Pre-Production Finalizations

Portfolio Tasks & Their Impact

Each person in my film crew, including myself, is responsible for putting together a part of a proposal that consists of the film's pre-planned production in its entirety. Since my sections make up the baseline of the film, it is connected to my team's tasks as well, so I needed to pull in each of the ideas brainstormed by my group in developing the film's genre and plot, into one cohesive script.

Having done this, I learned the importance of chronological order and scene structure in films. The details have to not only connect to one another but influence the audience's takeaway of the film. Putting ourselves in the position of comedy lovers and any general audience helped my group and I draw the story out. Although a very short film, taking the time to individually break down each scene of the film gave us all the opportunity to add more to it. An example is the ironic appearance of the characters; a confident dork versus a confused, nonchalant character playing chess. This led to the question of whether audience expectations for the film should be met, delayed, or denied and we decided to deny them for comedic purposes.

A snippet of the scripting process. I was able to add scenes and audio suggestions that would amplify this sudden plot twist in a humorous way that my group loved, changing the approach I had when it came down to small details to a more "If it's there, there's a reason" mindset.

Camera Workshop

Receiving instructions on how to use a tripod moved my group and me from planning the story to solidifying our filming methods. Seeing how our shots can be taken with precise stillness and leveling with it, made the idea of working with a chessboard in the film inspiring. The game is known for being very quiet and strategic, so we figured that having the camera capture the characters dramatically playing chess while remaining completely still on the tripod brings together elements of the game and the comedy we want to create. It is all about keeping the vision connected to all aspects of production!

Behind the Scenes of Brainstorming

Deciding on a Genre

A coming-of-age film that showcases the illness that comes with having PTSD, involving the chessboard as the character's main trigger, was the first idea I came up with. My group approved it and we discussed the ways in which mental health is presented in film. But as time went on, I began to rescind my confidence in the idea. Due to this being our first film, we knew it would be bad! There is so much for us yet to learn and a topic this strong would be better done later in the year, with more film experience and time to develop it.

As the director, it is my job to sustain the consistency of our ideas in the film. So, I approached my group with the intent of changing our film to a comedy. I figured that since we are amateurs, this could be our strength if we utilize it to make people laugh! My group was so excited to do a comedy and our brainstorming was almost explosive after that.

Exploring Comedy

A film we referred to for comedy genre expectations was Shaolin Soccer, 2001. The dramatic antics of the film were an inspiration to the vision we wanted for our film; awkward characters, extreme close-ups, and plot twists that were highly unrealistic, but created comedic relief.

Still from Shaolin Soccer, 2001, portraying the way actor facial expressions and angles are significant in comedy.

Understanding elements of the comedy genre as a group was important in our development of a storyline, but also taught us the ways humor can be expressed in each of our roles, not just in the plot itself. We were able to plan out scenes and their details regarding what camera angle we should use to symbolize disorientation in a game (dutch angle), the audio that should be played at that same part for dramatization (orchestra), and even down to the pace of editing from one shot to another (slowed reaction shots) to add humorous effects. 

Overall, grasping how comedy is achieved through the roles of cinematographer, editor, and sound designer was done by researching our genre. Observing the styles used in popular comedies expanded our storyline to one where we could each apply our skills. As the film's director and even potential actress, it helped me structure a system; a beginning, middle, and end that capitalized comedy on each stage of its production.

The Chess Film's Beginning

Director's Seat

For my first collaborative film, my role will be director. The only required piece to showcase in the film is a chessboard; the rest is up to my group and I's imagination. The decision to be the director was quick, as I wanted to have the opportunity to be involved in every aspect of the film's making to get a real taste of what it takes to create one. What I hope to accomplish as director is to be a leader, not a boss. To have everyone's individualism and creativity shine through each role they took upon themselves for the film. A good film to me showcases brilliance in its execution. From the message it conveys through cinematography, editing, and sound, being a director means pulling every one of these pieces together to ensure that the film we envision comes to life more than what we first imagined it to be.

The prop we will be working with; a chessboard!

Establishing a Film Crew

On the first day of working as a director, I realized how a film has many components that require preparation and planning through an effective communication style. Immediately asking questions to find out what role was right for each person, what device we would use to film, having backups in case one of us was unable to attend during filming days, and setting boundaries for the ways we reach out to one another outside of being in class, were important discussions. We agreed to submit each of our ideas, as well as the documents that are assigned to each job in a group chat—so that planning and holding one another accountable was possible outside of the film setting in class. Thinking ahead of the film in terms of the tasks each person is responsible for in making it, established our group as a film crew. In those first conversations, we had not yet discussed genre or plot ideas, but, by communicating the organization we wanted to follow, it put all of us on the path to effectively work together in the making of this film.

Structuralism – Claude Levi-Strauss

Levi-Strauss theory of Structuralism applied

The purpose of the extract from Shaolin Soccer, 2001, is to create comedic relief for the audience. Character oppositions are used at the beginning of the clip to deny audience expectations, where a player from the white team mocks the opposing yellow team. The yellow team players are 'outside of the norm' for soccer players and look disconnected as a team; one is smoking, some are sheepishly standing there, and another is smiling without break. The laughter of confidence exhibited by the white team player towards these shots of the yellow team players' awkwardness and peculiarity, cause the audience to develop preconceptions about the players' ability to win the game. The function of binary opposition in this context is to create identifiable character types to clash the white and yellow teams, which is done by the humorous and unserious impression the yellow team presents and the overconfident, bullying persona of the white team. This evolves to be the exact opposite as the yellow team turns out to be exaggeratedly talented — winning by forty goals, and with some of the white team players being flung into the goalie, adding ironic comedy intended by the clip.

Still image from Shaolin Soccer, 2001, showing the white team that was expected to win easily against the yellow team (character oppositions), being kicked into the goalie net by the yellow players. 

More Levi-Strauss theory of Structuralism in film

The motivation of the extract from They Live, 1988, is to depict the message behind the man's environment between drastically different when the glasses are on and off. When the glasses are on, the world is bleak and plastered with unemotional, pressuring messages. Meaning is conveyed by the scene through stylistic opposition contrasting a black-and-white world with the colorful world society he knows to exist without the glasses on. The alternate version of his world seems to run on greed for profit and the aims of the government openly, with each page of the magazines stating a phrase such as 'obey' and 'marry and reproduce', while noticing these goals in the world humanity knows, is not the easiest to differentiate when reading an advertisement slogan. The film also appears to be a genre-driven binary opposition, a science fiction genre presenting the world (humanity) as being easily manipulated by media's self-seeking motivations (signs, magazines, stores). The function of these binary oppositions in this case is to clearly explain ideas learned of the world from having the glasses on compared to off. The idea derived from the clip is that every form of media has a double meaning people do not recognize at first glance and that perhaps not everyone is who they appear to be.

Still image from They Live, 1988, of stylistic oppression used for the alternate, 'glasses on' world to show the real intention behind the previous advertisement's words.

Genre Theory – Steve Neale

Inferring genres of trailers based on genre theory

The genre is science fiction based on the trailer for Everything, Everywhere, All at Once, 2022. 

Still image from Everything, Everywhere, All at Once, 2022, showing the fantasy elements as seen in the trailer.

Limited verisimilitude would be best used to determine the genre because th convention usually attempts to transport the audience to worlds that are escapist or fantastical. The main character appears to be taken from her normal life and warped into other timelines, making her responsible for stopping an evil force spreading through the timeline. The combination of showing attributes of the real world, going to the store and getting receipts for purchases, with fantasy elements of magic and traveling to different time dimensions is what makes limited verisimilitude identify the genre as science fiction.

The elements of text genre subversion that seemingly apply to the film are audience saturation effects and social context because the idea of a multiverse existing is a relatively new topic being shown in movies and shows. Marvel deep-dived into using the idea of a multi-verse to move the plots of the films and because that was so successful, it may have influenced this film to utilize it and apply it to an older, Asian woman to add a hero representation to a topic that people cannot seem to get enough of. 

The genre hybridity in the film expands audience appeal through how dark and dry humor is used at points mixed in with science fiction. It is relevant because fans of fantasy and lovers of comedy can each find that genre within the film. Having a balance between drama/seriousness and lighthearted is essential to maintain interest from more than just one group.

The genre of Phantom of the Paradise, 1974, is music drama/satire based on the trailer.

Still image from Phantom of the Paradise, 1974, of the masked man appearing in many shots of the trailer, showing how costume and makeup effects audience impression and genre.

The convention that would be best used to determine the genre is iconography because the trailer uses a lot of mis en scène decisions with makeup and costume looks that would be associated with something dramatic or intense. The man wearing the frightening mask in all black for example can be assumed as a villain of the story, but because of the ridiculousness of the costume's impression, the film resembles satire. The use of music, random dancing clips, and music notes as a symbol in the trailer also reveals the amount of musicality involved in the film. Straight-cut editing to showcase the costumes, symbols of music, character reactions, and more is what helps solidify what genre the film is a part of.

The elements of text genre subversion that seemingly apply to the film are cultural effects because the movie is satire, reminiscent of the musical, Phantom of the Opera. The antagonist in the musical is also a masked man, and he hides under an opera house listening to its music. The film's title, Phantom of the Paradise and its content share similarities to Phantom of the Opera in a satirical way. Continuing, the setting's style is also set in the 70s, in reflection of the time period the movie was released. The dance moves, outfits of characters, and even the music being played in the trailer are 70s popular culture. Both of these cultural phenomenons caused the film to be influenced.

Genre hybridity is apparent here by the quick tonal shifts created by the transition between the drama/chaos of people screaming and dancing to a horror similarity where there is an unseen threat by the man showering. The inclusion of several genres makes the trailer more chaotic and alluring to the audience. 

The genre of Electric Dreams, 1984, is a romantic comedy/science fiction.

Still image from Electric Dreams, 1984, showing the machine that will give the main character a hard time on his conquest for love.

The conventions that would be best used to determine the genre are narrative similarities. Science fiction plot lines often incorporate 'man versus machine' stories, as does romantic plots which often have an obstacle or conflict that needs to be resolved before 'getting the girl.' In this case, the man buys a computer that begins to complicate his life in a very humanizing manner as it takes control of everything around him — including his love life.

The elements of text genre subversion that seemingly apply to the film are historical and social effects because the creation of a computer was made and its usage was spreading, so the film was shaped to reflect the transition from old to 'new' technology and the main character being clueless to how to use it. The twist is that the 'new' technology/computer became invasive to his life, so connecting the fears of technology consumers and the lack of knowledge surrounding computers molded the film.

The genre hybridity in the film is genre piggybacking and mirroring of contemporary audience consumption experiences. Computer usage was increasing and the debate on whether technology will take over our lives began. The 'machine versus man' storyline from science fiction is what this film derived from. Using it to develop a romantic connection creates the film's romantic comedy impression. It also mirrors the way the audience at the time consumed media by incorporating the boxy, large computers used at the time for comedic relief and relatability.

Narrative Equilibrium – Tzvetan Todorov

Identifying Tzvetan Todorov's Theory in an extract from Mission Impossible - Rogue Nation, 2015

The Proppian characters identified from the extract are a dispatcher, a hero, and helpers. In the beginning, a man is seen directing the others to complete areas of the mission, therefore is the dispatcher of the film, which leads to the introduction of the other characters.

The hero is the man who jumps on the plane to address the dangerous package on it. But, he encounters a near-death experience as he hangs off the side of the plane waiting for the door to open.

The helper to this hero is Benji, who is seemingly capable of hacking into the plane system and opening it as the hero's 'last hope.' The other characters who are also aiding the mission to get the package of explosives off the plane pressure him to open the door. Benji struggles at first to do so but eventually completes the task.

The equilibrium is the opening of the extract showing a green and calm field with one of the characters, Benji, appearing to be humorously camouflaging himself, along with showcasing the other characters in straight cuts back and forth. This equilibrium breaks into disruption and becomes more intense as the characters feel the pressure of the plane taking off with the package at any given time.

Still image from Mission Impossible - Rogue Nation, 2015, of a field and sunset in which the extract opens to convey a sense of calmness before jumping straight into the mid-action of the plot. Camouflaged Benji can also be seen in the distance.

The disruption takes place when the plane begins to lift off with the package before the characters are able to remove it, the man jumps on the plane as it rises in a risky attempt to do it himself and there is a struggle to get the door he is clinging onto open.

A new equilibrium is established as the hero successfully attaches the package of explosives to himself to parachute them off the plane. He got on the plane and got out safely while simultaneously completing the mission.

In media res is apparent in the way disequilibrium takes up a majority of the extract. The characters each have a significant role in how the mission gets resolved and the mission is not going smoothly (mid-action plot). An immediate crisis is created as well and becomes more intense as the clip progresses, with the man hanging off the side of the plane. 

Still image from Mission Impossible - Rogue Nation, 2015, of the man clinging to the side of the plane, hanging onto the door he needs to get in.

Multiperspective narratives are developed as the clip shifts between different characters' words and reactions who are in entirely different areas, yet all working on the same mission. The story being told in bits between them reveals disequilibrium as each character pressures the other to get the door opened and the package off the plane. A specific example is Benji furiously clicking on the tablet as the editing brings the audience to the other characters in straight cuts, yelling at him to get the door to open.

Narrative Equilibrium Applied

The purpose of the extract is to build the plot's suspense and impact by using narrative equilibrium to structure it. For example, by presenting the plot in what quickly appears to be in media res, a mid-action disequilibrium crisis, viewers of the film will share the anticipation and fear of the characters. This calms when a new equilibrium is established using the door opening and the escape off the plane with the mission being successful, wrapping up the plot using aspects of the theory to convey its intensity. 

Semiotics - Roland Barthes

Impression from opening scene from Punch-Drunk Love, 2002

The extract starts off calm and quite uneventful as the main character talks on the phone in a long take. He finishes his conversation, walks out of what appears to be his office, and witnesses a car crash.  Immediately after the car flips, another car drives by to drop off a harmonium in front of the man on that same road. The man looks stunned with confusion as these moments unfold and intrigued by the instrument.

The sign from this scene is the car crash, resembling the end of something, possible death, contrasted with the harmonium being dropped in front of him, as a possible beginning.

The signifier is the harmonium because it is what draws the meaning of the scene together.

What is signified by the instrument itself is new beginning and harmony often associated with music and the car crash portraying an 'ending.'

Still image from Punch-Drunk Love, 2002, showing the car that flips over and crashes.

Still image from Punch-Drunk Love, 2002, of the harmonium being abandoned on the side of the road.

The denotative meaning is that in a very strange sequence, a car crash has happened and immediately after, a car abandoned a harmonium on the side of a road in front of the man.

The connotative meaning of the scene shifting from a dark office setting to him witnessing a car crash and a harmonium being dropped off outside during sunset may symbolize a new beginning or change in his life.

The code used in the clip is hermeneutic/enigma because the abandonment of the harmonium poses a question to the audience as to why that was done and the reasoning for its focus in relation to the main character.

Semiotic Theory Applied

The purpose of the clip is to intensify the introduction of the harmonium and the curiosity it brings to the audience. There is a sharp contrast between the car crash being the end of something and the harmonium being a symbol of what music brings; beginnings and unity. The bizarreness of the two events and the different impressions they are associated with is what strengthens the foretelling significance of the harmonium to the plot.

Depth of Field in Cinematography

1) Stills from existing media that use depth of field meaningfully

a. Still image from Alice in Borderland, 2020 showing how deep is used to convey conflict or development.

This image is from a scene using deep focus, showing every aspect of the shot in clarity to provide the whole setting the figures are in. The characters are in a life-or-death situation as the water is rising and there are electrical cords hanging. This allows the threat and conflict to be shown clearly, which may not have been understood by viewers at a different depth of focus.

b. Still from Warm Bodies, 2013 showing how shallow is used to convey character or development.

The use of shallow focus depth in the shot above is used to isolate the subjects to heighten the intensity of their romantic connection. In this scene, the characters have developed a bond that has grown beyond a friendship and are looking at each other differently for the first time, making the significant blur of everything around them symbolize how they are focusing entirely on each other. 

 

c. Still image from Pride and Prejudice, 2005 showing how soft is used to convey character or development.

In this shot, soft focus is used with the subject and background being out of focus, appearing to be smoothed out. The context of the scene in which the image is from is that the woman, Elizabeth, has woken up just before sunrise to go outside and spots her love interest heading towards her from afar. The soft focus creates an almost dreamy state, reflecting the early morning, foggy setting she walks in and the shock she may be feeling as he gets closer.

2) Stills I created using depth of field to demonstrate meaning

a. A still showing how deep is used to convey conflict, character, or development.

By using deep focus in the shot, a lot of the setting is revealed because nothing in specific is being blurred or in focus of one thing. The books on the shelves in the back are clearly visible as is the foreground of the photo where a boy is sitting at a table alone. He is looking at the rest of what can be assumed is a class based on the tables, computers, books, and general school setting. He is sitting alone, while a table next to him has several people seated. This conveys that he may be lonely, or that the rest of the class has excluded him.

b. A still showing how shallow is used to convey conflict, character, or development.

The boy and a slight part of the tree he is leaning on is in focus with the background of the lake blurred. This is used intentionally to draw attention to his serious expression and where he is, as he looks off into the distance. The image portrays his character as intriguing to those who view him because they may wonder what has caused him to look so serious or in deep thought.

c. A still showing how soft is used to convey character or development.

The photo is meant to resemble the way films in the 50s used soft focus to accentuate the features of a woman when playing the love interest of a man. Her face appears very smooth and out of focus as she looks up to him off-camera in the image creating a dreamlike love state used to develop the character's emotions and perception.

Reflection

Throughout this photo experiment, the challenges I faced were applying deep and soft focus to my stills. When attempting to take a deep depth shot, I was concerned on whether the distance was too short to apply to the concept. I wanted to create three plains of interest; the back, middle, and foreground of the image — allowing all parts to draw attention in developing a well-scoped view and potential storyline. But, I was capturing photos directly in front of the figure and his surroundings, diminishing the details and meaning that could have been revealed having taken the photo differently. I then shifted the position of the camera so that the corner points of the classroom's walls met within view. By including that intersection where the walls meet, it naturally added dimension to my photo, seemingly making the depth 'deeper' as well as providing more expansion for details in the image. As for creating a soft focus shot, I tried several methods to achieve its smooth effect, including stretching a small, nude mesh laundry bag over my lens. At times, my hand would slip and the bag was not evenly stretched across the lens, causing areas to be too sharpened and others overly smooth. I wanted my still to resemble the feminity this effect was associated with in the 1950s, which required the smooth, light blur to be noticable but not overpowering to the subject. I ended up taping the mesh bag in place, which made the 'blur' consistent over the image and the process of taking the stills easier, in addition to having a good light source to keep the image clarity intact.