambition in order to succeed.
How does 'Quentin Tarantino' challenge the covention of the thriller genre in "Jackie Brown".
"Jackie Brown" (20 March 1998) Director- 'Quentin Tarantino'
In the film "Jackie Brown", 'Tarantino' has used a female character for the lead role in the film. The character is middle aged, black women whom from her outfit appears to be an airline stewardess.
During the opening sequence the camera is always at a low angle and continually tracking this female character, this shows 'Tarantino's' admiration for this actress.
The use of close-ups show her dominant pose as she strolls towards where she is going. The low angle also connotes dominance.
At one point in this sequence their is a young child (holding a balloon)who appears to be looking at this character in awe, the camera angles used make her seem like role-model.
Scene 2
Other characters are introduced 'Ordell' (Samuel L. Jackson) and 'Louis' (Robert De Niro) in establishing shots. Both characters are introduced viewing a television programme, the programme which is called "girls with guns".During the opening titles of that programme the audience see a animated 'Statue of Liberty' with a weapon this connotes that America is a violent place.Again this perceived when a women wearing a 'stars and strips' (American flag) bikini is shown holding a weapon. Women are objectified in this programme which the 2 characters are viewing.
Later in the scene 'Ordell's' girlfriend/wife does whatever he asks her to do these connotes the typical gender convention of men being dominant over women.
'Ordell' has some business to take care of later that night. He visits some worn down apartments which appear to part of a motel, the use of noir lighting in this setting connotes theres something sinister about to occur.
In this apartment is the character, 'Beaumont' who when asked agrees to aid 'Ordell' with the job that needs to be done. He accepts are some debating.
The next shot shows both of them behind the boot of the car,the boot opens. The camera angle used is a low angle shot showing 'Ordell' holding a guy before 'beaumont'. 'Ordell's' position and stance connote strengh and dominance over the unarmed 'Beaumont'.
The boot which 'Beaumont' is then forced into is a generic signifier of a thriller film as you don't know what may be in it, not knowing connotes a sense of mystery. Through this sequence of shooting the noir lighting is non-ambient so that the characters can just be seen.
The next shot of 'Ordell' is a straight shot of him through the windscreen of the car. a close-up of his hands show him opening the glove compartment, to reveal a gun and a pair of gloves. 'Ordell' is then seen putting the gloves on.
He drives off to a remote area with 'Beaumont' shouting as he is still locked within the claustrophobic confinements of the boot.
When he pulls up (21 minutes into film) he is surrounded by an undeveloped urban area.
'Ordell' picks up the gun, steps out of the car. However not much can be seen due to the use of chiaroscuro lighting which connotes a sense of danger and suspense. The boot is opened, the gun which was is the glove compartment is heard. 'Beuamont' is shot dead in case he medels with 'Ordell's' plans.
The extreme long shot from which the action takes place suggests detachment and cold hearted emotion which correspond with Ordell's character.
In the film "Jackie Brown", 'Tarantino' has used a female character for the lead role in the film. The character is middle aged, black women whom from her outfit appears to be an airline stewardess.
During the opening sequence the camera is always at a low angle and continually tracking this female character, this shows 'Tarantino's' admiration for this actress.
The use of close-ups show her dominant pose as she strolls towards where she is going. The low angle also connotes dominance.
At one point in this sequence their is a young child (holding a balloon)who appears to be looking at this character in awe, the camera angles used make her seem like role-model.
Scene 2
Other characters are introduced 'Ordell' (Samuel L. Jackson) and 'Louis' (Robert De Niro) in establishing shots. Both characters are introduced viewing a television programme, the programme which is called "girls with guns".During the opening titles of that programme the audience see a animated 'Statue of Liberty' with a weapon this connotes that America is a violent place.Again this perceived when a women wearing a 'stars and strips' (American flag) bikini is shown holding a weapon. Women are objectified in this programme which the 2 characters are viewing.
Later in the scene 'Ordell's' girlfriend/wife does whatever he asks her to do these connotes the typical gender convention of men being dominant over women.
'Ordell' has some business to take care of later that night. He visits some worn down apartments which appear to part of a motel, the use of noir lighting in this setting connotes theres something sinister about to occur.
In this apartment is the character, 'Beaumont' who when asked agrees to aid 'Ordell' with the job that needs to be done. He accepts are some debating.
The next shot shows both of them behind the boot of the car,the boot opens. The camera angle used is a low angle shot showing 'Ordell' holding a guy before 'beaumont'. 'Ordell's' position and stance connote strengh and dominance over the unarmed 'Beaumont'.
The boot which 'Beaumont' is then forced into is a generic signifier of a thriller film as you don't know what may be in it, not knowing connotes a sense of mystery. Through this sequence of shooting the noir lighting is non-ambient so that the characters can just be seen.
The next shot of 'Ordell' is a straight shot of him through the windscreen of the car. a close-up of his hands show him opening the glove compartment, to reveal a gun and a pair of gloves. 'Ordell' is then seen putting the gloves on.
He drives off to a remote area with 'Beaumont' shouting as he is still locked within the claustrophobic confinements of the boot.
When he pulls up (21 minutes into film) he is surrounded by an undeveloped urban area.
'Ordell' picks up the gun, steps out of the car. However not much can be seen due to the use of chiaroscuro lighting which connotes a sense of danger and suspense. The boot is opened, the gun which was is the glove compartment is heard. 'Beuamont' is shot dead in case he medels with 'Ordell's' plans.
The extreme long shot from which the action takes place suggests detachment and cold hearted emotion which correspond with Ordell's character.
The murder of 'Harlem'-"Thelma and Louise" ,Understanding element's of Thrillers.
Thelma And Louise (12 July 1991) Director- 'Ridley Scott'
This sequence of film from 'Ridley Scott's', "Thelma and Louise" shows certain aspects and techniques used in thriller films.
After the introduction to the film and establishing the main characters, 'Thelma' and 'Louise' set off on their planned trip. The part on the film which i shall be focusing on is the sequence of film, stretching from the entrance of the Country/Western dance bar to the escape of our characters.
After stopping off at a bar the characters, let there hair down to enjoy the lively, party atmosphere. This setting of the bar is crowded and isn't where you expect violence to occur.
Having consumed a vast amount of alcohol 'Thelma' eventually becomes drunk. Whilst dancing she finds an interest in a male character named 'Harlen'.
Fellow character 'Louise' having guarded her friend from the attention of men, she visits the toilet and leaves a vulnerable 'Thelma' on her own. The fellow she has caught the eye of 'Harlem' takes her outside to get some air as she feels unwell from drinking.
The change in the mise-en-scene is quick. A panning shot of the dark carpark is seen, this shot takes the engaged audience to the action which is about to unfold. The carpark is damp, urban and unnerving from the use of noir lighting, this connotes a sense of fear and anticipates that something violent may occur. The emptiness of the carpark which 'Thelma' is in, connotes exposure and vulnerability.
The audience then view 'Harlem' trying to take advantage of 'Thelma'. The continual use of action engages the audience to make them see what struggle and torment she is going through. The close-up of 'Thelma' slapping 'Harlem', then shows the anxiety and frustration upon his face. He them slaps her in retaliation.
He then forces her over the bonnet of the car and attempts to rape her, the camera catches both characters emotions using close-ups. 'Thelma' is traumatised by what is going on however 'Harlem' aggressiveness is shown through his straining face.
Suddenly a non-diagetic sound of a gun is heard, the camera scrolls slightly towards the right to reveal 'Louise' holding a gun. With gun in hand the convention of the males power and dominance is challenged.
Having threatened 'Harlem' with the gun pressed against his head, he backs away from 'Thelma'.
'Harlem' then claims whilst the girls backs are turned, "B***h. I should have gone ahead and f***ed her." 'Louise' pulls the trigger and shoots 'Harlem'.
In some ways both Thelma and Louise are "Femme Fatales"(dictionary definition-an irresistibly attractive woman, especially one who leads men into difficult, dangerous, or disastrous situations). In a sense 'Thelma's' costume and generally "pretty" appearance makes her bait for men such as 'Harlem', it also connotes objectification. On the other hand 'Louise's' costume connotes strength as her costume is more masculine than 'Thelma's' clothing.
This sequence of film from 'Ridley Scott's', "Thelma and Louise" shows certain aspects and techniques used in thriller films.
After the introduction to the film and establishing the main characters, 'Thelma' and 'Louise' set off on their planned trip. The part on the film which i shall be focusing on is the sequence of film, stretching from the entrance of the Country/Western dance bar to the escape of our characters.
After stopping off at a bar the characters, let there hair down to enjoy the lively, party atmosphere. This setting of the bar is crowded and isn't where you expect violence to occur.
Having consumed a vast amount of alcohol 'Thelma' eventually becomes drunk. Whilst dancing she finds an interest in a male character named 'Harlen'.
Fellow character 'Louise' having guarded her friend from the attention of men, she visits the toilet and leaves a vulnerable 'Thelma' on her own. The fellow she has caught the eye of 'Harlem' takes her outside to get some air as she feels unwell from drinking.
The change in the mise-en-scene is quick. A panning shot of the dark carpark is seen, this shot takes the engaged audience to the action which is about to unfold. The carpark is damp, urban and unnerving from the use of noir lighting, this connotes a sense of fear and anticipates that something violent may occur. The emptiness of the carpark which 'Thelma' is in, connotes exposure and vulnerability.
The audience then view 'Harlem' trying to take advantage of 'Thelma'. The continual use of action engages the audience to make them see what struggle and torment she is going through. The close-up of 'Thelma' slapping 'Harlem', then shows the anxiety and frustration upon his face. He them slaps her in retaliation.
He then forces her over the bonnet of the car and attempts to rape her, the camera catches both characters emotions using close-ups. 'Thelma' is traumatised by what is going on however 'Harlem' aggressiveness is shown through his straining face.
Suddenly a non-diagetic sound of a gun is heard, the camera scrolls slightly towards the right to reveal 'Louise' holding a gun. With gun in hand the convention of the males power and dominance is challenged.
Having threatened 'Harlem' with the gun pressed against his head, he backs away from 'Thelma'.
'Harlem' then claims whilst the girls backs are turned, "B***h. I should have gone ahead and f***ed her." 'Louise' pulls the trigger and shoots 'Harlem'.
In some ways both Thelma and Louise are "Femme Fatales"(dictionary definition-an irresistibly attractive woman, especially one who leads men into difficult, dangerous, or disastrous situations). In a sense 'Thelma's' costume and generally "pretty" appearance makes her bait for men such as 'Harlem', it also connotes objectification. On the other hand 'Louise's' costume connotes strength as her costume is more masculine than 'Thelma's' clothing.
How does Terry Windsor utilises the forms and conventions of the Thriller genre in "Essex Boys".
"Essex Boys" (14 July 2000) Director- Terry Windsor
The black background behind the opening credits/titles immediately suggest a dark and dangerous story, the soundtrack playing in the background suggests suspense.
The first shot of the movie is generic. The chiaroscuro lighting(light upon darkness technique) injects the mise-en-scene with a sense of illusion whilst the enclosed space suggests claustrophobia and vulnerability as well as intimidation.
When the door of the garage is opened the lighting shows a unused car surrounds in cobwebs. The cobwebs add a sense of fear, which is usually associated more with the horror genre. Meanwhile the car seen in the image is a representative of one of the main characters,'Jason' who has been locked up in prison, like the car being imprisoned in the garage.
The diagetic sound gives the mise-en-scene a realistic or authentic tone as the story of the film is based on true events. The non-ambient lighting indicates a stylish interpretation of these events that occurred. Within the opening sequence, the camera is always still and focused on the characters in the garage.
The voice over is based on the young male character. The use of the voice over makes the story more realistic this in turn engages the audience bringing them into the story as the character is directly speaking to the audience, giving them his perspective on the story.
The establishing shot of 'Jason Locke' takes up 2 thirds of the camera lense. the close-up of his face and shoulders shows culture and lifestyle from the shirt that he is wearing, the image also shows the stern emotion upon 'Jason's' face.
The next scene shows the characters setting off in the car. one shot during this sequence is a point of view shot following the vehicle into a tunnel. The tunnel is shaped like a barrel of shotgun symbolizing the end or start of something such as an era. The gloomy lit tunnel connotes suspense, the lights also lead into a vanishing point.
The streams of light reflecting off of the car windscreen resemble the bars of a prison cell,as though representing that the young character is trapped or imprisoned in the car with 'Jason'. Again the vanishing point could connote that the road leads to prison just as long as he's with 'Jason'.
As the vehicle exits the tunnel the camera angle reverts back a point of view shot(just like whats seen when the car enters the tunnel), this shot engages the audience, tracking the movement of the other vehicle and 'Jason'. Within the mise-en-scene the audience can see that the roads are sodden damp this convention fits into the thriller genre, a bridge can also be seen it could connote that the young character has chosen the wrong route.
After arriving at the destination which 'Jason' wanted to go to, he rushes out of the vehicle to take care of someone who caused him to go to prison. The strong violence and throwing of acid into this mans eyes is typical of a thriller film, during this sequence there is a rapid interchange between shots. The shot of the Young boy witnessing the violence through the car wing mirror enables the audience to see what he does from his angle.
'Jason' then chucks the man into the back of a white van. A white van is a generic signifier of thriller films.
After the scene of violence, the characters take the man(who is temporarily blind from having acid thrown into his face) is taken to a remote part of the 'Essex Marshes'. Having opened the latched door of the van, the man jumps out of the vehicle to find himself lost unknowing where he is. 'Jason' and his protoche then leave the man to die in the uninhabited marshland.
The featureless, uninhabited and dull marshland suggests/connotes 'Jason's' morality and emotions.
The black background behind the opening credits/titles immediately suggest a dark and dangerous story, the soundtrack playing in the background suggests suspense.
The first shot of the movie is generic. The chiaroscuro lighting(light upon darkness technique) injects the mise-en-scene with a sense of illusion whilst the enclosed space suggests claustrophobia and vulnerability as well as intimidation.
When the door of the garage is opened the lighting shows a unused car surrounds in cobwebs. The cobwebs add a sense of fear, which is usually associated more with the horror genre. Meanwhile the car seen in the image is a representative of one of the main characters,'Jason' who has been locked up in prison, like the car being imprisoned in the garage.
The diagetic sound gives the mise-en-scene a realistic or authentic tone as the story of the film is based on true events. The non-ambient lighting indicates a stylish interpretation of these events that occurred. Within the opening sequence, the camera is always still and focused on the characters in the garage.
The voice over is based on the young male character. The use of the voice over makes the story more realistic this in turn engages the audience bringing them into the story as the character is directly speaking to the audience, giving them his perspective on the story.
The establishing shot of 'Jason Locke' takes up 2 thirds of the camera lense. the close-up of his face and shoulders shows culture and lifestyle from the shirt that he is wearing, the image also shows the stern emotion upon 'Jason's' face.
The next scene shows the characters setting off in the car. one shot during this sequence is a point of view shot following the vehicle into a tunnel. The tunnel is shaped like a barrel of shotgun symbolizing the end or start of something such as an era. The gloomy lit tunnel connotes suspense, the lights also lead into a vanishing point.
The streams of light reflecting off of the car windscreen resemble the bars of a prison cell,as though representing that the young character is trapped or imprisoned in the car with 'Jason'. Again the vanishing point could connote that the road leads to prison just as long as he's with 'Jason'.
As the vehicle exits the tunnel the camera angle reverts back a point of view shot(just like whats seen when the car enters the tunnel), this shot engages the audience, tracking the movement of the other vehicle and 'Jason'. Within the mise-en-scene the audience can see that the roads are sodden damp this convention fits into the thriller genre, a bridge can also be seen it could connote that the young character has chosen the wrong route.
After arriving at the destination which 'Jason' wanted to go to, he rushes out of the vehicle to take care of someone who caused him to go to prison. The strong violence and throwing of acid into this mans eyes is typical of a thriller film, during this sequence there is a rapid interchange between shots. The shot of the Young boy witnessing the violence through the car wing mirror enables the audience to see what he does from his angle.
'Jason' then chucks the man into the back of a white van. A white van is a generic signifier of thriller films.
After the scene of violence, the characters take the man(who is temporarily blind from having acid thrown into his face) is taken to a remote part of the 'Essex Marshes'. Having opened the latched door of the van, the man jumps out of the vehicle to find himself lost unknowing where he is. 'Jason' and his protoche then leave the man to die in the uninhabited marshland.
The featureless, uninhabited and dull marshland suggests/connotes 'Jason's' morality and emotions.
Subscribe to:
Posts (Atom)