Essay

I created a step outline for 5 scenes of a film that I have created. The film (which is currently unnamed) revolves around a group of youths who steal a car and one youth begins to have second thoughts about his criminal lifestyle. However, he is indoctrinated to stay by his best friend.

The film I wrote a step analysis for portrays a stereotypical view of young people as being careless about authority and the law. That is why I attempted to create characters that the viewer can understand and emphathise with, to attempt to say these stereotypes are untrue and my depiction of Ricky is my attempt at communicating to the audience that a criminal may be a criminal but they may not be happy being a criminal.

I focused on different mise-en-scene aspects in each scene because I felt that not every scene had the same priority regarding mise-en-scene. For example acting and camera in scene 4. Good acting and use of shots is vital in this scene as Ricky's desire to leave becomes more and more conspicuous while Michael softens up a little and encourages him to stay. A use of close ups and two shots will be necessary in this sequence as the emotion the characters are able to communicate in this scene is vital. The two actors need to show that the two characters both have different objectives in this scene.

In my opinion I created a compelling plot which has enigmas throughout which leaves the audience pondering answers until the end credits with some still left unanswered because interpretation can make a film great. I also feel that I made each character an individual so that the audience can feel attatchment to whomever they wish. I feel as though my scene descriptions could be longer because I feel that anyone reading, if they wanted to perfectly replicate my image they wouldn't have much detail to base it off because I have little-to-no shot description or images to accompany what I say.

I feel that my step outline is good because I think my plot is entertaining and could change at any minute. I also feel that I chose appropriate mise-en-scene aspects to fit the scene and I feel that I made my reasons for doing so very clear in the scene description.

I could have done a film but I chose not to as I feel that I could have created as little confusion as possible about what I was trying to create and communicate with my scenes. Maybe my scenes are unclear to some people but there isn't a huge spectrum for interpretation which may result in people disliking or not understanding the film, This option also let me create more scenes than I would be able to if I were restricted to a time scale.

Step Analysis

Scene Number. 1

Page Number. 1

Slug-line. Middle of the street. Night.

Endpoint of previous scene. No previous scene.

Characters in scene 3 Hooded youths (Michael, Ricky and Scott) and Geoff who is a middle aged man.

Point of scene To encourage enigmas about what's going on as to the identity of the youths and their motives and to advance the story. To establish who's good and who's bad.

Conflict The 3 youths steal the car and Geoff (whose car it is) runs out into the middle of the street to intercept the car's path. Gary gets hit by the car and is left for dead. The youths drive away with Geoff's car.

Ending/central question Is Geoff ok? Who are the hooded youths? Why do they need the car?

Key micro elements employed and brief description of their use Camera work. Sound.

Scene description (without dialogue) focusing on key Micro aspects (mise-en-scene, camera, sound, editing, etc)

Cuts are used often and shots are shaky to show how hectic the situation is for all parties. The youths because they're in a rush to steal the car and get away combined with the surge of adrenaline and Geoff because his car is being stolen so he feels obligated to prevent its theft; he also has a lot of adrenaline. Shots will be unconventional and incoherent to further emphasise how panicked the youths are.

The scene would have a lot of shouting as to (once again) show how hectic the situation is and how urgent the youths are to obtain Geoff's car. There would also be fast-paced music to further reflect the rush of the situation and how the adrenaline goes from a peak to rock bottom. The music will fade out as the camera pans to Geoff's body. Sirens can be heard briefly before a cut to the next scene.

Scene Number. 2

Page Number. 2

Slug-line. Int. Worn down, abandoned warehouse. A couple hours after the theft

Endpoint of previous scene. The youths escape with the car and Geoff is left for dead in the middle of the street.

Characters in scene. Michael, Ricky and Scott.

Point of scene. To show the aftermath of the robbery and to help establish each character's personality.

Conflict. The three argue about the theft as if they are bragging saying what their roles were in the job. Each character is trying to top the other's last statement. Each person recounts the story in a way that makes it seem that they did the most in order to have more credibility.

Ending/central question. Why they needed the car in the first place. Why they seem proud of what they'd done.

Key micro elements employed and brief description of their use. Acting.

Scene description (without dialogue) focusing on key Micro aspects (mise-en-scene, camera, sound, editing, etc). The characters now have their identities shown and show how they differentiate in personalities. E.g. Michael is the ring leader, Ricky has been friends with Michael for years so he stands by him and goes along with what he does (whether he likes it or not) and Scott is shown to be less important than the other two but has been manipulated to make him tag along and he can be a great asset to the trio. There will be a use of verbal and non-verbal communication in an attempt to really show what each individual character is like. As previously mentioned, Ricky is unsure whether he likes this lifestyle so what he says may not particularly match with how he acts; while the other 2 are arguing you can see that Ricky seems hesitant and like he doesn't want to be there through the use of acting. This will cause the viewer to be empathise with Ricky because they begin to understand that Ricky has some good inside of him and his intentions were good (to stick with his friend) but now they have gone sour. This is the problem he faces, does he leave his friend since childhood or does he stay knowing that what he's doing is not right. This is the first scene each character is introduced to us explicitly so each actor needs to portray each character according to their personality. Michael will need to have an established authority over the two (especially Scott). Ricky needs to seem likable but still an antogonist and Scott needs to be quieter and being almost like a sidekick; he doesnt explicitly seem important but he's needed to get the job done.

Scene Number. 3

Page Number. 4

Slug-line. Psychiatrists office. Shortly after Geoff is released from hospital (around a week after the theft of his car).

Endpoint of previous scene. Cuts at a CU shot of a doubtful Ricky's face while hearing the other two debate about who did what.

Characters in scene. Geoff. Dr. Powers (Geoff's Psychiatrist)

Point of scene. To show both sides of the crime. We have previously seen the criminals so now it is time for the victim. The victim is not shown often in films and I feel that it will have more realism if the victim is shown in mine. It takes away the escapism that you get from spectating the criminals and you can now see how Geoff has become scarred from his traumatic experience.

Conflict. Geoff is clearly distressed as it has been a week and there is no news of the arrest of the three boys. This discontent is also mixed with frustration as he does not have his car back and is unable to walk without the support of a crutches for a couple months.

Ending/central question. Will Geoff have justice? Will his mental and physical scars heal?

Key micro elements employed and brief description of their use. Lighting. Camera.

Scene description (without dialogue) focusing on key Micro aspects (mise-en-scene, camera, sound, editing, etc). Lighting is important in this scene because it is set in a psychiatrists office so the light has to look as though it would relax anyone getting a consultation. There is a warmness to the moderate amount of light which is calming to look at. Geoff will be slightly less lit than the Dr. Powers to symbolise that he is very dissatisfied with his current situation and to symbolise Geoff's state of mind. There will be a frequent use of close up shots and 2 shots to not only portray how Geoff is feeling but the mutual trust between Geoff and Dr. Powers.

Scene Number. 4

Page Number. 6

Slug-line. Int. Worn down, abandoned warehouse. Same as scene 2. A couple days after we sar them last, however, it is now daytime.

Endpoint of previous scene. Meeting between Geoff and Dr. Powers ends.

Characters in scene. Michael and Ricky.

Point of scene. Ricky opens up to Michael about how he doesn't want this lifestyle anymore.

Conflict. Ricky opens up to Michael about how he doesn't want this lifestyle anymore which is met by a negative response and an argument ensues. The two have different objectives in this scene so them staying together is near impossible, however, Michael convinces him to stay.

Ending/central question. Will their relationship be the same? Is this the end of Ricky's criminal ways.

Key micro elements employed and brief description of their use. Acting. Camera.

Scene description (without dialogue) focusing on key Micro aspects (mise-en-scene, camera, sound, editing, etc). Good acting and use of shots is vital in this scene as Ricky's desire to leave becomes more and more conspicuous while Michael softens up a little and encourages him to stay. A use of close ups and two shots will be necessary in this sequence as the emotion the actors are able to communicate in this scene is vital. The two actors need to show that the two characters both have different objectives in this scene so them staying together is near impossible, however, Michael convinces him to stay.

Scene Number. 5

Page Number. 9

Slug-line. An alleyway in similar conditions to that of the original theft. At night.

Endpoint of previous scene. Ricky and Michael now have tension as Michael feels as though he can't really trust Ricky anymore, however, (like Scott) he is a valuable asset.

Characters in scene. Michael, Ricky and Scott.

Point of scene. The audience now sees what life is like for the two after their previous meeting. This scene is the first time they are committing crime together since the car theft.

Conflict. The three are planning another robbery, however this time, it is a smaller scale. The local shop. This discussion is led by Michael and an unusually vocal Scott; this is because the main discussion usually takes place between Michael and Ricky while Scott tags along but because of the last scene, Ricky is practically mute. Michael notices Ricky's lack of input and makes a remark to Ricky about how he "used to do this for fun" but is no longer willing because he's become a coward. This is the straw that broke the camel's back for Ricky and he snaps, brutally attacking Michael. A fight ensues but Ricky ends out on top with an unconscious Michael. Ricky, in fear of going to jail warns Scott that he "saw nothing" to which Scott runs for his life.

Ending/central question. Is Michael okay? Will we see Scott again? What does this mean for Ricky?

Key micro elements employed and brief description of their use. Sound and lighting.

Scene description (without dialogue) focusing on key Micro aspects (mise-en-scene, camera, sound, editing, etc). The fight should take place in a silhouette so that it is up to the audience to interpret what happens. All sound in this scene will be diegetic as I aim to create a more realistic fight with the sounds of cars, night life and the sound of punches. This use of diegetic sound compensates for what the audience does not see and also contrasts the abstract style of the silhouettes so that there is little confusion as to what is going on.

Jurassic Park T-Rex Scene Analysis

I'll be talking about the scene in Jurassic Park (1993) by Steven Spielberg where the T-Rex is running rampant whilst the children are bound in to the vehicle they're in. This film is exceptional and was one of the first I thought of when given the task to do this analysis. The film had a budget of $63 Million and has fantastic visual effects for the time it was released.

The acting and cinematography in the T-Rex scene of Jurassic Park by Steven Speielberg is outstanding. Firstly, there is a shot that shows the T-Rex towering over the vehicle that the children are in which shows how dominant the T-Rex is and how weak the children are through a use of levels. Then the T-Rex bursts through the roof of the vehicle and there is a two-shot of the children and the T-Rex; the children are shown to be screaming in sheer terror whilst the T-Rex has intent to make the children his next meal through his failed attempt at breaking the glass. The use of a two-shot (to me) is used to show how colossal the T-Rex is compared to the young children.

It then cuts to a close up of two men (Dr. Alan Grant and Dr. Ian Malcolm) in a car who have a shocked expression because they know that all they can do is stop and stare or risk their lives to save the children. You know that they are deciding whether it is a good idea to go out and save the children and if so they must also formulate a plan. You can tell that the characters really do not know what to do but they do know that they have no time to lose.

When the T-Rex tips the vehicle, you can see that Dr. Grant has the realisation that he needs to act fast or else these children are gone. You can see Dr. Grant searching desperately for flairs in an attempt to halt the T-Rex's attack. The vehicle the children are in starts to fill with mud to emphasise the dangerous situation they are in and to give the viewer a feeling of helplessness and doubt for the children's lives. This is when Dr. Grant steps out of the vehicle and holds up the flair to the T-Rex. Spielberg uses an Over the Shoulder shot to show the difference in levels between Dr. Grant and the T-Rex, the T-Rex is taller than Dr. Grant to symbolise the dominance the T-Rex has over him. When the T-Rex roars at Dr. Grant it cuts to a medium shot which shows the hesitance of Dr. Grant and the doubt that he has that his plan will work. This is shown through non-verbal communication like facial expression and body language.

It then cuts to a close up of Dr. Malcolm who lights a flair that is out of frame so that only the red light and smoke are visible. He lights the flair because he can see that Dr. Grant's plan has failed. He runs off and his followed by the T-Rex, the use of levels shown by the medium shot is visible once again so that you can see how dominant the T-Rex is compared to Dr. Malcolm.

The T-Rex bursts into a toilet stall and Dr. Malcolm is seen falling to the floor bloodied up which leaves the viewer wanting to know what happened. What happened? Is he injured? Is he dead? The viewer doesn't know. He is then buried under the rubble from the stall so that the T-Rex forgets he's there.

It then cuts to a long shot of a suited man sitting on a toilet with no room around him to show how bare he is and how little protection against the predatory T-Rex he has. Spielberg once again uses levels when he cuts to a medium shot of the lawyer and the T-Rex and once again shows how dominant the T-Rex is compared to the lawyer and any other character in the scene for that matter. However this time, the T-Rex actually shows its brute power by eating the pleading man and throwing him about like a ragdoll. The fear on the man's face before the T-Rex eats him is conspicuous.

We then go back to Dr. Grant trying to save the children (which he can now do thanks to the absence of the T-Rex), he is shown pulling the girl out but then it cuts to a close up of the boy's face showing him gritting his teeth and saying “I'm stuck”, it then cuts to a shot that shows his feet trapped under the vehicle. The pain of the boy is clear and makes the viewer empathise with him and makes them want him to be pulled out from under the car. Dr. Grant then pulls the girl from under the car and goes back in for the boy, however, the camera remains on the girl showing that something important is going to happen involving her, she starts to scream in terror but it isn't shown what she is screaming at until the next shot. This makes the viewer wonder what she's screaming at and if they're safe. Dr. Grant conceals her mouth and tells her to not move.

It cuts to a medium close up of the T-Rex's foot stepping on the mud. Dr. Grant and the girl are in the background and not looking at the foot which the viewer is looking at but instead they are looking up high. This once again shows how great the T-Rex is in comparison to the two which is now especially emphasised thanks to the fact that they are now on their knees (a use of levels once again) and the use of perspective to make the T-Rex's foot appear larger in the foreground than Dr. Grant and the girl in the background.

The next shot is the T-Rex towering over the two and examining them. It breaths through its nose and knocks off Dr. Grant's hat which shows how even its breath is powerful so imagining what it could do when it attacks makes the audience get a real sense of the danger present in the scene. This dominance is also shown when the T-Rex starts rotating the vehicle with its nose which makes its power all the more scary; we have seen what he can do to a person with ease so if it really tries and has malicious intent then it could do some serious damage like what it did to the suited man.

Dr. Grant and the girl take cover behind the vehicle so the T-Rex doesn't see them which develops Dr. Grant's character because the audience now know that he is a quick thinker and they may now see him as a likely survivor by the end of the film. The scene ends with a low-angle shot from behind the vehicle but what is smart about this shot is the lack of people in the shot so that instead of towering over anybody else, it now seems that the T-Rex is towering over the viewer which is a first for the scene.

This scene does an excellent job of introducing the T-Rex and showcasing its brute strength. Not only that but you can tell by how the actors act that the T-Rex is not a force to be reckoned with. It does an excellent job of showing that Jurassic Park is in immense danger with dinosaurs waiting in cars and kitchens and now dinosaurs as big as the T-Rex being more dangerous than any other dinosaur on the island thanks to its sheer size and strength.

Word Count: 1283

The Public Enemy's Impact of Crime Toward the Family and Society in the Film

The director of 'The Public Enemy'(William Wellman) shows the impact of crime on the family and the wider society in public enemy. In the beer and blood scene you can not only see a dysfunctional family (because of Tom's new life-of-crime) but Wellman includes a shot at the end of the scene where Mrs. Powers is watching Tom leave. This shot may seem too long to others but to me it perfectly communicates that Mrs. Powers is holding on to chance she gets to see Tom, not only because of his newly established life-of-crime but because she was already scared that she was going to lose one son without worrying about the other. It also shows how the Tom that she raised is disappearing and she needs to learn to love this Tom. Another scene is a highly controversial one in which Tom hits his girlfriend with a grapefruit. Though domestic abuse in film may not seem so outrageous now, back in 1931 it was something that people couldn't accept which contributed toward the film being banned and re-released twice (once in 1941 and once in 1954). This scene shows how desensitised Tom has become to violence because of his occupation and makes the audience want to hate him even more than they're supposed to. Crime is also portrayed to make Tom remorseless through when he is shown at the start of the film being friendly and looking up to Putty Nose, however, later in the film Tom is the one that kills Putty Nose. This is a reminder to the audience (as film had such an impact in the 1930s) to not become criminals as it may strip them of everything good they have, which is also why every criminal portrayed in movies had to die by the end, to deter people from thinking that a criminals life is as good as it's portrayed in the movies. I love the ending that Wellman created as it shows Tom's corpse collapsing to the ground and Michael walking toward the camera. I like this ending as it leaves the audience wanting to know what happens after the camera cuts: how does Michael tell his mother? What happened to Tom? What is Michael going to do? All questions which you could base a whole different film of and there may have well been a sequel if filmmakers made sequels in the 1930s. In my opinion, Michael has killed before (which is implied as he goes to war) and his look of pure intent as he walks toward the camera communicates that he feels that he needs to do it again which shows the domino effect that crime can have. Once was for his country but this time it is for him, his family and Tom. Wellman leaves a lot for the imagination of the viewer with the ending of the film and I believe that this is genius as a good film satisfies you for the time you watch it but a great film stays with you and leaves you thinking.

Word Count: 509

Short Film - You're It - With Eduards Caklais

Film Poster

Movie Poster Analysis

Movie Poster Analysis

I have chosen 'The Inbetweeners Movie' poster to analyse and deduce why it is aimed at my generation.One of the reasons I believe that this poster is aimed towards my generation (generation y) is because of the strapline 'This December Four Boys Become Men'. I believe that that is an appealing strapline because a majority of generation y members are making the transition from adolescence to adulthood. I think that it is also made apparent that the movie is aimed toward generation y by the short reviews at the top of the poster. I believe they are short so that people with short attention spans (like generation y) can read the reviews without getting bored. There is also a fact at the top of the screen that The Inbetweeners is 'The fastest-grossing live action comedy in UK box office history'. This is an attempt to make people (that are unaware of the series) want to watch.