FILM AND TV LANGUAGE FINAL INDEX

1) Film poster analysis
2) Mise-en-scene blog tasks
3) Star persona time lapse
4) Star persona: video feedback and learner response
5) Lighting blog tasks
6) Sound blog tasks
7) Sound: parallel and contrapuntal video feedback and learner response
8) Cinematography blog tasks

9) Cinematography video task and learner response
10) Editing video task and learner response
11) Editing blog task - 750 word analysis

Film & TV Language: Editing video feedback and learner response

Teacher's feedback:

WWW:

• Inventive props: cat/pig/leg
• Humour (Dialogue/performances)
• Cross-cutting more conversation
• Match on action
• Use of dissolves
• Canted camera
• Appropriate and dramatic sound effects/music
• Jump cut on pig dying

EBI:

• Don't break 180 rule

Peer feedback:

WWW:

• "Literally perfect"
• "The best thing I've seen in years"
• Match on action
• Transitions
• Interesting narrative
• Good editing: smooth, continuous
• Camera work
• Amazing soundtrack
• Good use of sound
• Shots: close ups, ots
• Clear dialogue
• Great continuity editing
• Very funny

EBI:

• Sound levels and volume
• Some clunky transitions

Self Assessment:

WWW:

• Soundtrack is great
• Continuity editing
• Narrative
• Humour
• Sound effects
• Climax was thrilling

EBI:

• Missed that I broke the 180 rule
• Sound levels are inconsistent and music was too loud at some points
• The camera was a bit jerky during some shots

I think I successfully met the brief with a unique narrative and suspenseful build up to the climax. I utilise shot/reverse shot well during the dialogue segments, also adding overlays of shots of the pig. I did break the 180 degree rule at one point (1:06), however I feel as if this wasn't that jarring and maybe even enhanced the final film. Either way I'll be sure to keep a keener eye on the 180 rule in the future.

My match on action was fluid and easy to follow, however there were certain small oversights with the continuity that can be spotted. For example, at 0:06 you can see that I'm wearing my lanyard but in the next shot I'm not. Similarly, the first shot of the cat has the case of the phone folded behind itself but at 00:12 it isn't.

The most difficult aspect of editing I found was maintaining a good pace that built up tension effectively; It was tedious trying to time the fade outs, flashbacks and pauses in a way that kept the tension rising. I think the music and sound effects helped keep that tension, but I think the heartbeat sound effect could have been utilised at a more consistent pace. 

Editing: blog task

THE GODFATHER: BAPTISM SCENE



This scene from the climax of the 1972 film "The Godfather" details the baptism of the main character's godson, as well as the murder of the last 5 dons of New York. The masterful use of cross-cutting in the climax of the film help make this one of the most effectively dramatic editing sequences; further emphasised with the chilling organ score and the religious verses.

At the beginning of the sequence, the cuts are slow and work to bring the camera closer and closer to the protagonist - Michael - and his godson. We start very far away, distant from the baby, perhaps invoking the audience's desensitisation to the sins of the mafia. As the baby's bonnet is undressed by the hands of Michael and Kay, a cross cut matches them to the hands of a man preparing to murder.

This is the first starkly juxtaposing cut in the sequence; there is a  sharp contrast in tone between the hands preparing a new life and the hands preparing death, and yet the cut is almost subtle in the way it seamlessly matches the pairs of hands. This editing technique is utilised throughout the sequence, effectively demonstrating the parallels between the two lives of Michael to the audience. As the gun is prepared, the camera cuts further and further away from the handler. This similarly bridges the two lives of Michael together, distancing the audience from the murders he has ordered while they occur ominously at the same time of the baptism.

It then cuts from the preparation of the gun to the cold and distant expression of Michael; This may highlight that he is has the inevitable deaths he ordered pondering on his mind. While this happens the religious organ in the back gets subtly louder, anticipating the christening as well as the murders.

There's a close up shot of the priest's hand, essentially dragging the camera towards the baby's head as he goes to touch it. The baby is calm and silently wriggling when the camera settles on it. The next cut is another parallel edit, this time of a barber squeezing out shaving cream, preparing to use it on one of the men ordered to commit the murder. The same pan over to the subject is utilised, except the calm and tranquillity of the baptism is instead filled with an unsettling foreboding. The contrapuntal Bible verses and religious organ that bridge over the visuals further accentuate the uncomfortable and hypocritical nature of the entire baptism.

A brief cut to another man preparing a uniform on a bed is interrupted by another similar shot of the priest's hand blessing the baby. It then cross cuts to the same man carefully handling a bag containing a gun and a police badge. It then cuts to a medium close up of the man, now wearing a police's hat and the uniform. The fairly quick cuts create a sense of swiftness and efficiency while the baptism goes on, and the use of costume makes the audience unsettled as they are aware this man is not a real police officer.

Next, the director utilises a high angle shot of a man climbing up a set of stairs. He is dressed in a suit and is holding some sort of package, effectively creating enigma codes as to what exactly his role is. He gets higher up the stairs - and closer to the camera - which effectively parallels the rising organ music that continues to bridge over the juxtaposing narrative.

When it cuts back to the church, the priest continues to bless the baby. The priest then asks Michael if he believes in God, by which he responds "I do." The audio of Michael responding to the priest's vows bridges over to what is effectively a montage of fairly quickly paced cuts building up to the killings. The sound bridge creates a brilliant dichotomy between good and evil, as Michael takes the responsibility of being a godfather in terms of both the mafia and religion.

We get another cross-cut back to the baby - and then a brief cut to that same wide shot of the church from the beginning of the sequence - before cutting back to the build up to the crimes. The sound bridge has continued and this time we hear the baby crying along with the chilling religious verse and booming organ, building up to an impactful climax.

After this, the priest asks Michael "Do you renounce Satan?" as the music pauses and we settle on Michael's expression for a moment. Suddenly, a cross cut to a group of men coming out of an elevator accompanies a sound from the organ as they're brutally shot. We then cut back to Michael who says he does renounce Satan, and as the audience processes the irony of his statement another man is murdered.

The pattern of cross cutting from murder to murder creates an extremely chaotic emotional pay off to the intense build up created throughout the entire sequence. It ends with fast cuts from the many dead bodies and Micheal's expression as the baby finishes getting baptised.

Film & TV Language: Editing video

THE CONCEPT:

> A sequel to my Cinematography video,
> as well as the first video exploring the branching paths and parallel timelines that are part of the year 12 media cinematic universe
> The cat wants revenge
> Not vegan friendly

THE SCRIPT:

https://docs.google.com/document/d/1gRKfGbRUeKsxGpXmkUGhgaL2FRp8jJdN_RTlodDcWZo/edit?usp=sharing

THE SHOT LIST:

medium close up of phone call
long shot of me walking
match cut close up on handle
close up of jenny turning
over the shoulder of walking to Jenny
match cut shot of chair

close up on slam
over the shoulder dialogue shot

reverse dialogue shot
medium shot of Jenny shooting

body shot of pig

birds eye long shot of pig dead on floor

THE VIDEO:

Film & TV Language: Cinematography feedback and learner response

Teacher's feedback:

WWW:

• Jump cut
• Good music
• Post production
• Zoom on in cat effective
• Unusual theme/ narrative

EBI:

• Slightly jerky zoom
• Handheld close-up: unsteady

Peer feedback:

WWW:

• Great use of camera angles/shots
• Good narrative
• Good movements
• Editing
• Song
• Clever plot
• Easy to follow
• Very unique and engaging

EBI:

• Lighting
• Shake: steadier camera work
• Clearer narrative

Self Assessment:

WWW:

• I really like what I did with the sound
• The subject matter and themes
• Use of camera angles and shots

EBI:

• I could have included a voice over to make the narrative more understandable
• I need to train my hands to be steadier

I learnt about how camera angles can influence the audience to think certain ways about characters: For example, a low angle can make a character seem imposing and important and a high angle can make a character seem meek and vulnerable. I know in the future I need to improve my camera work when filming as to not create unsteady shots, which I can achieve by using a tripod.

CINEMATOGRAPHY VIDEO TASK

For this task, I used a variety of camera angles and shots to tell the tragic story of a black cat who is sombrely reflecting on being cheated on by a pig. Despite the shaky camera work, I still think the specific framing of the shots helped convey the tone of my narrative. I especially like the two over-the-shoulder(?) shots and how the parallel each other: The first one of the cat looking into the window and seeing a reflection of the bed, and the second one of the pig looking towards the opening door in shock.

Film & TV Language: Cinematography blog tasks

JOJO: DIAMOND IS UNBREAKABLE


[Analysis of this clip up to 1:01]

The opening shot begins as a low angle establishing shot that starts as a curved pan that straightens out in a "J" formation. The angle at which the camera moves is slightly tilted, causing a disorienting effect perhaps akin to a hemispherical image produced by a fisheye lens. Using such unusual camera movements and angles in the very first scene foreshadows the town to be strange and full of anomalies. In the scene, you can see rows of houses and an array of people, easily giving life to the town. As the camera moves, the scene cuts to inside a house, panning to reveal the radio from which the voice over is produced. The tilted angle again connotes a sense of mystery and unfamiliarity, contrasting with the domestic setting of a home. The next couple of shots detail close ups of a hand; cooking bacon and cracking an egg. The next shot utilises an extremely low angle and then switches to a high angle in a kind of shot/reverse shot. These specific shots are used as the egg drops onto the pan, essentially tracking the egg as it falls. The domestic and joyous atmosphere suggested by these scenes, combined with music, creates a shocking reveal at the end of the sequence. The continued use of close ups in the sequence not only creates emphasis on the food, but also creates enigma codes on who the hand belongs to. The next shot has the camera zooming out on the TV at a dutch angle, revealing an empty living room. This specific zoom and angle subtly insinuates there's something slightly off about this house. A close up of the toaster then pans over to a glass. The hand then places the plate of bacon and egg onto the table and rests itself on the side. The radio starts to become distorted as the camera very gradually zooms out to reveal that the hand is severed. The music switched to ominous sounds, emphasising the sense of foreboding. The camera pans over one last close up of the hand and then follows the trail of blood it left behind, transitioning into an artistic ripple of blood that forms the opening title. This confusing and disturbing pay off to the domestic scenes beforehand create an instantly eerie atmosphere, as well as foreshadows the main antagonist of the series as a threat to the peace of the town. 

Film/TV stills

This shot from "Lawrence of Arabia" uses a two shot to create a binary opposition between the two men in lighter colours and the mysterious shadowy figure in the distance. The use of costume to emphasise conflict helps the audience side with the men in lighter colours. The audience feels a similar sense of unfamiliarity and confusion as they look on in the distance. The way the shot is framed makes the audience feel as if they are in the scene with the characters, as the camera is positioned at eye-level. The extreme long shot creates a sense of distance and furthers the tension.



This shot from Harry Potter uses a dutch angle and medium shot  in order to create a sense of enigma and tension. It's clear that there's something wrong in the anticipating atmosphere of the shot and the tense looks on the main characters faces. The shot makes the characters seem unbalanced, emphasising how this is a situation that the characters are finding difficult to grasp. The medium shot makes it so you feel an emotional connection to the characters and understand what they're going through.



This famous shot from "the Shining" utilises a close up to create an exhilarating fear and tension in the scene. The audience witnesses every detail of Jack's crazed expression, serving as an incredibly tense and horrifying moment for both the audience and his wife. The way his face is bordered by the door connotes how he's demolishing all constraints he once had and has snapped as he attempts to brutally axe his wife and child to death.

FILM AND TV LANGUAGE INDEX

1) Film poster analysis
2) Mise-en-scene blog tasks
3) Star persona time lapse
4) Star persona: video feedback and learner response
5) Lighting blog tasks
6) Sound blog tasks
7) Sound: parallel and contrapuntal video feedback and learner response

Sound: parallel and contrapuntal video feedback and learner response

Teacher's feedback:

WWW:

• V. good editing
• Contrapuntal is humorous
• Music is timed to Peppa Pig's tape player.
• Same track

EBI:

• More parallel: cut back at end

Peer feedback:

WWW:

• Great use of parallel and contrapuntal sound
• Visuals edited in time with the music
• Visuals matched with the lyrics of the music
• Lots of humour from the contrapuntal sound
• Hilarious selection of clips and sounds
• "I think Susie raps at some point" (she does)
• Timing
• Song choice
• "Yes."

EBI:

• More songs

Self Assessment:

WWW:

• The opening with Peppa Pig starting the music
• Meets the brief; the video is both contrapuntal and parallel
• The contrapuntal was humorous; 
• Caused a reaction from the audience
• Song choice
• Same track used throughout
• Transition from parallel to contrapuntal was obvious
• Editing:
• Timing; clips are edited to the time of the music
• Clips were selected to match the lyrics and other aspects of the song. (Such as the scream)
• Visuals and music fade out

EBI:

• I agree that I could have cut back to the Fullmetal Alchemist footage to create more parallel sound near the end.
• I also could have used clips from other shows in both contrapuntal and parallel segments

TOP 3:

1. Soumeya: The song choice was brilliant in order to create an obvious parallel and contrapuntal sound. The multitude of clips created a very entertaining video showcasing how jarring country music is.
2. Barbara: The contrapuntal was well executed; Her use of 'Marley and Me' footage over that horridly annoying LSD song caused me lots of emotional pain. She also cut from parallel to contrapuntal and back to parallel at the end over one song.
3. Santosh: His video showcased a very obvious contrast between the parallel and contrapuntal sound. Like all the top 3, he used 1 music track.

Through this task, I learnt that sound is important in film and TV in creating a mood and reaction from the audience. For instance, contrapuntal sound can be used in film to create a sense of detachment or irony in the scene. Using annoying anime music over a slow depressing death scene can cause the audience to find the scene humorous, and so it's important to know how and when to use contrapuntal sound. Similarly, using parallel sound can help emphasise the emotions or tone of a scene.

Sound blog tasks

Stalker (1979)


At the beginning of the scene, there is an absence of music. The diegetic sound of harsh wind that accompanies the visuals fades out until you can only hear the sounds of the environment. The sound of crowing and chirping in the distance as well as a softer breeze of wind create an isolated and ethereal effect, perfectly adding to the mood and visuals of the scene. There is also a loud sound of water droplets that sound somewhat like they're dropping in an empty cave with the way they echo in your ear. The use of sound effects overall creates a very isolated tone and builds up to the voice over and music.
After the moments of nothing but the sound of the environment, you hear the slight sound of breath that begin a voice over. The voice is quiet and whispery, yet still powerful in the way it speaks. There's also a contrast in the femininity of the voice and the unsettling laughter it makes occasionally, which makes the nature of the voice over very discomforting. During the voice-over, there are shots of poo and needles swarmed with flies that are accompanied with a very philosophical lexicon, perhaps making the voice over contrapuntal to the imagery of the scene. The voice ends it's dialogue with another giggle which then bridges over to the music that draws out the scene.
Extremely ethereal and mystifying music accompanies the drawn-out panning shot of the murky brown water, slowly rising along with the visuals. The music may be considered both contrapuntal and parallel, as the music matches the atmosphere of this bizarre, spaced-out dream sequence yet also the visuals themselves are not very ethereal in nature.

Parallel and contrapuntal sound task

In order to explore parallel sound, I edited clips of the anime 'Fullmetal alchemist brotherhood' to the song 'Sucker for pain', matching the lyrics and beat with the violent and explosive scenes. Halfway through the video, the visuals switch to clips from Peppa Pig edited to the music. This creates a sense of comedic irony due to the subject matter and themes of the song contrasting with the tame children's show, and is thus contrapuntal.

Lighting blog tasks

Still image analysis

The image uses low-key lighting, creating deep, dark shadows. The top lighting emphasises her beauty, accentuating her facial structure and make-up, making her appear glamorous. The darkness envelops most of the shot, revealing only her face and hands. This creates a mysterious tone and may connote this woman is a femme fatale sort of character with scheming intentions. The lighting highlights the cigarette in her hand, further emphasising her feminine and mystifying appearance.


This image uses underlighting to create a distorted and terrifying effect. The shadows underneath his eyes and mouth emphasise his angry and determined expression, sinisterly glaring at the camera. The image is quite highly-lit , perhaps to allow the viewer to see all the details of his clothing and crown, connoting wealth and power. He appears to be a villain, or at least a person with bad intentions, due to the sinister appearance of his face created by the chiaroscuro. His crown also can be symbolic of devil horns.


The atmosphere of the image can be easily grasped from the use of back/top lighting. The man's silhouette is accentuated clearly, creating a dramatic outline of this character. The low-key lighting is important in emphasising the large contrast of light and shadow (chiaroscuro) in the image, in which the man's gun, badge and the rain that clashes with him are all highlighted. The viewer's eyes are attracted to those parts of the image, cluing them in as to the profession of the character and also his personality. The fact that half of his face is basked in shadow connotes that this character is serious and mysterious, perhaps a two-sided anti-hero.



The lighting in this image comes from the top-left, casting the woman in a dark shadow beside her. This is low-key lighting due to the chiaroscuro . The shadow emphasises her face and her fearful expression, crafting her to be vulnerable and exposed. The fact she is half covered in shade and half covered in light can perhaps show that darkness is creeping up on her, demonstrating how her fate is sealed as she has nowhere to run.


Lighting from blinds is a visual used in many film-noirs, showing this is a neo-noir film. The use of low-key lighting with the main light seeping through the blinds connotes that this is a risky and rebellious scene that will have consequences in the future.


There is a very intense back light used to create chiaroscuro and emphasise the silhouettes of each character in the shot. The shadows of 4 characters are extended along the floor, creating an extremely sinister and imposing effect as their presence dominates the shot. The strong silhouettes also allow for their weapons to be seen, connoting the sinister nature of the characters. There is a 5th silhouette in the corner, appearing to be a man lying on the floor. The shadows of the other 4 characters extended past him, perhaps foreshadowing the violent scene about to take place, as well as emphasising the vulnerability of the man.


The lighting in this shot is low-key, as the dark shadow of the woman is cast strongly behind her. The chiaroscuro emphasises her concerned/shocked face, also creating enigma as to what she is fearful of. She seems backed into a corner by the framing of the shot, as well as the shadow cast in the corner with her.


The lighting in this shot is high-key, as the shadows are fairly minimal. The top-lighting can connote heavenly light and divine intervention, as further emphasised with the person praying. This person seems to be at peace or perhaps looking for guidance, as connoted with the softened shadows and lighter shades of the image.


The lighting in this shot is very low-key, as most of the shot is bathed in dark shadow. A back-light is used to create the horrifying silhouette of a masked figure, highlighting the giant blade wielded in his hand. The chiaroscuro easily emphasises how much of an active threat this antagonist is. The only other place light shines is through what seems to be a banister, which also highlights a clock of some sort. The use of setting creates a further sense of threat as the viewer is faced with the vulnerability of being hunted in your own home. The banister lighting may connote those of prison bars, starkly demonstrating that this murderous serial killer has escaped the law and is exactly where he shouldn't be.


Both characters are well-lit, however there are still quite prominent shadows cast on the side of their faces we can't see. There is a great sense of enigma as the expressions on both of their faces contrast greatly. The woman's arms flung around the man's shoulders cast dark shadows, perhaps showing a sinister side to their relationship. The man's gun is behind her back, yet quite well-lit. Perhaps this connotes that he has the intention of shooting her and she just doesn't know, or even that she doesn't feel threatened by it.

Film noir research 

The lighting commonly used in Film Noir is low-key lighting, creating deep, dark mysterious shadows and extreme silhouettes. The Chiaroscuro can be used by directors to reveal more about a character’s true intentions than their words could.
Lighting effects:

• venetian blinds create great contrast
• foggy backgrounds add great effect to a silhouetted figure when combined with back lighting. It also casts an eerie glow.
• shadowy figures are imposing and intense

Film noir YouTube clip analysis 

Double Indemnity

The lighting in the scene is primarily low-key, basking both characters in minimal light and creating an unsettling and on-edge tone. The scene begins with the two conversing in fairly dim light. When the man goes to close the window, he is shot at, draws the curtains and darkens the scene further, creating greater chiaroscuro, a darker atmosphere and shift in tone. I chose this clip due to how the Venetian blinds were used; the woman is standing up and the light from the blinds shines on and behind where she's framed. As the man approaches her, he is basked in almost complete shadow with only a slight silhouette to define him. This creates a great contrasting effect and emphasises the difference between the two characters. His character has resolved to kill the woman, and is thus bathed in darkness, however the woman has decided that she isn't going to murder him, and so the horizontal light that is cast behind her reflects this.

Star persona video feedback and learner response

Teacher's feedback:

WWW:

• Very good choice of music
• Excellent concept
• Excellent make-up
• Use of costume (wig)
• Props - cigarette holder
• Attention + detail - beauty spot
• "Gender is a performance"
• Use of sound effects
• Jump cuts
• Humour

EBI:

• Too long: faster edit
• Setting
• Lighting

Peer feedback:

WWW:

• Excellent editing
• Use of sound effects
• Make-up
• Editing
• Fade in and out of music

EBI:

• Too long
• Setting

Self Assessment:

WWW:

• Editing
• Music (fade in and out)
• Concept
• Make-up
• Props
• Costume
• Sound-effects
• Humour

EBI:

• Too long
• Setting
• Lighting

Overall, I think our transformation was successful. Our use make-up and props created a convincing and humorous take on a femme fatale, especially with the excellent performance from Manav. The scenes at the end, such as the smoking and kiss, further created a convincing performance.

My moodboard gave me ideas on what props could be used to further emphasise the character of a femme fatale, such as the smoking stick. There were also certain features such as the mole and red lipstick that were helpful in completing the look.

To improve in the future, I know I need to follow the instructions on how long the video should be. My video was too long, so to fit it into around 2 minutes I can speed up the initial speed transformation at the beginning, to leave time for the slowed down scenes at the end, and also trim down how long the scenes at the end were. I think the fade in and out of the music, as well as the music choice, helped the video technically. The cuts and sound effects (to censor the swearing) were also good, however in the future I could perhaps have smoother transitions.

Regarding the importance of mise-en-scene to character, narrative and the creation of star personas in film and television, I learnt how important setting and lighting can be in setting a mood. We could have used back lighting to imply a more mysterious mood; furthering the femme fatale aesthetic. The setting could have also been changed, perhaps using a dark curtain as a background instead of the school whiteboard.

Star persona time lapse

MOODBOARD

 

A classy, femme fatale character from the 40s/50s

The femme fatale: An enchanting, mystical character who's good looks and seductive charm leads men hypnotised. The initial idea was to transform Manav into a woman akin to Marilyn Monroe, Audrey Hepburn, and other actresses from the era, and so we pampered him up with red lipstick, deep-set eye shadow, long eyeliner and of course the iconic mole. We then fitted him with a wig that, unfortunately, wasn't curly nor blonde. He was directed to smoke the long make-up pen as it resembled a smoking stick; essential in completing the look. During editing, I chose the song "Fly me to the moon" covered by Doris Day to play over the video.

Mise-en-scene blog task

End of Evangelion: mise-en-scene

The use of space in the scene conveys the isolation of the two characters as the only two left on earth, especially the night sky that takes up most of the frame that connotes the characters are alone in the vastness of the universe. They're in the centre of the frame, with the girl laying on the floor, limp and lifeless, and the boy hunched over her with his arms around her neck. You can't see the expressions of either character, perhaps hinting at a sense of vacancy or ambiguity towards the relationship between them, although the girl is seemingly too exhausted/weak to care or to struggle. The bandage on her arm helps to connote her vulnerability, as in a time she's meant to be healing she's being overpowered. The colours of the background are ominous and violent, with the red sea that seems to have no end standing out as the brightest and most striking part of the scene. Interestingly, the white light that settles on the surface of the red can possibly connote a gleam of hope or redemption for the characters and state of the world. There are two giant structures that look like Jesus on the cross in the background: One to the left and one to the right. They are large and imposing, possibly connoting that the two characters have committed great sins (one greater than the other.) The space between the two structures can also imply a distance between the two characters emotionally, despite how physically close they are together.

COMPARING MISE-EN-SCENE

The wire- opening scene.
The scene begins with a panning shot of the ground with a liquid trail on the floor, seemingly blood, with police sirens blaring the background and reflecting on the liquid. Instantly, the tone is set with the dark lighting and grim imagery. The setting is out on a road or street, late at night. There are shots of police cars and a policeman picking something up and putting it in a bag-even the very first scene conveys to the audience that this TV series is a crime/drama series. A shot of young children in the midst of the chaos further hints that this is a bad neighbourhood and their expressions may hint that they are used to this. Most of the scene focuses on two characters sitting on the steps outside a building: they are sitting close together hinting at a sense of trust between each other. One appears to wear a leather jacket and the other a hoodie, perhaps hinting they are of different class status. At the end of the scene, the shot focuses on the body of the boy involved in the shooting and the two men in the background. The use of costume hints that the boy involved in the shooting was part of a gang.

The office- parkour scene
Instantly, the difference in genre is obvious as the focus is entirely on comedy. The camerawork in the scene is authentic and creates the illusion of realism; like this is a real office situation. The shots aren't incredibly carefully constructed, furthering the illusion of realism. The opening shot creates a humorous contrast between the costume of the main character (a tie, office wear) and the actions he performs. The setting of an office is obvious from the sofa and desk. The lighting is also high-key, showcasing a casual and business setting which is clearly parodied with the actions of the characters. The scene of the main desk and the 3 characters cluttering is humorous- especially with the woman at the desk's expressions of annoyance toward the actions of the 3. The spacing in the beginning scene emphasises the destruction of the office setting, with the offices and desks being invaded by the 3 characters causing havoc. At 0:51, the long shot that has 4 cars lined up creates another humerous contrast between the sporadic movement of the characters. They are fairly small in the shot, ironically showcasing their lack of actual talent and contrasting them with the cars. The character's expressions are excitable and determined, creating comedy in the situation. The scene at 1:16 has the characters in the very top corner of the scene. The large space between them and the boxes they aim for obviously highlights to the viewer the ridiculousness of the situation, and also the danger of the feat that they are obviously unprepared for, creating a very comedic shot.

Film poster analysis

1) Perhaps a film about escaping from captivity set in the future, as can be inferred from the sci-fi props and scenery focused on in the poster and the stern man holding a gun with light shining behind him, presenting a symbol of hope for escaping. The woman may serve as the deuteragonist and possible love interest to the man (especially with the cigarette implying a femme fatale sort of character), so she could be the one being saved.
2) Action sci-fi, due to the dramatic lighting of contrasting dark and light colours, as well as the futuristic props and the lead holding a gun.
3) Adults, due to the serious atmosphere of the poster and the sci-fi genre.


1) The storyline doesn't seem to be important, due to the meta setting of the movie poster (a cinema) demonstrating that the movie doesn't take itself very seriously, however it can be assumed it will focus on parody and comedic scenes throughout.
2) Comedy, parody, horror, again with the meta setting and various references on the characters.
3) Young adults, teenagers. The comedy genre and spoof of other scary movies could appeal to many age groups. Adults may enjoy watching it to see the tropes associated with the horror genre get spoofed.


1) The mood of the poster suggests a dramatic, perhaps dystopian story line with the factory smoke filling the air and the singular mysterious hooded character looking on at the scene. However the reviews on the film poster suggest something less depressing, and more hopeful.
2) Drama, world cinema. Seeing as the title is in another language and the movie was made not in Britain. The drama comes from the dramatic appearance of the poster, with the lone-wolf singular character looking on at the grimy and musky water and landscape.
3) Adults, due to the dramatic tone of the poster.


1) The storyline could be about a boy who clings onto hope in a dark time of his life, as the blue sky in the background connotes hope against the dark mysterious hole he looks into. He could be adventuring into somewhere he shouldn't, which leads to the plot of the movie tailing the boy as he tries to avoid trouble.
2) Horror, mystery. The name of the movie invokes a scary atmosphere will be present within the movie. The mystery comes from what lies within the hole he looks in on.
3) Young adults, teens. The age of the protagonist may attract a younger audience, however horror usually has higher age ratings so not too young.


1) The use of bold red typography against an almost entirely black and white background suggests the story to be grim and dark, perhaps about a group or gang committing crimes. The characters are holding guns and black clothing, further suggesting them to be criminals. There is a lone man, framed much smaller than the others above him, perhaps signalling the movie to be about a gang being tracked by someone in higher power or the other way round.
2) Action, thriller, crime. The weapons and framing of the 5 people on the poster connote an excitable and high-action pace to the movie. Crime and thriller can also be inferred from the stern faces of the people on the poster and their weapons connoting their willingness to kill and fight. The name also connotes crime and action, as when you sin you are usually punished for it.
3) Adults, as the serious and bleak tone of the poster would be most appealing to them.


1)Probably about pirates... the captain and his crew go looking for a treasure chest out at sea and encounter murderous creatures and probably rival pirates who do anything to stop them. There may also be a focus on the woman and her tension with the men on the ship. The leads are on the top half of the poster in colour and the bottom focuses on mysterious imagery, with what appears to be the chest, the ship and another group of people. They are stuck being the grimy-green colour, perhaps showing these all to be obstacles and opposition in getting the chest.
2) Action, adventure. The nature of pirates is very action-y and adventure-y
3) Adults, Young adults, teenagers. Pirates attract a wide range of audiences.


1) The name is a play on "pride and prejudice", connoting a similar or parodied plot in the movie. The man and woman are most likely romantically involved, possibly earning the ire of their families due to the divided framing of the poster. The man's side has skyscrapers in the back and the woman has the taj mahal, highlighting a difference in their family backgrounds and thus providing conflict for the movie.
2)Drama, romance, comedy. Due to the name and the position of the two leads of opposite gender faced back to back, it could be concluded that there is some sort of tension (romantic as well as dramatic) between the two that would lead the story. The quote at the top mentions romance and comedy as well. The nature of the name also would imply a dramatic story.
3)Perhaps for young adults, seeing as it appears to be a rom-com. This could also mean it's focused on young women.


1)The poster's dark and colourless appearance again connotes a dark and dramatic plot. The woman is seemingly the protagonist and is wearing a sports bra, so this may be a story about a sportswoman's rise to fame from a child to a million-dollar winning sportsperson. The men on the poster could have been the ones who raised her to become who she is, perhaps getting her involved with illegal or morally wrong situations along the way, which could also be the crux of the movie. She could be trying to reclaim an image for herself and separating herself from her dark past.
2)Action, drama. The use of black and white connotes a dramatic tone to the story, and the outfit of the woman shows she won't be a damsel and is capable of fighting. The general framing of the poster with the woman facing left and the men in the background show this to be a serious, dramatic story.
3)Adults, young adults, again with the serious and bleak tone of the poster.