BLK feedback

Excellent analysis and reflections on your horror shot Bisma. Aim to be a little more technical though - start by identifying the shot distance you chose (and why) and mention a key feature like frame within a frame straight away. You will build up skill with this as you do more analysis.

Your choice of film clip is inspired, and your analysis here is very technical! So well done. Your research is really coming on too.

Can you add a link to my foundation blog, also to a couple of external film websites as well?

Great work so far.

The Untouchables - Shot type Effects and Reasons

This clip was taken from The Untouchables, a 1987 gangster-crime film, set in the times of the Prohibition of alcohol in the USA.
The scene begins with a camera tilt, which ends up as a very long crane shot. This establishes and familiarises the audience with the setting. This is also the first time we are introduced to the characters in the scene. These are probably wealthy and important people (emphasised by costume and decor of the setting.)
The camera then moves to a long shot, making the audience feel as though they are being 'reeled in' to the scene. The camera remains still for several seconds to focus our attention on the main character, Al Capone (played by Robert De Niro). During this time, he makes his way into the centre of the frame, clarifying his significance as a character.
The camera then moves to a high angle so the audience see the characters ascending the stair case. This shot lets us see the surge of members of the press follow Al Capone up the stairs.
The camera then switches to a low angle. The effect of this is that it makes it seem as though Al Capone is towering above the audience. This strengthens his importance and prominence as a character, making him appear more dominating. He also takes up a large proportion of the frame.
Then we are taken to an Over-the-shoulder shot, looking over Al Capone. This gives the audience an idea of how many people are gathered around the main character, reinstating his vital role.
Then we are taken back to the low angle medium close up of Capone. This shot is also a frame with in a frame, as we see the character through the arms of the Press. This gives the effect of making the audience feel more directly involved in the scene. The camera stays in this position while the character is talking, to keep the focus on his dialogue.
As the character turns to walk away, the camera also turns, so the audience feel as though they are moving with the character. This also gives the audience the ability to see the desperation of the press to keep Al Capone talking.
Then when the character starts speaking again, the camera re-visits the previous position at the low angle, which brings the focus back to the character's speech.

Miss T h/w - Film Distribution

This homework was to watch videos on topics related to Film Distribution and summarise each video. Here's what I learnt... :)

1. Marketability
   The two key factors to keep in mind here are;
   - Who will the film appeal to? (Audience
   -What are the best communication channels.
   You need to develop a campaign that will focus on your target audience. In prepartion for this, it is necessary to think about how much money to spend. Predicting the film's success can help to set an appropriate budget.
   Promotion for the film can come in several formats like Media (radio, TV, newspapers, internet), publicity angles and premiers.
2. Planning a Release
   You must define the audience. Who is your film directed at? Is it people of a particular age group or gender?
   The film's genre must be established to be able to do this.
3. Target Audience
   The target audience are the focus of advertising and publicity. Research needs to be done and data collected to work out;
   -who will watch your film
   -why will they watch it
   -when will they watch it
   - and where will they watch it
   Different audiences have different reactions, so there is an element of risk. Where is the best place to place your advertisments and how will people view the film because of that.
4. Competition
   This is based on the film distribution at your time of release. Your film must stand out, above the rest.
   Things to take into account are holidays, weather and audience pattern.
   For example, July may not be the best time to use television advertisments, as fewer people will be at home watching the TV, as opposed to October half-term.
5. P&A budget
   The budget not only includes the Film Prints, but maily the cost of advertising. Posters, press ads, cinemar trailers all come from within this budget.
   Therefore, it is crucial to think about how best to use the money, thinking about the most effective form of advertising, but also what is cheaper. (eg. Radio advertising is cheaper than television advertising).
6. Word of Mouth
   The word of mouth is crucial. So, when a movie arrives early, you have the chance to do advance screenings. This is a way for people to watch the film for free, before its official release. Then, if they like the film, the idea is that they will go and tell people about it and persuade them to watch it as well.
   Movies that arrive later depend on the opening weekend. Here, the word of mouth depends on the public. Their words can effect the life expectancy of the film.
7. Marketing Plan
   This is all about how best to publicise your film. The more expensive methods are advertisments, press and out-door advertising (bill boards, and bus posters).
   Lower budgets rely on word of mouth. This is especially true to specialist films, where money may be lacking to use other forms of marketing.
8. Film Trailers
   Film trailers are key. This is the public's most close exposure to their experience with the film. They see the trailer on the same size screen and in the same atmosphere that they will be watching the film itself.
   There needs to be excellent portrayal of graphics, sounds, and the film's concept.
9. Persuading Cinemas
   This is the first step. To convice the exhibitors (the cinemas) to take the film. Especially when it comes to independant films.
10. Test Screenings
    Advance research can be done in the form of tests for posters, trailers, concepts, visuals and expectations of the film.
    A test screening is a recruited audience who watch the film and are then asked to fill out a questionnaire about it. Some are even called to a focus group to dicuss what they liked and didn't like about the film.
    According to teh feedback, the film may even change slightly, adusting the ending, for example.
11. Digitial Marketing
    This is the development of elements such as games, vidoes or quizzes, which would hopefully be sent on to more people.
    This is like word of mouth, the best form of communication. A close person's opinion will mean the most to someone.
12. Opening Weekend
    The opening weekend is very important. The film has three days to be as successful as possible; Friday (opening day), Saturday and Sunday. Then, on Monday there is the 'hold-over.'
    Depending on how much money the film has made, it is decided whether or not the film is given another play date. The film has to have made more money than others to stay on.
13. Piracy
    Piracy has escalated over the past five years. In 2006, 20% of all DVD sales were of pirate copies.
    People fail to realise that these are of an inferior quality, and profits made may help criminal organisations.

BLK homework; Horror Still

This still was created by positioning our subject in a storage cupboard using a spotlight to achieve the effect of illuminating half of her face.
The light was shone in such a way so as to ensre that the shadow cast on the object was equal to the proprtion of the object being exposed to the audience.
By using this technique, we were able to convey a character, which is clearly ominous and sinister, but also keep a degree of mystery. The audience, not being able to see a complete picture, will be forced to make assupmtions and will want to know more - Perhaps there is something our character is hiding?
The body language of the subject herself reveals slightly more and clearly establishes the genre of the still. Her hands wrapped around the door frame may tell the audience that she is 'creeping out' or coming out of hiding: thus posing further questions like 'who or what is she waiting for?' and 'where is she coming out from?'
The character also appears to be looking directly into the camera. However, the still remains with a hint of ambiguity because it is not made clear who she is looking at or prying upon.
The character is obviously given importance and made to stand out. Amongst the dark background, her green eyes and red hair dominate the photograph. She is also made prominent given the amount of the frame she occupies.
In hindsight, i think the horror still would have been more successful if we had tried to use darker make-up. This would create a more dangerous-looking and frightening character.The shot could also be improved by covering the small patch of costume, which has been left in the frame.

THR feedback

Hi Bisma, I'm sorry if you lost a link but I had to upgrade your template so it could work properly with our whole blog - I tried to pick one as close to yours as possible I just think you lost a couple of links?

Anyway, your analysis is great - clear and detailed on both technical codes and on analysing and proposing possible meanings - A great start - well done!

The following sequence, consisting of six stills, was taken from Sin City. Each shot has been taken at a different camera angle, while showing a range of distances at the same time. It is particulary interesting how such a short sequence can show so much variation! This technique makes the whole scene more tense and exciting, with every part revealing something new to the audience.
The low key lighting creates a more sinister atmosphere and adds to the mystery of the scene. Below, I have analysed each still, explaining camera movement, distance and why this is significant.


Shot 1 is a Medium Close-up at an extreme high angle, as we see the character from above. Low key lighting casts slight shadows, making the subject seem menacing. Eyes are slightly averted, giving the impression that there is a second character - likely to be who the gun is pointed at. The character appears to be smirking at this point, an looks as though he may be 'mocking' the second character. He is obviously not scared or tense, making it likely that he is the antagonist.
Costume consists of a black suit, which is typical in classic gangster films. The audience can now probably establish the genre. However, there is still ambiguity within the shot as the setting is not made clear yet.

Shot 2 establishes the setting. The audience can now see that the scene is taking place on a bridge. This is a long, crane shot. Possibly having zoomed out from shot 1. There is now a second character in the shot, however he remains mysterious to the audience, as his face is hidden. His costume strengthens the sense of mystery, with the long overcoat, which is typical for making a character seem threatening or dangerous. The new character's stance suggests that he is more powerful and may be heroic. He has his gun pointed towards the first character, who is now lying next to splatter of blood, revealing that he has just been shot.

Shot 3 is an extreme long shot and reveals more of the setting as well giving a wider perspective of the action within the scene. It is now easy to tell that the setting is on a dock, as warehouses are visible. It is night time and the place is deserted, creating an uneasy and frightening atmosphere.

A third and fourth character are now visible, but it is not made clear who they are,due to the distance and side-ways view of the scene. However, the second character is now central in the frame, establishing his importance. The man overlooking the situation also has a confident and powerful stance, and looks as though he is there to help the second character.
Also, just off the centre of the frame, a young girl tied to a pole is visible. It remains ambiguous as to whether she is being kidnapped or saved, at this point in the sequence.

Shot 4 is only very slightly zoomed in from 3. It is a long shot. Here, the central character is made to look very dominating and threatening (coat blowing in the wind for extra dramatic tension), probably just about to pull the trigger on his gun.
Character one now appears to have his hands up and could be begging for mercy, seeming very vul nerable and trapped on the dock with water either side of him.

Shot 5 is an close up of the young girl. This is the first time that we can actually see a character's face, and to be able to see her emotion makes the audience sympathise with her, and feel more involved in the sequence.

The low key lighting casts dark shadows on her face, emphasising the way she is feeling. This is another ambiguous shot, as th audience do not know why she is crying. However, they probably assume that it is because she is witnessing the central character shoot and kill the 'villian' or character one.

Shot 6, the final shot, is almost a conclusion of the sequence. It is presumable that character one has been killed. For the first time, we can see the central character's face, although it is still not clear.
The character who acted as the 'onlooker' has not moved his position, and so seems to be tense. The lighting and atmosphere has also stayed the same, showing no sign that there has been an improvement in the situationg.
This frame looks as though it is within another frame. This is due to the low angle of the camera revealing the area just below the dock, and the buildings on either side of the frame.