• Unusual beginning- no establishing shot, no/little eye contact with camera, plot not introduced in an obvious way initially
• Never felt completely aware of the layout of space or the passage of time
• Most notable difference from Hollywood: Instead of shot/reverse/shot, the speaker is often off screen
• Multiple things happening in the shot in different planes, limited direction
• Inter titles to emphasize ideas separate from on screen action
• Jarring Transitions
• Limited audio. Abrupt use of soundtrack. Almost seemed as though something was wrong with the audio?
• Action off screen
• Conversation occurs more often than what Hollywood would generally consider action
o Circular conversations, long, with seemingly no purpose
• Camera spins nearly 360 degrees at one point around Paul and Madeline
• Sexuality openly plays a large role
• Independent woman, in control of her own sexuality, refuses marriage (not the ultimate goal, neither are children), reference to abortion
• Chance- woman kills husband, man stabs self, man burns self
• Unrelated images
• Film within film
o Interesting because it seemed as though the characters did not pay much attention to the film
• Not a happy ending. Not much closure. Main ending action not shown.
• Strange narrative structure. No definitive goal.
o More similar to short episodes, each containing one long conversation, separated by numbers not obviously labeled
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Notes on Nolan's The Prestige
- Notes on Nolan's The Prestige
- First time I saw this film, immediately wanted to see it again. Wish there was a definite way to figure out the twist
- If I were to truly concentrate on what interested me the most about this film, I would discuss Christian Bale's acting. Throughout his career, I feel he has given far above average performances in almost every role he has been cast in.
- However, secondary to that I would probably discuss Christopher Nolan’s directing. If I were to write my paper on this film, I would probably use auteur theory. Nolan has definitely got the technical skill, personal style, and elements that link his films that make him an auteur. He has an amazing ability to deal with an extremely complex plot in an effective way. Master of suspense, gritty narratives. Use of Bale in multiple films (also Michael Caine.) Batman films very different but have underlying style linking them.
- Surprised Scarlet Johanssen cast
- At its heart, it’s just a love story
- Both men had to sacrifice part of themselves for their career. To create an illusion. Could easily relate film back to this idea. People go to the magician/cinema to be entertained, to be wowed, for the suspense, for the mystery, but in cinema we expect there to be an explanation (at least nowadays.) And film is just an illusion of movement, of reality, etc. Director=magician? Perhaps sacrificing a part of themselves for their career as well? Magicians have to do more and more dangerous/interesting tricks to draw an audience. Cinema must constantly reinvent itself as well to remain relevant. Magic dies out because there is a limit on tricks, but also because people discover the truth about what is happening. But magic must always be attended (I guess until it could be televised.) Cinema-we’ll see. Doesn’t require attendance, but also may have many things left up its sleeve.
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Notes on Tom Ford’s A Single Man
· Things that stood out to me:
o The obvious importance of eyes. Many shots only containing that. Hair and make-up are fore fronted in this movie for some reason, perhaps because of the artistic/fashion background of the director. Poster in the parking lot- reference? Psycho?
o Clocks appear everywhere. Allows us to keep track of where we are in the day, but are also used to signify the main character’s heart. When the clock ticking (and the watch) stop(s) so does his heart
o Smooth Fox Terriers- Possibly a lead for my paper. Will talk to professor in person.
o Drowning. It almost seems as though Colin Firth’s body is the only one that is not obviously fetishized through pans up and down the body or specific close-ups on the face. Perhaps because he is the character we relate to. But it seems a bit odd because of his character’s sexuality, the nude drowning scenes.
o Organization of bathroom drawers. I noticed this before, but not the way it relates to the rest of the movie being “almost too perfect” as discussed in class. It almost made cinephiliac viewing more difficult because of the way the environment felt so controlled. And sparse. Though I did notice the magazine-esque layouts of some shots. Namely the one with the Spanish boy in the parking lot of the liquor store. The tennis scene as well. It is interesting how the scenes that fetishize/objectify bodies are the ones that remind me most of magazines and advertisements.
o Color. Oftentimes a scene will start off with muted, almost black and white, coloring but then as soon as an important character (one the main character feels a connection to) enters, the colors change and are much more vibrant. Quote at the end about how life is about the connections you make.
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Notes on Scorsese's Hugo
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Notes on Scorsese's Hugo
· Fairy tale aspect: the many different story lines and basic story line structure of two children looking for adventure fits well with many different fairy tales. Robin Hood: young man stealing to survive and evading the law. Peter Pan: young man and woman go on adventures, he is her escape, he is a “lost boy.” Many orphans, play into many fairy tales.
· Multiple story lines: the many small story lines are almost episodic. There are comic relief elements, montages, documentary portions. The episodic factor is much like early film. And the different types of episodes or story lines are like the different types of early films.
· The scenes that showed early film were amazing. All of the footage was so beautifully restored(?)
· I feel this movie definitely compares 3-D technology to the cinema of attractions. Especially in regard to the Lumiere’s Arrival of a Train. The fable that the first audiences were afraid that they would be harmed by the approaching train onscreen and (I attended the extra credit screening) in the discussion following the film, one of the participants mentioned the fact that they did not feel like it was really a “children’s movie.” One of the reasons they gave was that in 3-D the train was scary. The fact that the same type of effect can come from both of the new technologies definitely links them in my mind.
· Everyone was isolated at the beginning, but people longed for a place to belong (and a purpose, very emphasized) and a family.
· Huge emphasis on technology and the connection/comparison of humans to technology.
· Connection to reality/history: the documentary portions and the narrative (which I found very odd, though I enjoyed it) made the pacing of the film feel very odd to me.
· It is hard for me to imagine children, or people who do not find film fascinating, enjoying this movie.
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Notes on Cuaron's Children of Men
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Notes on Cuaron's Children of Men
Kee and Theo are attempting to get out of the city when they find themselves in the middle of open fire. At one point, they end up in a dilapidated building, running from room to room, trying to avoid the gunfire. The moment I have chosen to describe is the one where other civilians first hear the babies cries. Theo huddles over Kee, who has just been knocked down. The baby is crying. Theo asks if Kee is okay. When he looks up, the other people in the hallway are looking at Theo and Kee. They appear very emotional. Theo seems to be able to tell from their faces that these individuals do not want to harm Kee or her child. They are just happy to see a baby. The people cry and sing and reach out to touch the infant and Kee. Gunfire continues, but the noise coming from it is quieter. Theo, Kee and the baby walk through the hallway. People begin to gather around them. Everyone wants to see the child. The people have many different reactions, but all of them are in awe and none of them are malicious. When Theo and Kee reach the stairs, they run into a man with a gun. He holds the gun up and it looks like he is going to shoot them, but as soon as he hears and sees the baby, he lowers his gun. Other individuals with guns pass by Theo and Kee, looking at the baby, not threatening them. When they reach the bottom of the stairs, they run into soldiers with guns. As soon as one of them realizes that the baby is there, he yells for everyone to cease fire. Theo and Kee pass by many soldiers on their way out of the building and remain unharmed.
