ENGL 1118 WA - FINAL EXAM
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ENGL 1118 WA – INTRODUCTION TO FILM CLASS
FINAL EXAMINATION
SHALLEY SINGH 1130765
SECTION A. DEFINITION / EXAMPLE 1.
What is a POV shot? Give an example. A point of view shot is when the framing of a scene shows the viewer what a specific character sees and hears at that moment in time. The lens of the camera works as the viewers eyes, so the scene seems to be in first person of the character. A good example of a POV shot is in Kitbull
, when viewers assume the kitten’s perspective and see the dog through the little slit in the box. 2.
What is masking? Give an example.
Masking is when portions of a frame are blocked off. This method is used for a multitude of reasons, to build suspense, suggest mise-en-scene that is not visible and sometimes draw focus to one part of the scene in particular. An example of this is in Rhymes for Young Ghouls, in the scene which Aila wears a gas mask at the party. As the camera focuses on Joseph and Burner talking on the couch, parts of the frame are cut off by curtains. 3.
What is high-key lighting? Give an example.
High-key lighting is a type of lighting in which there is barely any contrast between lights and darks in a scene. The lighting is sharp and creates very little shadows. An example of this type of lighting is in the final scene of Psycho. Norman bates is shot in high-key lighting as the camera closes in on his face. There
is not much depth to the shadows on his face, dramatically revealing his insanity.
4.
What is meant by the Oppositional Gaze? Give an example.
The Oppositional Gaze is a theoretical concept presented firstly by bell hooks. The theory argues that race
and ethnicity of Black women are molded to fit the purposes of entertainment. Black women who view these films often resist to identifying with these depictions, which is referred to as the Oppositional Gaze. The ability to separate oneself from these standards and view what is being put on screen critically. The film Beyond the Lights emphasizes the ‘gaze’ as Noni feels trapped and adapts to practices, such as wearing a wig, to fit the image that is put into society. Viewers see her switch to the Oppositional Gaze when she stops wearing her wig, sings what she wants and decides to embrace herself and her roots. 5.
What is a high-angle shot? Give an example.
A high-angle shot is a camera angle in which the camera is set above the action, or above eye-level. Depending on the context of the scene, it can imply the superiority of the observer/viewer. This shot provides a view in which the observer is looking down at the subject. This type of shot is seen in Pan’s Labyrinth when Ofelia first runs into the forest and Mercedes walks her out. The crane moves to a higher point, to where the mantis-like insect sits and looks down at the pair walking away. 6.
What is voyeurism? Give an example.
Voyeurism refers to the act of watching individuals perform activities without their knowledge. It is seen in a negative light and is inappropriate. The film Psycho, has many instances of voyeurism. The first is
right in the opening scene, when the camera shifts to a window and then enters, where viewers see the character Marion half-naked. Another instance is when Norman looks through a hidden peephole and watched Marion undress herself. 7.
What is Kino-Pravda? Give an example.
Kino-Pravda specifically means “film truth”, and the goal of such films was to film and capture reality and everyday activity. The film was then put together in a way, such as a montage, to send a deeper message to the audience. This style of film is seen in Dziga Vertov’s Man with a Movie Camera in which random segments of film are organized in a manner to manipulate the observers understanding of the content. There is a large variation of experimentation in this film, slow-motion, freeze frames, fast motion, tracking shots, split screens and much more. 8.
What is ambient sound? Give an example.
Ambient sound refers to background sounds that are present in the environment being filmed. These sounds can be recorded during the filming or added at a later time. In Badlands, viewers see Kit approach Holly for their first interaction. As the two talk, the sound of traffic, birds, children, a train and light wind can be heard. These sounds can be referred to as ambient sounds. 9.
What is a montage? Give an example. A montage is to organize segmented footage with the intent of manipulating an observer’s understanding of the meaning. In different periods and places of the world, the art of montage differs slightly but all include the art of reassembling segmented footage to convey a particular message. The film Meshes of the
Afternoon uses montage style to create a story of the main character, the women. The montage stirs feelings of confusion, uncertainty and a dream-like state. There is various footage used and reassembles in multiples ways to invoke these feelings.
10.
What is a closed frame? Give an example. Closed frames are often used to portray the restriction put on the characters in the shot. The dramatic effect is to invoke the feeling of constraint and stuck in that frame. In Snowpiercer, the shots in the back of the train are all closed-frame. The characters must remain in their small spaces, promoting a claustrophobic and hierarchical space.
11.
What is verisimilitude? Give an example.
Verisimilitude is the appearance of truth or realness. In films, verisimilitude is when the characters, events, places and more elements seem to be real. In Near Dark, Kathryn Bigelow mixes elements of reality and fantasy to create a degree of verisimilitude. She depicts a typical small-town, heroin use and the stereotypical characters. By creating a relatable situation, such as having to cope to change in a very short period of time, viewers are able to fall into a fantasy world for a short period of time. 12.
What is an establishing shot? Give an example. An establishing shot is a long shot used in the beginning of a scene to provide information to viewers regarding the time and location of the scene or film. A great example of this is in the opening scene of Pan’s Labyrinth,
when the castle Ofelia dreams of is shown. There are wide shots of her running up the staircase, then arches of a building are shown, slowly fading to a long-distance shot of the castle-like building.
13.
What is a match cut? Give an example. A match cut is an editing technique in which a shot is cut and moves to the next one, however it promotes
continuity rather than a change. In Psycho, after Marion is murdered in the shower scene, viewers see blood flowing down the drain of the tub, there is then a match cut, with a cut to Marion’s eye. This continues the scene rather than finishes it, by further dramatizing Marion’s death.
SECTION B. PICK A DIRECTOR Bong Joon-Ho is a South Korean writer and director. He always had a passion for film while growing up and had decided that he wanted to be a film director at a very young age. He graduated with a Sociology degree and later attended the Korean Academy of Film Arts for a two-year program. He draws major inspiration from Alfred Hitchcock and aspires to create film and make an impact in a comparable way. Bong Joon-Ho uses humour as well as intense action to create tonal shifts and keep the interest of a viewer. It is notable that although his films contain lots of action, his preference of weapon is a knife. He claims that a knife/blade is much more sinister. He also enjoys creating movies for his own community as
he can add more “spice” to them, similar to food. He believes his community is better at handling and watching more gore and darkness. Bong Joon-Ho does not try to create a hit international film, instead he draws inspiration from his community and childhood. He has stated that many of the films he has created are “very Korean” but by following a specific genre he can make a film easier to understand. What is interesting about Joon-Ho’s work is that many of his action scenes are highly active. As one event takes place, there will be another in the back, captivating the audience’s attention and never losing it. He finds a
way to spark political thoughts, without taking a biased side to it, leaving the audience pondering their own thoughts. What makes his work special is that he is able to take many components of filmmaking and
put them together in a way that is exhilarating, experimental, yet easy for the audience to follow along. What stands out to me in Snowpiercer is that the film is one that is very relatable. When put under the conditions that the characters were, a lot of people would have followed similar routes. I am normally not a fan of action films, however Bong Joon-Ho was able to create such an incredible balance of events and invoked the right emotions at the perfect times, I could not help but follow along with all my attention. SECTION C. DEFINE, EXPLAIN, EXAMPLE (Q2) Define ‘the abject’ and provide an example from a film. The abject refers to what is disturbing and sickening. The abject is often used in horror films to depict monstrosity and repulsion. The imagery of the abject can be summarized in three areas: depictions of the body’s gross physicality, construction of borders (crossing or threatening to cross such borders is abject), and the construction of the maternal figure as abject. Alfred Hitchcock’s Psycho seems to fit in all categories quite well. Throughout the film viewers see Norman Bates jump through the three areas. When
he murders Marion and observers see her blood circling down the drain, then a match cut to her eye, which is still and lifeless. The lifelessness of her unmoving eye sets an eerie and disturbing tone as the camera slowly zooms out and only the sound of the shower can be heard. Next, viewers see Norman Bates, who seems to be a regular and kind man turn out to be a monster. The idea of a regular person that one would never think could have crossed the border to become a sick and disgusted individual is frightening. The last area, concerning viewing a maternal figure as abject, is heavily represented in this film. Norman keeps the corpse of his dead mother at home, where she has decomposed and is nothing more than a skeleton. It is disgusting and frightening to see the image of the body putrefying overtime, and the knowledge that it is Norman’s mother is all the more horrifying.
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(Q3) Define intertextuality and provide an example from a film. Intertextuality is the intersection of two works of art. Films often use the representation of another work of art, this may include another film, however other mediums can be included; such as paintings, music, or even literature. An example of this is the music video Noni is featured in, in Beyond the Lights. The song is called “Masterpiece” and throughout the video there is a renaissance style painting of Noni hanging in the back. Kid Culprit then refers back to the painting in his lyrics and refers to Noni in comparison to Mona Lisa. There are many edits throughout the video which cut back to the painting itself, to emphasize that Noni is a masterpiece, just as the Mona Lisa is known to be. (Q4) Define light and lighting and provide an example of each from one film.
Lighting is the intentional use of light to achieve a certain effect. Light can be both natural and artificial. Lighting in a film can be altered with the use of back light, fill light and key light. For example, in Badlands, when Kit and Holly have their first interaction, natural lighting is used as it is daytime. However, in the scene where Holly and Kit dance in front of the stolen car, artificial lighting is made use of. The camera slowly spans from the vehicle to the couple while the headlights work to cast low-key lighting on the couple from the left. The contrast from the lighting and the angle of the camera provide depth to the feelings that Holly shares with the viewers. The song being played, A Blossom Fell by Nat King Cole, in the scene also strengthens the emotion, creating a sad and pensive atmosphere. SECTION D. SHORT ANSWER ANALYSIS (Q1) Discuss the opening or closing scene of a film on our syllabus. In many horror movies, the story line is often a monstrous being or event introduced in an unprecedented way. This usually leads to a disruption in social order, which must be corrected by removing the horrifying being. The film Psycho (1960), by Alfred Hitchcock, uses its end scene to instead defy the satisfaction of society resuming its former peace. In the final scenes of Psycho, viewers see Norman Bates
in a lock up room. One would believe that this is the end to Norman’s grotesque murders, however instead the sound of his mother narrating his inner thoughts are shown. Although Norman is in the hands of the law, one is haunted by the act that he is possessed by his mother. Observers hear her comments of convincing people she is innocent, however she is dead. As her narration continues over the sound of eerie and sharp violin music, the camera closes in on Norman’s face, where he looks up with a frightening
smile, depicting that this is not the end of Norman Bates. Right as the shot is about to cut, viewers see the skeletal features of Mrs. Bates appear on Norman’s face. The shot then cuts to Marion’s car being pulled out of the swamp with louder more dramatic music. One assumes that the car will be fully pulled out, however viewers do not see this, ending the film on cliff-hanger. The ending does not satisfy the completeness of social order returning to normal. (Q2) Discuss the representation of masculinity in Near Dark.
The film Near Dark begins with the love story of Mae and Caleb, however throughout the film, the subject of masculinity becomes more evident. To begin, the concept of aggression is one used to create lust and romance. For example, Mae slits her wrist open to feed Caleb, demonstrating that she is willing to give up even her life for him. However, his second time going back in, he hungrily and greedily sucks her blood, not caring for Mae’s life. This scene exemplifies the typical idea of a woman sacrificing herself
to sustain the masculine presence.
In the scene where the two meet for the first time, Mae plays the part of a woman who is specifically asking for attention, she walks out with ice cream and behaves in a way that is not herself, attempting to seduce Caleb. Mae is a character that is rather strong and understands the necessity to kill to feed herself, however when around Caleb, she immediately morphs into a dependent character, demonstrating the overbearing presence of masculinity. (Q3) Discuss the American Dream and capitalism as represented Badlands
.
The idea of the American Dream and capitalism are represented in Badlands. When Holly and Kit set Holly’s childhood home on fire, the two escape to the forest. Here, viewers see Holly and Kit imitate gender roles, one that is part of the American Dream. Holly wears curlers in her hair and applies makeup, which is a typical activity one would expect of women at the time. In contrast, Kit takes on a role to defend their home and provide for the two, as a man would. When Kit steals the white hat from the rich man’s home, he does so as it supports his capitalist idea of power and the patriarchal system in place at the time. Throughout the film, Kit and Holly demonstrate that their escape from their hometown is not a form of rebellion, yet at attempt to achieve the capitalist-created American Dream. Kit dresses like James Dean and Holly indulges on the celebrity gossip. The two’s version of playing ‘house’ is ultimately the two pretending they have succeeded in accomplishing the American Dream. (Q5) Discuss experimental films. Using one film from our syllabus, explain how it fits the category. The film Man with a Movie Camera is an experimental film directed by Dziga Vertov. The film is one that is referred to as “Kino-Pravda” which means “film truth”. The film experiments with making a montage out of everyday footage of urban life in multiple Soviet cities. This film is experimental as it deploys various cinematic techniques in order to create a challenging and abstract work of art. The montage is meant to be a unique viewing experience for the observers, in which they can create their own meaning though the visuals. This film does not conform to the conventional methods of filmmaking and it
is meant purely as a poetic and experimental piece, rather than one meant for commercial reason. There are cuts from a revolving door, to a busy intersection, and back to the door. All of which seem to bear no message, until the viewer creates one. There are many techniques used in this film to shock the viewer with different shots. There are tracking shots, split screens, fast motion, jump cut, backwards footage, freeze frames, extreme close-ups, and much more. SECTION E. COSTUMES AND MAKE-UP
1.
Support scenic realism: the choice of clothing supports and represents the setting of the film (time
and place)
Example: The way in which Kit in Badlands dresses to mimic James Dean, who was very popular
at the time of the film.
2.
Function as character highlights: help represent a character’s personality Example: Aila in Rhymes for Young Ghouls, wears no makeup and dresses in loose baggy clothing. She does not attempt or want to draw attention to herself.
3.
Act as narrative markers: helps viewers visualize a possible change in the character and development of the story Example: Noni changes her fashion style almost immediately after she switches to the Oppositional Gaze and learns to respect herself in a different light.
4.
Signify genre: “part of overall production design”
Example: The uniforms and dresses worn by characters in Pan’s Labyrinth aid in establishing the theme of war, whereas Pan’s costume aids in establishing the fantastical. 5.
Carry cultural connotations: when makeup and costume seem to be natural, it is often because they carry important cultural connotations
Example: Suzu in In This Corner
, dresses very minimal and casual. Simplicity is key to her and her culture. SECTION F. CULTURE & SOCIETY (Q1) In my notes on the page “In This Corner stills & clips,” I provide a list of Japanese cultural aesthetics. Name five Japanese cultural aesthetics that appear in Katabuchi’s In This Corner of the World and give examples from the film. 1.
Wabi-sabi – refers to “beauty in imperfection” Example: Suzu has many imperfections, however they are what make her unique and beautiful. Her beauty mark on her face, the bald spot she grows, her struggles with new responsibilities. Regardless of these imperfections, Suzu is still a beautiful woman and character, supported by her
husband. 2.
Giri – “a person’s obligations to others” Example: When Suzu gets married to Tetsu, she must learn to assume responsibilities around her new household as her mother-in-law needs help. Some of Suzu’s obligations and duties include cooking, laundry, and cleaning for the family. 3.
Gaman – “put up with difficulty” Example: When Suzu loses her arm, she must find a way to put up with a new set of difficulties to keep up with her daily routines. She eventually finds ways to do things, just differently. 4.
Kawaii – “lovable, cute, adorable; cuteness culture”
Example: Suzu herself describes the definition of kawaii. She is very cute and adorable throughout the film, and she always has a childlike quality to her. She is clumsy and lets her imagination get ahead of her at times, as a child would. Even as she learns to sew for the first time, many of her mannerisms can be seen as cute. 5.
Isshokenmei – “do every task with intention and excellence” Example: As the war gets more serious in the film, families must learn to ration and extend their food resources. Suzu learns a way to extend the lifespan of resources by added herbs and plants but also making them in a delicious way so that the family can enjoy their meal as well. Although
the family must sacrifice on the amount of food they consume, Suzu finds a way to make it worth
the sacrifice. (Q3) Define and explain the term survivance in relation to the theme of colonial trauma in Rhymes for Young Ghouls
or Four Faces of the Moon. Use specific examples from the film to explain and support your answer.
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Survivance refers to the resistance put up by Indigenous peoples, or populations, against colonialism. It is the fight against being made a victim of colonist practices, against losing their identity, and the constraints of Euro-American ideals. In Rhymes for Young Ghouls, there are multiple examples of
survivance. One major example is the populations use of drugs. Aila explains that the use of marijuana brings her people together. This itself is an act of rebellion. It is her community refusing to value and share the same ideals of their colonizer, which is sobriety and remembrance. Another example of survivance is Aila’s plan to break into the residential school and steal the stolen money back. Instead of sitting back and allowing Popper to steal from them, she acts on the situation. This is survivance. SECTION G. SEQUENCE ANALSYIS: CINEMATOGRAPHY Extreme long shot – This type of shot captures a wide area, often to show the scale of the subjects in comparison to the setting they are in. This shot is used at 1:50 (referring to the D2L clip) after Suzu and Harumi leave the bomb shelter. This scene shows how small the two are compared to the big road they walk on, and the very large home to their left. There is also emphasis drawn to the wall which can be seen
continuing, curving with the road ahead. This scene is important as it shows the two walking along the wall. The effect of this scene suggests that the two are safe, protected by the wall. However, it is the hole in the wall that ultimately leads to Harumi’s death. People build walls literally and metaphorically with the means of safety and protection, however it is the wall in this shot that leads to a sad part of the plot. Katabuchi uses this shot and scene to demonstrate that at this point in time, there truly was no safe place, war finds people no matter what. Aerial-view shot & Pan – An aerial-view shot is taken with a camera from a very high crane or aircraft to give the viewers a full view of what is occurring at ground level. A pan is a shot where the camera pivots horizontally. From 1:10 – 1:17 (D2L clip) there is a combination of both techniques as viewers follow a cluster of bombs released from an aircraft heading towards the ground. The shot pans to the left keeping the cluster in the frame. The combination of the two gives viewers the visual representation of how spread
out the attacks are. As the shot pans, viewers are introduced to more bombing sites with thick black smoke hovering over the grounds of impact. With the sound of each ‘pop’ more white and grey clouds appear over the screen to signify that they have made impact. The result of these techniques is one that is visually stimulating and startling. Viewers can see that the bombs are shot at random, with no concern for
who is harmed. Katabuchi uses this technique to demonstrate the lack of remorse and care for the innocent. Medium close up shot – This type of shot shows a character from their chest up, allowing for viewers to see changes in expression and information regarding the character’s posture. This shot is seen when Harumi and Suzu are in the bomb shelter underground, at 0:30 – 0:50 as Suzu and Harumi huddle together and talk, and again at 0:57 – 1:03 (D2L clip) when the shelter’s door is shut and bombs begin to drop. The shelter appears to be cramped and Harumi is afraid so she clings onto Suzu for protection and safety. The effect of this shot forces viewers to focus in on Suzu and Harumi as they are afraid for their lives. The two characters’ expressions are easily visible, drawing attention to their faces as Suzu attempts to help Harumi think of positive things. Suzu smiles at Harumi as she reminds Harumi that her mother is always with her, whereas Harumi’s expressions shift from fear to sad and worried. The medium close up allows viewers to see only little of the characters’ surroundings. Katabuchi uses this technique to draw attention to Suzu’s character and her relationship with Harumi. Suzu is very childlike herself, however when with Harumi, she is protective and caring. Harumi also shares a mutual bond with Suzu, clinging on
to her while afraid and letting her settle her down through conversation.
SECTION H. ESSAY QUESTION
Film: A Modern Hero
(Question #3)
From the emergence of filmmaking, to this day, film has found a place within human culture. Directors often utilize this medium of art to express their unique ideas and thoughts, in hopes of inspiring viewers through entertainment. By incorporating their own personal experiences, directors use film as a vessel to share culture, education and political perspectives with the public. As stated by Barsam and Monahan, “the movies we see shape the way we view the world around us and our place in that world” (2). Films allow viewers to learn and understand cultures around the globe. In the film In This Corner of The World, directed by Sunao Katabuchi in 2016, viewers learn about Japanese culture through the story of Suzu (voice acting by Rena Nonen). While the film begins centered on the innocence of Suzu and her newly arranged marriage, it quickly begins to focus on the bombings of Hiroshima in WWII. Observers see Suzu struggle to fully grasp the new responsibilities as a Japanese bride in a new home, such as cooking, cleaning, and shopping. Cultural aspects that are foreign to many, such as styles of cooking, wardrobe and ceremonies, such as the tea ceremony, are introduced to viewers who may be unfamiliar. By seeing the hardships that Japan suffers throughout the film, viewers gain knowledge on the history of WWII and the inhumane consequences innocent people suffer through. In This Corner of The World depicts the story of war that will forever remain in the history of Japan. By creating this film through animation and recreating the Hiroshima some viewers once remember themselves, Katabuchi demonstrates the breaking of innocence and hope that the war had inflicted in the 1930s and 1940s. The film touches on cultural aspects, whilst educating the public on the war as well as the negative effects of global politics. Similarly, the film Rhymes for Young Ghouls, directed by Jeff Barnaby in 2013 is based off of true events during Canada’s colonization of Indigenous persons. Barnaby is a Mi’kmaq director who creates films based on the effects of colonization and the survivance of Indigenous populations. He uses his own personal experience and knowledge to mold the films and the messages he hopes to portray. The film
demonstrates the sickening treatment of populations as they are forced to go to residential schools, pay truancy taxes and are treated unlike people. In Rhymes for Young Ghouls, Barnaby uses the character Aila
(Devery Jacobs) to represent resistance and hope as she rebels against Indian agent Popper (Mark Anthony Krupa), who encompasses all that is wrong with the system of colonization. The film works to fight the stereotypes many societies hold of Indigenous populations to this day, by demonstrating the hardships these populations have faced and the bravery many of them had to put up to survive and not become victims. Barnaby emphasizes on the importance of family and friends, as Aila stands up for her father after years of not knowing him, and as she puts her life at risk to resist the effects of colonialism. By viewing this movie, viewers learn about some Mi’kmaq culture, through the form of storytelling, learn
about the history of mistreatment, and the dark past of Canada. Films such as Rhymes for Young Ghouls aid in strengthening individuals who identify as Indigenous by recognizing the real trauma generations have suffered through. Directors often pour their experiences and soul into their films, which makes them unique. Sunao Katabuchi uses the dark events of his home country in what seems like a playful animated film to bring awareness to Japanese culture, history and the effects of political disagreements. In a similar fashion, Jeff Barnaby uses his Indigenous roots and culture to bring forward the truth of colonization, to bash stereotypes and help his community heal. Film has the capacity to educate the public regarding history and culture whilst demonstrating the toxic effects of political propaganda and actions.
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Works Cited
Barsam, Richard, and Dave Monahan.
Looking At Movies
. 5th ed., W.W. Norton & Company, 2016.
In This Corner of The World
.
Directed by Sunao Katabuchi, MAPPA, 2016. Rhymes for Young Ghouls. Directed by Jeff Barnaby, performances by Devery Jacobs, Glen Gould and Brandon Oakes, Les Films Séville, 2013.