Friday, 28 September 2012
Wednesday, 26 September 2012
'Set up: How is it used in this film?'
As an audience, we find ourselves entirely dependent on any clues put on show within the opening sequence of a thriller film. However any film fanatic would do will to uncover what is to come of 'Shutter Island', which leaves us asking many questions... the very questions the director has left to ponder over.
During the opening scene a voyage is taking place. Enigmatic inference is made through the use of thick mist smothering a boat in the distance, leaving us questioning what exactly is going on here because the first setting is yet to be completely established. We are then introduced to two characters who met for the first time and learn the US Nationalities, occupations and matrimonial statuses of both men. Following Teddy and Chuck's encounter, appears a long shot/establishing shot of the island cast over with a dark shadow. This presents the audience with very serious negative connotations which are influenced by the build in orchestral music. The island appears desolate, isolated by many miles of water and appears only accessible via boat; a claustrophobic's worst nightmare, otherwise closed off from the outside world. From the stormy weather overhead we can assume that boat travel will be intermittent and leaving the island could later be a problem. The portrayal of Shutter Island in this way leaves us jumping the gun slightly and assuming the inhabitants of the island to have intentions of ill-fate for our two main characters we have only just met. When docking on the island, a quick surge of orchestral music combined with the suspense of the accelerating truck into a closed surrounding provides the audience with the implication that the area they are approaching is hostile and this further supports the idea at this island really is not safe.
The interesting use of chiaroscuro lighting on Teddy's face almost insinuates a parallel personality purposely being demonstrated here. At the same time, Teddy's weakness of water is displayed which arguably leads us to think he is a good-natured character because of how open he seems during his interaction with Chuck and has put his weakness on show. When Teddy is sick into a sink a high angled shot is used. The use of this high angle and dim lighting simply makes the protagonist look inferior and low. Simultaneous shots of vast water are used to convey a deeper meaning, which the director attempts to get across through multiple shots. It is worth mentioning that Teddy seems rather secreted when meeting his new partner, whereas Chuck on the other hand appears conversational and approachable at first glance. When Teddy says a fire was responsible for his girlfriend's death, a very quick shot of the water is laid in between the flashback imagery. However this may seem obvious to us that the girlfriend in fact died by drowning and Teddy is lying, it creates another enigma for the audience who were otherwise unable to immediately pick up on this.
The new partnership between the two officers is particularly important because it allows the story to purposely lay out intentions for us to find out much more about both characters very quickly, because either character is able to ask questions about the other when they first meet, e.g. during the introduction, Chuck is able to get Teddy on the topic of talking about his girlfriend. What is worth taking note of which may become important later on, is how on-edge the guards on the island first seem. This is made obvious when the chief office responds "right now marshall, we are all'. Equally the frequent use of shots depicting the island as hostile with regards to barbed wire and armed guards.
When arriving at the gate, the first relationship strain is put on show between the chief officer and Teddy. The officer's reluctance to allow him to keep ahold of his gun suggests that he may not trust Teddy at first glance, thus the gun is handed over. Here there is a challenge between the power participants and it is worth suggesting that Teddy may have met his first hurdle. This is something that may prove to be a problem later on for Teddy. At this point we side with Teddy and Chuck, having seen these two key characters from the beginning and at first take appear as 'the good guys'.
Shutter Island fits within the codes and conventions you would expect of a thriller film. The codes and conventions have a knock on effect of how the film is interpreted by the audience. The quick cuts and music are parallel to one another, but they give away enough information and therefore portray mystery which links back to this genre. The parrallel sound is used effectively as the music increases from calm and composed to very harsh and rapid. Notice how the screen shots get faster and the music gets louder which has a strong impact. On arrival at the island, the idea of a deadline suddenly comes into place as the boat captain warns them that they do not have long before they will have to leave due to the unsettling weather. You can also interpret this stormy weather as an inclination of what is to come of the character's fates. The use of flashbacks is typical of thriller films as are the use of morally complex character's. When we are faced with the truth of Teddy's past, this conjures up all sorts of problems which relate back to how his girlfriend really died. This is also an example of narrative retardation where the director has chosen to hide and disguise the main character's past, creating Red Herring's along the way of who to look out for (i.e. the chief officer, perhaps because of his obligation to take the guns over the officers when they arrive on the island). All in all, these various techniques create the plot twists and turns which create a strong thriller narrative.
During the opening scene a voyage is taking place. Enigmatic inference is made through the use of thick mist smothering a boat in the distance, leaving us questioning what exactly is going on here because the first setting is yet to be completely established. We are then introduced to two characters who met for the first time and learn the US Nationalities, occupations and matrimonial statuses of both men. Following Teddy and Chuck's encounter, appears a long shot/establishing shot of the island cast over with a dark shadow. This presents the audience with very serious negative connotations which are influenced by the build in orchestral music. The island appears desolate, isolated by many miles of water and appears only accessible via boat; a claustrophobic's worst nightmare, otherwise closed off from the outside world. From the stormy weather overhead we can assume that boat travel will be intermittent and leaving the island could later be a problem. The portrayal of Shutter Island in this way leaves us jumping the gun slightly and assuming the inhabitants of the island to have intentions of ill-fate for our two main characters we have only just met. When docking on the island, a quick surge of orchestral music combined with the suspense of the accelerating truck into a closed surrounding provides the audience with the implication that the area they are approaching is hostile and this further supports the idea at this island really is not safe.
Shutter Island establishing shot.
The interesting use of chiaroscuro lighting on Teddy's face almost insinuates a parallel personality purposely being demonstrated here. At the same time, Teddy's weakness of water is displayed which arguably leads us to think he is a good-natured character because of how open he seems during his interaction with Chuck and has put his weakness on show. When Teddy is sick into a sink a high angled shot is used. The use of this high angle and dim lighting simply makes the protagonist look inferior and low. Simultaneous shots of vast water are used to convey a deeper meaning, which the director attempts to get across through multiple shots. It is worth mentioning that Teddy seems rather secreted when meeting his new partner, whereas Chuck on the other hand appears conversational and approachable at first glance. When Teddy says a fire was responsible for his girlfriend's death, a very quick shot of the water is laid in between the flashback imagery. However this may seem obvious to us that the girlfriend in fact died by drowning and Teddy is lying, it creates another enigma for the audience who were otherwise unable to immediately pick up on this.
The new partnership between the two officers is particularly important because it allows the story to purposely lay out intentions for us to find out much more about both characters very quickly, because either character is able to ask questions about the other when they first meet, e.g. during the introduction, Chuck is able to get Teddy on the topic of talking about his girlfriend. What is worth taking note of which may become important later on, is how on-edge the guards on the island first seem. This is made obvious when the chief office responds "right now marshall, we are all'. Equally the frequent use of shots depicting the island as hostile with regards to barbed wire and armed guards.
When arriving at the gate, the first relationship strain is put on show between the chief officer and Teddy. The officer's reluctance to allow him to keep ahold of his gun suggests that he may not trust Teddy at first glance, thus the gun is handed over. Here there is a challenge between the power participants and it is worth suggesting that Teddy may have met his first hurdle. This is something that may prove to be a problem later on for Teddy. At this point we side with Teddy and Chuck, having seen these two key characters from the beginning and at first take appear as 'the good guys'.
Shutter Island fits within the codes and conventions you would expect of a thriller film. The codes and conventions have a knock on effect of how the film is interpreted by the audience. The quick cuts and music are parallel to one another, but they give away enough information and therefore portray mystery which links back to this genre. The parrallel sound is used effectively as the music increases from calm and composed to very harsh and rapid. Notice how the screen shots get faster and the music gets louder which has a strong impact. On arrival at the island, the idea of a deadline suddenly comes into place as the boat captain warns them that they do not have long before they will have to leave due to the unsettling weather. You can also interpret this stormy weather as an inclination of what is to come of the character's fates. The use of flashbacks is typical of thriller films as are the use of morally complex character's. When we are faced with the truth of Teddy's past, this conjures up all sorts of problems which relate back to how his girlfriend really died. This is also an example of narrative retardation where the director has chosen to hide and disguise the main character's past, creating Red Herring's along the way of who to look out for (i.e. the chief officer, perhaps because of his obligation to take the guns over the officers when they arrive on the island). All in all, these various techniques create the plot twists and turns which create a strong thriller narrative.
Tuesday, 25 September 2012
Wednesday, 19 September 2012
Thursday, 13 September 2012
Narrative Theory
Here is a more in depth analysis of Todorov's 'Theory of Narrative' and a graph to represent 'The three act structure of film'.
Monday, 10 September 2012
Introduction to Thriller
CODES & CONVENTIONS |
TECHNIQUES |
NARRATIVE TECHNIQUES
|
Mise-en-scene
|
POV
|
Plot twists and turns
|
Setting
|
Use of Tracking
|
Multiple lines of action
|
Visual style
|
ECUs/CUs
|
Flashbacks
|
Themes
|
Reveals (track in/zoom in)
|
Narrative retardation
|
Ideology
|
Dramatic Angles
|
Red Herring
|
Stars
|
Eerie/Tense music
|
Misdirection
|
Character-types
|
Off-screen sounds
|
Chase/pursuits
|
Narratives
|
Low Key Lighting
|
Deadlines
|
Iconography
|
Chiaroscuro
|
Principle of concealment
|
Cinematography
|
Strong directional lighting
|
Mysterious characters
|
Special effects
|
Fast-paced editing
|
Morally Complex
|
Sound/Music
|
Colour manipulation
|
Characters
|
Jump Cuts
|
Making the audience work
|
|
Parallel editing
|
||
Obtrusive editing
|
||
Silence
|
||
Exaggerated sound
|
||
Disorientation of time/space
|
Friday, 7 September 2012
Genre Advert
Wanted: One depressed male, slightly balding and around 35 years old. Would need to have psychotic tendencies and is not afraid of getting his hands dirty. Whips and chains are welcome; must have own suit, briefcase and respectable job. Also required, one chain-smoking detective. Must be nosey, impulsive and willing to get the job done. One dark, run down cabin in a forest is also needed, preferably with a basement. It must be electrically sound so that torture equipment can be used. If torture equipment comes fitted, all the better! Also required, one thunder storm, starting from dusk preferably.
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