Monday, 5 December 2011
Monday, 27 June 2011
Age in Monarch of the Glen
In the sequence of ‘Monarch of the Glen we are essentially presented with two oppositional worlds, divided by age. That which defines the youth is represented through the character of Amy, whom I would argue through technical construction, is privileged throughout the clip. The older generation is most clearly defined through the character of the head teacher, although the remaining members of the community also occupy that more traditional space. Finally, the character of Paul makes for interesting analysis as it appears that he is the ‘Mediator’ between the two generations and within the clip, bridges the age divide.
Mise-en-Scene is the first area in which interesting representational issues are presented. The rural setting of the piece, mixed with the natural lighting and rather bland colours initially seem an unnatural setting in which to presents issues of youth. Certainly therefore when we are first introduced to Amy. In her bright yellow top and high – street - esque fashionable jeans, she seems at odds with her surroundings. Previously we had seen members of the community dressed in traditional farming cloths including Barber jackets and Wellington boots. It is through this opposition that the audience is initially asked to empathise with Amy.
When she initially speaks to her friend, her body language clearly suggests she is not entirely comfortable, thus establishing the key enigma of why is Amy the outsider in this scenario.
Mise-en -Scene further drives the narrative when we see Amy inside the Land Rover. The use of this vehicle subverts the traditional notion of a teenager driving and a small car as their first vehicle – again suggesting that Amy has no place in this environment. Narratively up to this stage we are still expected to believe that Amy’s separation from her environment is not due to her age but infact perhaps by the fact that maybe the rural life is at odds with her personality.
The next scene however dispels that myth. When following the car accident we learn of Amy’s true age. It is interesting to note her body language in these scenes. Upon noticing her headmaster, Amy is constantly seen in the clutches of other characters. She almost appears to visibly get younger on screen as she shows signs of insecurity demonstrated by the need to hug those she loves. Her facial expressions (presented through a series of mid/close-up shots) clearly show that she is distressed and worried and her desire to seek solace in others around her ensure the audience recognises her vulnerability. It is here that for the first time she is represented as a girl who perhaps stereotypically needs saving from the perils of adulthood and facing up one’s own responsibities.
When we scroll to the next scene the audience find themselves transported to a very different setting. One which shouts of traditional and formality. The oak room is noticeable in that it is the only location which shows an absence of youth - indeed the only characters who inhabit this space are Paul and the Headteacher. The formality of this room which arguably is reminiscent of a court room conforms to the representation that with age comes wisdom. Even the use of the brandy used as a prop supports the aforementioned sense of tradition and formality. This clearly juxtaposes all that we have previously seen with the uncertainty, vulnerability and naivety of youth demonstrated by Amy. Indeed when Paul leaves the room his aggressions towards Amy sparks a somewhat stereotypical demonstration between the ages with Amy ultimately running away from the situation. The audience will notice how this inability to resolve the situation between Paul and Amy in a supportive way, juxtaposes the previous conversation they witnessed between two adults (Paul and the Headteacher) whereby progress was clearly made.
The final scene with Amy where she is in the children’s bedroom provide further evidence that youth is represented in and may which encourages and motivates the audiences sense of empathy towards youth. Here we see Amy in a room which finally demonstrates and sense of vivid colour. It is no coincidence therefore that this is a location in which Amy appears to hold closest to her heart. The use of decorative cards, pyjamas and the teddy bear hint at the innocence of youth and interestingly Amy is careful in the way she places the items. She is a character that despite her age is able to show a tremendous amount of compassion and in a age fuelled by negative representation of youth culture, this in incredibly refreshing to see. The vulnerability that we saw in Amy following the accident is further highlighted through visual codes such as the way she appears to hide her hands under her sleeves and through the use of props such as the family photographs.
The way that camera is used in the clip further highlighted the distinction between the ages. The initial high angle establishing shot of the workers and their tools represents the sense of community we feel when we consider the adults within the clip – The togetherness of the community is demonstrated throughout the sequence as a series of shots show many people in shot – in a way that almost appears to be an intellectual link to the dwarfs in Snow White.
With Amy however the camera differs. Her first appearance is made through clever composition as she is perfectly framed by the door. As she walks into the yard then camera pans with the sole purpose of ensuring that she remains in the centre of the screen. The over the shoulder shot remains focus on her as she admits to having something to explain. It is here that the clip is cleverly edited to draw the audience in to Amy’s particular story as the ….. Interruption of Paul prevents her from stating her case. The audience are left wondering what she wanted to say – perhaps this editing of the narrative also hints at the way young people may typically feel that they are not listened to.
Having received the key, albeit in rather clumsy and playful way (further highlighting the youth that Amy is representative of) the mid shot of Amy remains on screen for what seems like extended period. She looks alone and once again vulnerable.
The use of close-ups that follow show the unnatural way that Amy deals with the starting of the car, it emphasises the methodical way that she has to work through the process. This use of camera draws attention to the fact that this is not a natural experience for her – once again this use of close-up places the audience within Amy’s world at and time when she is clearly vulnerable. Whilst the editing and camera is used in Amy’s case to represent her as stereotypically vulnerable - it differs when used to show the relationship between Paul and the headteacher. in this instance (as seen in the Oakroom) the two characters are shot in low angles - representing them as figures of authority it is edited in a way that Paul always appears in a two shot whereas the head teacher is allowed to occupy shots purely on his own. This again presents a hierarchy of age – suggesting the older you are, the more power and respect you command.
Camera’s movement and positional appears to Amy. When we see her in the bedroom the cameras roams freely with her using a series of pans - also the only evidence of a focus pull Is used on this scene when the camera focuses on the photos – it is as if we are now feeling Amy’s regret and anxiety.
This whole scene juxtaposes a later scene filmed in the same location when we see the elder female enter the same bedroom. This time the camera remains stationery and most interestingly shoots the entire sequence in one edit from a position outside of the room. Unlike with Amy, the anguish faced by this female is not worthy of our sympathy. Indeed when the same character reappears to tell Paul of Amy’s disappearance it is a cut to a close-up to show Paul’s reaction that demands our attention.
The use of editing to provide the Narrative structure of the piece is motivated by Amy – our initial misunderstanding of why she looks uncomfortably is hidden from the audience until the accident – our subsequent understanding – provided by several scenes encouraging us to further understand her emotional state constantly serene to represent her as a vulnerable and stereotypically naïve character!
The use of both diegetic and non-diegetic sound is also key to understanding the representational issues.
The non diegetic ambient soundtrack to the workers is a traditional and generic track associated with their rural environment. Yet the non-diegetic music we hear during Amy’s sequence tends to tell her story. In particular when she appears in the bedroom, the non diegetic music shouts of a sympathetic tone and foreshadows the event of her leaving.
Furthermore the use of diegetic dialogue further develops our understanding of representational issues. When the head initially addresses her by saying “Amy should have known it was you” his voice shouts of aggression, yet his following line directed at Paul is delivered in a calm manner suggested that as a ‘child’ Amy does not command his respect. Interestingly Amy is we seen and absence of her dialogue suggested she need the adults to decide her fate.
We have to wait until she is confronted by Paul till we witness the stereotypical response of “I hate you” diegetically delivered by Amy before she runs out of shot.
Ultimately though the use of Mise-en-scene camera, editing and sound we are presented with a sequence, which motivated by the character of Amy
It deals with the representation of ‘youth as something which is misunderstood, fragile and vulnerable. As the technical features privilege Amy’s story, we are encourage to think of the adults inhabiting a world which is represented by tradition, formality and reason, and opposes the youthful world which revolves around emotion.
Wednesday, 22 June 2011
Creative Ideas for Music Videos
With music videos, literally anything goes, yet the mere fact that there is such a vast array of possiblitties with regards to the contents of music videos, is in fact both its greatest and most problemtatic attribute for any director. On the one hand we have so many creative ideas we can play with, from green screen to live footage, single shot to rapid montage and simple narratives to abstract works of art, yet on the other we can fail to know even where to start.
What follows is a collection of 'ways in' to generating an idea. This list is by no means exhaustive and one should be encouraged to concocte ideas based on a variety of these potentials. it should be viewed a a veritable pick 'n' mix of possibitlies.
The ideas can be roughly categorises into two types; those for whom the appeal lies in storytelling, and those for which the visual aesthetic is key. Where they act as examplar material, real videos have been linked to each concept.
Narrative Plot
One of the more popular approaches to music video production is the practice of using the lyrics of the song to generate a narrative plot, supporting the messages of the song. In a sense these types of video allow for simplicity in coming up with a creative idea as the lyrics already provide the storyline. Yet the challenges lie in the fact that essentially not only are you shooting a music video, but also a short film. This often results in the need to shoot in multiple locations, with props and a cast who is required to act - and the success of the video will hinge on the ability to tell an effectve story. Moreover the skill lies in seamlessly blending the performance with the narrative. This may require the performers to also be the characters in the video (as with Katy Perry's 'Hot N Cold') or that the performers are positioned to be somehow involved in the storyline (as with Radiohead's 'Just')
Time Lapse
Tme lapse is a feature of music video that for the most part is a visual effect. It refers to the process of dramatically speeding up events to show them in a fraction of the time. This technique can be achieved in two ways, For extended events over the course of many hours, photographs are taken at reqular intervals and when placed on a timeline give the illusion of moving images. The second method is to shoot footage which is then dramatically sped up. Interesting effects have been created in videos where an artist performs at an exagerrated slow pace; When the footage is then sped up it gives the illusion that they are in normal speed whilst their surroundings are hectic - in this case our attention is drawn to the performer. Alternatively you could film the singer in front of the green screen and use the time-lapse footage as a backgound (as with Madonna's Ray of Light).
Butterfly Effect
This, in effect, is a style of narrative, but relies on playing with mutliple versions of how an event may have played out. The simplicity in these videos is that essentially you would be filming the same event a variety of times, e.g. a day in someone's life. In each case however one thing may change which causes a different outcome. The strength of using this style of (postmodern) technique is that it challenges the audience typical relationships with narrative and the pleasure derives from witnessing how minor events can have significant consequences.
Manipulation of Narrative Time: e.g. Reverse Events / Narrative out of synch
Intertextuality / Parody of Existing Video orText
Multiple Personalities
Extreme Slow Motion
Transformation of a character
Extreme close-ups
Extreme Close-Ups are very successful in music videos for a variety of reasons. Firslty they are very personal - they bring the audience right up to the subject matter. Secondly they are visually very dramatic and interesting shots allowing us to see things in ways we do not typically expect. FInally they are very forgiving shots - because framing is so tight we don't have to worry so much about composition and excluding background elements.
Extreme Close-Ups are very successful in music videos for a variety of reasons. Firslty they are very personal - they bring the audience right up to the subject matter. Secondly they are visually very dramatic and interesting shots allowing us to see things in ways we do not typically expect. FInally they are very forgiving shots - because framing is so tight we don't have to worry so much about composition and excluding background elements.
Green screen
The beauty of green screen videos is in the incredible amount of control that you have. Elements can be included or excluded as you wish. Neutral backgrounds will ensure that the audience’s attention is focused solely on the performance. Whereas elaborate and significant backgrounds can also be generated. Advanced special effects can be employed such as duplicating the artist or having multiple characters all played by the same person on screen at the same time. You also have the ability to reposition characters and make then enter, exit and move around the screen at will. It is extremely easy to 'shoot' a green screen video, however the editing is a time consuming task.
Split screen
Thematic / Concept Driven e.g. 7 Deadly Sins, Superstition, Fairytales, 4 Seasons
Role reversals
Essentially a concept driven idea. It involves taking typical powerstruggles / stereotypes between binary opposites and swtiching the balance. E.g. Evil defeating good, youth controlling experience, females in male roles. Pleasure for the audience derives from an alternative view of typical roles and through the subverting of expectations. Videos of this nature can benefit from including a twist e.g. the criminal turns out to be the 'good guy'.
Screens within screens / objects
Dance routines
Creative Use of Colour
Creative use of colour can benefit almost any music video. This could mean shooting in black and white or adding colour filters to the footage to create an effect. It is possible to isolate one symoblic use of colour and leave the rest of the footage in black and white, as well as generate videos that use two tone / three tone colours.
Live Performance
These videos are an attenpt to recrease the live expreeince of seeing the band / artist. They are more often filmed in one location with a stitic set-up of equipment, much like you'd expect in concert / rehersal. Perofmances will need to be shot a series of times in order to utlises many different camera angles. Ideally live perrmance videos need to be shot with close-ups / ECUs as well as in shallow focus for the greatest effect. Also editing to the beat is crucial. Placement of shots isn’t too much of a concern therefore multicam works well. Need to show interesting features and from dynamic angles. Also attention to costumes can establish a band identity.
Travel / Journey
Utilise key lyrics
Monday, 20 June 2011
The Film Industry, Production Values and the Technological Imperative.
All human society has been defined by a series of ages, brought on through a process of evolved ideas or dramatic revolutions which changed the status quo. History has taught us about the Stone, Bronze and Iron ages, as well as the medieval ages, the Renaissance or the industrial age. Each of these ages are bound by a shift in either cultural or scientific ideas which have affected or changed the lives of the populous.
So we turn our minds to today’s day and age, where without hesitation we can claim that we live in the ‘Technological and Communication Age’ which will hereafter be referred to as the 'TechCom Age.' A recent advert for Apple’s IPad2 perfectly sums up our dependence and reliance on modern forms of communication. The Ad, filled with visuals of a variety of Apps tells us ‘To a teacher it’s the future, to a child it magical, to a musician its inspiring.’ and ends with a statement which we all know to be true ,’To us it’s simply the beginning.’ Where this advert stands as a perfect testament to the TechCom age is through the complete awareness that these innovative forms of technology have affected every part of our hectic lives and furthermore through the recognition that this change will continue to happen at a pace which is difficult to comprehend. This assumption that technology, once underway, is unstoppable or unavoidable is referred to as the Technological Imperative
And so, in considering these changes we can begin to offer an educated reflection on the current state of the film industry and where its future may be heading, with regards to how this most modern of the art forms has allowed itself to be driven by new media technologies.
Firstly we must recognise that from the outset, film has always been about pioneering technologies. A quick journey through the history of film teaches us that changes in the cinema experience have always been as a result of new innovations; from sound in film, to colour as well as developing new production practices such as animatronics. However when we talk of New Media Technologies we are referring to a more recent and rapid revolution of how films are produced, distributed and consumed that is driven, in no small part, from the audiences’ hunger for more immersive experiences. Our desire for faster, more portable communication is insatiable; people on the whole need to feel connected 24/7 and have instant access to vast amounts of material. This in turn has led to film producers adapting to these changing times beyond all measures.
So let’s begin to explore exactly how production values in the film industry have benefited from such changes. As with any discussion relating to film there are two variables to consider. Firstly we must consider the benefits to both producers of film, and consumers of film. Our second variable is the effect it has had on both major film companies as opposed to smaller independent producers.
With regards to film production, new practices have, and always will lead to (hopefully) sustainable develops in technical quality; SFXs are better, sound is crisper, IMAX looks significantly more impressive, and 3D brings visual pleasures unmatched by 2D screens. However we mustn’t confuse this with an improvement in artistic quality. Take a look at Sight and Sounds lists of the top 10 films of all time and you’ll see that not a single feature in the list was made in the past 30 years. We can draw one of two conclusions from this; either film these days relies too much on technology rather than artistic skill in directing, (often refereed to as style over substance) or that these polls simply rely on a sense of past nostalgia and arguably a sense of filmic elitism on the side of the people who cast the votes. Whatever your thoughts on the artistic value of these films, what cant be ignored is that a similar list, focusing on the highest grossing films of all time, almost exclusively contains films produced in the last 10 years. Without questions films have become more commercially successful – that is, they give the audience an experience they crave. Producers are embracing exciting technologies such as 3D and IMAX, they are making films of unrivalled visual excitement, and the audiences are lapping it up; does it matter whether the film was of quality or not when the experience itself was exceptional?
Yet these technologies are expensive to use and ultimately are the tools of the major Hollywood companies. 2010 marked the first time that two films grossed more than $1b in the same year, both films (Toy Story 3 and Alice in Wonderland) were produced by Disney, and both were in 3D. One might conclude that technology is therefore causing a larger divide between the majors and the independent studios; however this is not the case.
Of the 92 film distributors in 2010, 6 Hollywood majors controlled 73% of the market share (the 72 distributors not in the top 20 accounted for less than 1% of the market), highlighting the poor commercial success of independent films. Yet this is not a new phenomenon - this has always been the case. Commercially the majors have always dominated; the clue really is in the name. What is we are seeing is that production companies with much smaller budgets than their Hollywood counterparts are also reaping the benefits of technological changes through the use of less expensive, more portable camera, which retain the quality of more expensive film cameras. Director Danny Boyle has talked at length about the benefits of using a SI-2K Digital Cinema Camera (costing a fraction of traditional film cameras) when shooting in the tight streets of Mumbai in his Oscar winning hit, Slumdog Millionaire. Rather than more bulky 35mm film cameras, this cheaper, more portable alternative allowed him and Director of Photography Antony Mantle to capture the frantic pace of the city.
Moreover, when you learn that an episode of hit US medical drama House was shot on a Canon EOS 5D - an SLR camera retailing for around £1500 - you begin to appreciate how the modern independent film-maker can now affordably match its rivals in terms of quality. In fact this pricing opens up further opportunities for student film-makers who can purchase the above mentioned Canon’s little brother (the 550D – which also shoots in HD) for less than £800. The ability to combine quality with the independent film-maker’s experimental approach to film-making makes for a truly exciting concoction for any audience looking for an alternative viewing experience. Let Hollywood continue to embrace the high production values that mass audiences crave, and allow young film-makers an affordable route into the industry to experiment, safe in the knowledge that through social media, there will always be an avenue for both distribution and exhibition.
These two polar methods of filmmaking can co-exist in light of changing technological developments and will continue to provide every audience with what they crave from the filmic experience. However, the moment Hollywood begins to make edgy, challenging cinema, which is the current stock and trade of the minors, then independent film-making may then have to hold up his/her hands and admit defeat. But for now, as long as the Slumdogs, Kings Speeches and Hurt Lockers, continue to triumph over the Avatars, Dark Knights and Pirates at the Oscars, things will continue to stick to the script.
Friday, 17 June 2011
A call to arms for the Extreme Close Up
Often for the first time student music video director, framing a shot can pose as one of the biggest challenges. We aren’t afforded the luxuries of an unlimited professional budget to construct elaborate sets, and consequently we find ourselves shooting in locations which lack the visual aesthetics of our professional counterparts. Without careful consideration to how the shot is framed, we are too often left watching a student’s video where our attentions variably switch to peering over the shoulder of the artist at yet another suburban street or in a drama studio acting as a poor substitute for a live venue. Moreover almost inevitably we have to cast our friends or peers in key roles which demand that they perform with the charisma of professionals with years of experience.
Yet despite these misgivings, there is a solution, its time to get up close and personal and embrace the use of the extreme close-up.
Firstly the extreme close up is a very forgiving shot. With such tight framing, key elements are allowed to exit and re-enter the shot, in fact it’s almost expected. Extreme close-ups mean that we cannot see the fact that the artist’s hands are shouting messages of awkwardness, or that a lady in a pram is walking by in the background because they simply are not in the frame. Mistakes that are glaringly obvious in a long shot do not translate in an extreme close-up.
Secondly extreme close-ups are a visual treat, they offer a way of looking at the everyday in a way that is so unfamiliar to us, and it’s the fact that we are seeing something in a new light that becomes so fascinating. Picture a mid-shot of someone typing on a computer and we could instantly imagine how weak the shot may look: yet now imagine an extreme close-up on just the letter ‘E’ with the sporadic crashing of a finger on the button and now such a simple, mundane act comes to life with all the passion of a drumstick hitting the skin.
The extreme close-up is the most personal of all shots, and after all, what is a music video if not a personal expression of ideas and emotions. We want to see the eyes, the lips, the exciting tapping of feet and we want to feel that personal connection with those that we admire. As a director, treat the audience to such an experience by bringing them within inches of these moments.
When you begin to play with these shots you could arguably say you are a true director in the filmic sense as you are fully deciding exactly what the audience could see. Think to when you’ve seen a theatre show. You sit in the audience and your mind is allowed to wander across the stage, it is you as an audience member who is in control of what you view. For the music video director, embracing the extreme close-up means you have the ultimate control over your audience, you have the first and last say as to what they can see and you almost arrogantly decide what they cannot.
So remember this simple rule - the moment you’ve set up your shot and you think you’re happy with how it looks; pick up them camera and move it closer.
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