AS Film Studies 2012-2013: January 2013

Wednesday 30 January 2013

3.4 Acting out your scene screenplay and writing dialogue

Read through

Marking Criteria Film Texts (V & CoM) & Grades

1. ... Knowledge & understanding of MACRO Narrative = (analysis of the storytelling for some deeper meaning)

2. ... Application of Narrative & Genre to the chosen films demonstrating insight & depth = (analysis of meaning using storytelling)

3. Offers a ... range of examples from the films chosen for response, demonstrating ... technical knowledge and understanding, with ... ability to link examples to the set question

Level 4 Excellent (critical, argument & comparative)
(32-40 marks) A grade

• A clearly relevant, sustained and sophisticated response to the set question.
• Use of film terminology is confident, frequent and consistently accurate.

Complex issues are expressed clearly and fluently using a style of writing appropriate to the complex subject matter. Sentences and paragraphs, consistently relevant, are well structured, using appropriate technical terminology. There may be few, if any, errors of spelling, punctuation and grammar.

Level 3 Proficient (can analyse why/reasons to answer the question)
(25-31 marks) B/C Grade

• A mostly relevant and appropriate response to the set question.
• Use of film terminology is appropriate, frequent and mostly accurate in its application.

Relatively straightforward ideas are expressed with some clarity and fluency. Arguments are generally relevant, though may stray from the point of the question. There are some errors of spelling, punctuation and grammar, but these are unlikely to be intrusive or obscure meaning.

Level 2 Basic (descriptive of the story & identifies CHN elements)
(17-24 marks) D/E Grade

• A mostly relevant and appropriate response to the set question.
• Use of film terminology is largely accurate but basic and may lack frequency.
Some simple ideas are expressed in an appropriate context. There are likely to be some errors of spelling, punctuation and grammar of which some may be noticeable and intrusive.

Narrative Post Mock Workshop

Narrative

"Refers to the development of a ’story’, the roles and relationships of the characters within it, the situations and dilemmas they confront and the methods utilised for problem-solving within narratives."

1. Knowledge & understanding of MACRO Narrative = (analysis of the storytelling for some deeper meaning)

2. Application of Narrative & Genre to the chosen films demonstrating insight & depth = (analysis of meaning using storytelling)

3. Offers a range of examples from the films chosen for response, demonstrating technical knowledge and understanding, with ability to link examples to the set question

Checklist

- 3 Act Structure - If it follows 3 act structure then it must have equilibrium and disruption – so analyse this, how does this motivate the heroes journey and reward – what is their reward – analysis of meaning (ie redemption?) V IS the disruption? Evey is the resolution? What is the equilibrium and why establish this as 'normal' – how does this focus our attention on the themes of the film?

- Cause/Effect – analysis of this relationship, if this is all V plan then all characters are being manipulated by him. Is this the typical hero? Why does Evey act? Why does V want revenge and how come he has superpowers

- Character driven/motivation - Theo decides to act for what reason – is he moving the plot forward or do things just happen to him? V is psychologically damaged as is Evey who he tortures. Is this typical for a hero?

- Opposition & Conflict - clearly defined by the protagonist & antagonist. Is this the case with V - are the boundaries between who is the antagonist clear, V is manipulating everyone? Who is the antagonist in Children of Men.

- Positive Resolution & Closure – how are our protagonists rewarded for their journey? Is there a sense of closure and are we comfortable with this or is it open ended – what do you read into this and why have they left it like this? Any loose ends not tied up you are not satisfied with – what about the uprising and the state of England? What about the future of humanity? The public have been manipulate by the Norsefire party and now by V. Are they not just as sheeplike? Why does the army not open fire?

- Hybrid genres - mix together the boundaries of what type of film it is. Need sci-fi elements to establish it is set in the near fiture as technology and a bleak future 'seem' to be where we are headed

An answer – how do they relate to these concepts are they successful, why do they/don't they tell the story using CHN for what purpose?

How is the film telling the story to draw attention to its messages or themes – is it using the CHN to do this or not & why?

Are they actually very good at storytelling and why? Do the characters seem 2 dimensional and their attempts to resolve the problems overly far fetched?

How does the purpose compare for each film,

Justify = give reasons for your argument select from a

TO WHAT EXTENT DO THEY CONFORM (OR NOT) IN COMPARISON and
WHY DO THESE CONFORM OR NOT?
HOW SUCCESSFUL (TELLING THE STORY INTERESTINGLY, to communicate a message, to entertain)?
Non-Linear Narrative = Post-modern
Flawed characters – not heroes – more realistic, more conflicted/complex = Post-modern
Negative Resolution = Post-modern
Is there a clear protagonist & antagonist – isn't V the terrorist? Who is the conflict between in CoM and how does this link to themes?

HOW SUCCESSFUL (TELLING CLEAR STORY & AUDIENCE ENJOYMENT)?
CLUNKY overly complex NARRATIVE?)
Is V too DENSE in the scene with the old man?
TOO PREDICTABLE?
REALISTIC PACING of events or too slow? trying to focus on the themes, meaning/messages?
V for Vendetta was adapted from a 3 part (episodic) comic book had to translate this way of storytelling to a film
TRYING TO DO SOMETHING DIFFERENT, unpredictable
GENRE – THRILLER: SOPHISTICATED AUDIENCE = COMPLEX MYSTERY & SUSPENSE
Storytelling techniques used to highlight create stronger sense of realism to focus on the messages = its a WARNING this is happening/will happen soon/could happen
Storytelling is typically 'mainstream' to reach a wider audience with it Messages and Themes of Dystopia to stand out/draw attention to

What is your conclusion & what key examples from the film is this coming from?

Analysis + Thesis Statement + Argument in the form of an answer (with list of your points)

Friday 25 January 2013

Homework: Mock Exam Representation in V & CoM

Session 1 Recap Outcomes
Analyse stereotypes for meaning in CoM & V - comparing
Apply (psychoanalysis) Yonic & Phallic symbols & explain how it constructs meaning

Representation = Messages

"To what extent does V & CoM conform to film stereotypes and what messages are behind these representations?"

How is it using these stereotypes of gender?
Points for your essay

"Men act, Women appear"?
(Slasher films) Final Girl relevant?
(Action Hero) Hypermasculine?
(Sex Object) Objectification of women?
Psychosexual analysis - Phallic/Yonic imagery - tunnel, train, penetration, male castration
Mother/nurturer? (metaphorical birth/rebirth)
Father/Procreation - 'the fatherland?)
Dystopian representation of British National Identity - (Empire, Nationalism, Facism, Repressed emotions, Non-confrontational?)

Outcome
To select your key scene for analysis - comparative 4 or 5 points to discuss
To formalate an argument - answer the question, what YOU think this means & back up
To analyse meaning using Psycho-sexual meaning? Mother - symbolic role
To justify reasons for the representations and the messages/themes of the film

MACRO Representation V & CoM clips for analysis directors commentary

Q. How does the film use representation to create meaning (messages)

Critical perspective Psychoanalysis: How does this affect our 'reading' of this clip – Yonic & Phallic symbols (MICRO MES)

V&CoM comparison of representations (essay points)

Key scenes to examine -

Evey hair shaved/torture, Opening rape, Evey Ending, Bishops school girl

Kei reveals she is pregnant, Kei walks through guns, Kei gives birth, Kei Ending

V opening intro, Vtv message, V kills Creedy/V dies, V looses Evey

Theo opening meets Juliette, Theo buries Juliette, The long take, Theo ending

National identity

England prevails, Girl getting shot/revolution, Parliament blown up,

Fugee town/bagged on bus, Britain still stands, The uprising

Argue does this challenge or reenforce traditional stereotypes (gender roles in films) – Do Does it demonstrate that in films 'Men act, women appear”?
Is there voyeurism & use of the Male Gaze?
What meaning/reading of messages about Masculine & Feminine in this Dystopian world? Any Yonic or phalic symbols (power)?
What messages from this negative representation of the future of Britain?
Comparative - how Realistic are the characters/vision of London?

Apply to demonstrate
Make a film parody to explore & draw attention to these aspects - re-enact the scene yourselves to reveal the meaning behind the scene

Thursday 24 January 2013

Psychoanalysis & Phallic Imagery

Women sporting cigarettes as a symbol of female empowerment was an advertising campaigns inspired by Freudian ideas. The link between theory and practice was Edward L. Bernays, the acknowledged father of public relations and nephew of Sigmund Freud.

Bernays application of psychoanalytic principles to public relations and advertising came only after reading Freud's "General Introductory Lectures," a gift from Freud to his nephew in thanks for a box of Havana cigars.

In this case, a cigar did prove to be much more than a cigar. The marriage of psychoanalysis and public relations, facilitated by the box of Havanas, made Bernays a very wealthy man.

Sigmund Freud

Manipulating behaviors
Intrigued by Freud's notion that irrational forces drive human behavior, Bernays sought to harness those forces to sell products for his clients. In his 1928 book, "Propaganda," Bernays hypothesized that by understanding the group mind, it would be possible to manipulate people's behavior without their even realizing it. To test this hypothesis, Bernays launched one of his most famous public relations campaigns: convincing women to smoke.

In 1929, it was taboo for women to smoke in public and those who flouted convention were thought to be sexually permissive. Bernays' client was George Washington Hill, president of the American Tobacco Company, who envisioned breaking this taboo to broaden the market for his Lucky Strike brand. Bernays asked Hill for permission to consult with New York's leading psychoanalyst and Freud disciple, Dr. A.A. Brill, and was granted this unusual request.

This was the first but not the last time Bernays would consult with psychoanalysts to help shape his public relations campaigns. When asked what cigarettes symbolized to women, Brill's response was that cigarettes were symbolic of male power.

Wednesday 23 January 2013

MACRO Representation apply to CoM & V

CONCEPT OF REPRESENTATION = MESSAGES/VALUES

Session 1: Recap stereotypes of gender task - using notes carousel and catch up the missing students;

"Men act, Women appear"

Action Film & Horror films offer interesting representations of Gender as well as opportunities for Psycho-sexual analysis

Sigmund Freud 'Father of Psychoanalysis' - Relationship with Mother & Father on your gender/sexual template & psycho-sexual interpretations (ie Phallic imagery)

Create Meaning & Recap

Discussion Points for Art trips students to be caught up on (they will rotate & visit the 'Teachers')

The Final Girl - virginal, pure, female independence, male power (Friday 13th)
Voyeurism & the Male Gaze - women as sex object, men as holder of the gaze (Psycho Abbies clip)
Hypermasculinity - the 'Action Hero' & the 'Action Chick' (Kick Ass)
Phallic imagery & male impotence (Thor)
Phallic imagery in Slashers - female penetration (S
Yonic imagery (Teeth) women as 'other' threat to power (Male Castration theory)
Women as mothers or 'naturally' nurturing (We need to talk about Kevin)

Apple to demonstrate:

Make this into an Extranormal to demonstrate

Action Heroes - http://www.xtranormal.com/superzeroz

Horror - http://www.xtranormal.com/voodooz

British National Identity - http://www.xtranormal.com/historic_figurez

Create Meaning

Rotate & Share your videos

Feedback & check Learning

Session 2 : Apply Concept of Representation to V & CoM

Parody Film Task: Analyse> Discuss> Compare> Create

Make a film that draws attention to, exaggerates & parodies how the films uses stereotypes & creates meaning in the key scenes (ie a performance issue with V's Phallic Knives...)

Group 1.

Brainstorm 5 points

What is significant in how Women are represented or 'used' in the 2 films

Evey, Kee, Julia, Hippy woman

Think & Discuss how your film parody will demonstrate:

What meaning or message can you read into this?

Do they reenforce or challenge stereotypes of Women in film (Men act, Women appear)?

Why & how do the films use of these female characters compare?

Any Yonic or Phallic imagery/Psychoanalysis (Father/Mother symbolism)?

Group 2.

Brainstorm 5 points

What is significant in how Men are represented or 'used' in the 2 films?

V, Sutler, Fingermen, The Resistance, Theo, Jasper

Think & Discuss how your film parody will demonstrate:

What meaning or message can you read into this?

Do they reenforce or challenge stereotypes of Women in film (Men act, Women appear)?

Why & how do the films use of these female characters compare?

Any Yonic or Phallic imagery/Psychoanalysis (Father/Mother symbolism)?

Group 3.

Brainstorm 5 points

What is significant about how is Britain (national identity) represented through MES location, props, costume & it's characters?

V - England prevails, nazis, propaganda, state control, racism
CoM - Border control, Immigrants & Police, Fugeetown, Explosions in streets
Characters - Sid, Fugee woman, Voice of London

What meaning or Messages can you read into this negative Dystopia?

Context - What aspects of being in contemporary Britain is it drawing on?

How does this compare to typical stereotypes of Britain offered in mainstream films?

Building your film

Main Body of your Film

Next week themes compare dystopia & how this is built...

Film Screenplays for you to read & get inspiration

http://www.scriptologist.com/Directory/Filmmaking/Screenplays/screenplays.html

Search by Genre

Iconic Scenes (disruption & resolution) Idea Inspiration

Scripped or Script Buddy online scriptwriting software

Session 1
Idea - Concept - Story
Inciting incident
Resolution/Climax

Session 2: Independent Learning Workshop - Create Meaning
Scriptwriting workshop - evidence on your blog and email post address to rbr@leighmedia.org.uk

Today you will be working your way through tasks to apply the following points of advice to writing a script for a specific scene in your 'film'

How to Write a Scene in a Film Script

1. Film scripts are composed of scenes that tie together into a sequence of events that form an entire movie. To write a film script, the writer must break down the story into scenes. Each scene must tell a bit of the story & follow the format for a screenplay.

2. Determine how long the scene needs to be. A ten-page scene, for example, would require ten minutes of screen time. Remember dramatic pacing - look at examples in your film to see how long the disruption/resolution scene lasts

3. Decide where the scene takes place. Film scripts scenes begin with a scene heading, or slug line, that establishes if the events take place inside (INT.) or outside (EXT.), then exactly where the action happens such as PARKING LOT or HOTEL ROOM

4. Choose which characters need to be in the scene. Know the characters; make sure what they say and how they act are consistent with their personalities. Remember to always capitalize names in your scripts

5. Establish what needs to happen in the scene. Developing a treatment outline will help to break down the script scene by scene

6. Write a "scribble version" that includes some details about the scene. Just write a few words about what might happen in the scene, and refer to these notes later when writing the full scene

Task 1. Inspiration & Story Links

Look over your selected film you are writing to sequel or prequel. Watch the important scenes you analysed and mind map the threads that need to be woven into your scene - what do the audience need to know from your scene?

Watch clips & embedd them from other films in the genre/big influences on your ideas that have/will inspire you. Here are some key disruptions scenes from cinema history

Note on your Mind maps/Brainstorm

Existing characters & new characters - motivations, their reasons for their behaviour/attitude - how will it mirror or foreshadow who they will become/were in the last film?
What type of scene is it - love/romantic disruption? A confrontation/stand off? Redemption? What does this scene need to accomplish to driving/concluding the story or 'revealing' the characters?
How will your character respond to the disruption/how will your character resolve the conflict?
Where is the conflict and how will you use this to explore your MACRO (Gender or Age stereotypes/Birth of the Hero/Conventions changing/Non CHC narratives)?

Task 2. Video Diary (3 - 5 mins) - Print off a large cut out of your main characters.

Discuss with your mentor partner & Outline your scene in depth - what needs to happen & what needs to be said? (remember the requirements of the scene you are writing - the disruption or the resolution)

http://youtu.be/919aaXaDiLE

Use the character images and hold them in front of the characters to tell me who they are in your scene (if sequel how the last film has affected them, if prequel how you are telling their backstory)

Task 3. Act out the scene with your Mentor partner - Dialogue

What dialogue initially must be present in here - don't worry if it sounds terrible or cheesy at this point, what do they need to say to make the audience understand the scene and explore your MACRO study.

Record this dialogue on your phones & upload to your blogs

Task 4. Pen to paper

Now write your scene scribble script. Very, very rough. Start simple - location time & place, mood, describe the atmosphere of the scene. Paint me the picture so I can identify with the characters - make me interested scared, laugh, cry, sympathise, FEEL something for this situation & these characters

Post this to your blog & email me the link to confirm you have completed all tasks in the 2.5 hours you have been given to work on your scripts

Task 5. Homework
Using the following choice of websites to begin writing your script - final draft is due in a fortnight, I require a first draft next week

http://www.scriptbuddy.com/ - this is free

http://scripped.com/ - subscription but has some templates for you to work & ideas suggester from to get you started. If you all chipped in together as a class you could share the log in??? Here's a video to show you what it can do...

Wednesday 16 January 2013

60 second Film Pitch - Lesson Plan

Thursday 10 January 2013

3.1 Lesson Plan: Narrative Post Mock Lesson (CoM & V) Post-Modernism

Postmodernist film

Postmodernist film attempts to subvert the mainstream conventions of narrative structure, characterization and destroys (or, at least, toys with) the audience's suspension of disbelief. Typically, such films also break down and often upend typical portrayals of [representation of social groups], genre, and time with the goal of creating something different from traditional narrative expression.

Wednesday 9 January 2013

Why so many Sequels/Prequels - Film Narrative & the Post-Modern audience

Sequels & Prequels

Sometimes when a movie becomes exceptionally successful, the creator of that work will create a follow-up work known as a sequel. A sequel generally picks up where the original work ended, as in the case of the blockbuster sci-fi movie The Empire Strikes Back. Some authors, however, choose to create a new work which begins before the setting of the original movie, play or novel. A work which explores the early lives of established characters is called a prequel. An example of a prequel would be the 2008 movie Star Trek, which explores the early history of the original characters from the television series Star Trek. The prequel Batman Begins also predates the successful Batman movie franchise released years earlier.

A prequel can be a single work created to explain the back story of popular characters, or it may become the first in a new series of prequels. The new Batman film franchise, for example, may spawn several sequels according to its own story arc, but they will all be considered prequels to the original series which featured Batman as an adult. Sometimes an author will create a prequel after taking the original storyline to its logical conclusion. Author JK Rowling, for example, may choose to write a prequel to her Harry Potter series instead of taking the original characters into adulthood. A prequel would either explore the early lives of the main characters, or else be set a generation or two earlier and use characters only mentioned briefly in the original series.

These sequels may or may not be based on original source materials, but they would incorporate the characters and general setting of the original movie or novel. Such sequels may succeed or fail based on their faithfulness to the original work or other factors. A prequel, however, often demands that the commissioned writer have a solid understanding of the mythology surrounding the original work, as well the ability to create realistic younger versions of established characters.