Hitchcock: Auteur Theory Documentary

The ZanderDude is back with a vengeance, and a new documentary about Auteur Theory and Hitchcock's work. To all, may you enjoy this film and have a happy holiday season!

Concepts of Continuity INFOGRAPHIC

Guess what.
Yep.
Another one.
Enjoy...

Editing Concepts InfoGraphic

If there are any problems viewing the Piktochart below, visit this link:

https://magic.piktochart.com/output/661736-minimalist-poster

Realism.Classicism.Formalism

Realism, Classicism, and Formalism Blog Post

10/20/13

Recently, we’ve been reviewing the three “traditions” (or editing methods) used most often in filmmaking;  classical, realism, and formalism. Most of our attention was focused on the type of editing necessary to produce such a genre of film, in preparation for an upcoming short film this year. To place each description in context, a short film was selected for each, with the specific scenes of interest emphasized in the accompanying paragraph with answers these questions:

-How would you describe the characteristics of the camera work, considering composition, angle, and movement.

-How would you describe the difference in the edit?

-How would you describe the quality of the story being told?

FIRSTLY, I examined examples of Classical Cutting with scenes of this film:

http://www.youtube.com/watch?v=LYEn0adalUA

This filmic interpretation of Lincoln’s assassination by Griffith clearly follows the guidelines of Classical filmmaking; exposing a single storyline and respecting the expected, systematic stream of events. Camera positioning and framing does not impede comprehension, and is used to fully demonstrate the events occurring on-screen. Shots are often held static and rely on character movement to portray emotion or plot. When cuts are made from one shot to another, it is to demonstrate definite purpose or emotions that link directly to the plot; including the celebrating crowd of the auditorium and Lincoln’s reaction. No unexpected or unrelated shots are shown, ignoring certain aspects of the scenes completely. We do not immediately see a scheming assassin until the plot has developed enough to establish a villain. In this sense, the story is told quite well, as there are no dramatic denouements; the plot is expressed logically and efficiently.

SECONDLY, the use of Formalism was identified in this film:

http://www.youtube.com/watch?v=O_RrNCqCIPE#t=51

Scott Pilgrim versus The World is appreciated much more for its humor, which is consistently expressed with over-the-top exaggerations of emotion. In this example, time and space is altered to generate this comedic aspect, and certain emotions portrayed in the little “side notes” are not entirely linked to reality. Adding these small bursts of animation and speeding/slowing the shot is able to create more depth and understanding, even if there are no specific connections to the obvious plot. “Speed signing” the delivery sheet for the mail is able to shorten the process of showing Pilgrim’s attraction to the girl, which may otherwise take several planned scenes. The camera work is clearly reflective of the emotions in the shot, and isolate what aspect of the scene should be emphasized.

REALISM, in more recent films, is only used to emphasize a certain scene or location; rarely being employed for an entire film. This is mainly because doing so would not attract as much attention to the plot than to the actual framing of the shot. This is most often used in establishing shot of modern movies.

https://www.youtube.com/watch?v=Axt0nETgEXo

This compilation of establishing shots is interesting because it all incorporates the basic aspects of realism; not being manipulated and bluntly expressing emotions to the audience. In comparison, this form of editing and filmmaking is the simplest to film, but there must be extensive planning in the pre-scripting work to get the full potential of the emotion.

Location as Character Project

Location as Character Project

These past few weeks, we've been working on finding a specific location around and looking for neat shots to take of these locations. These ranged from Bart Stations to San Bruno Mountain.

My project was filmed on my iPhone, and I filmed neat shots around the San Bruno 4-H Club 

(sbcal.us/4h). I am a member of this club, and I have access to the newly-renovated farm at this location. This project was a good way to test certain places on this location, and build credibility around the farm's potential use in a future production.

So first, here is the finished location as character project:

And second, here is the commentary script for the "Director's Cut" Piece:

Script: Analyze the “Location as Character Project”

Begin playing “Location as Project”

SOT is slightly dubbed.

Script

So to start off, I filmed this entire project with my iPhone, focusing on it's ability to capture some really interesting perspectives and still maintain a nice-looking image quality. This is the San Bruno 4-H farm, a location that has just undergone extensive repair, and could be used easily in upcoming films. I chose not to include any animals or people so as to not disturb the calm and personal connection feel of the piece with potential humor, etc, but they will be available to maybe star in upcoming films.

As a sort of establishing shot, I used a sunflower in WE-V, contrary to my previous concept of the a similar shot from a higher perspective. Empowering the plant seems to make it more interesting, and the camera was able to fit snugly on the ground and get this perspective. There is a nice color contrast between the yellow and the green, and the camera's concentration on these colors cause the background white and grey building to be removed from the shot. The light from the sun clearly illuminates the shot, and is used for this separation.

These next two shots focus on the linear appeal of the perspective, as well as a sense of balance and unity between the signs and the fence. The locked at all times sign is clearly linked to the locks on the gate, and so by doing that promotes the unit of the image.

This next shot I attempted as a test, and I appreciated it's structure and feel. It sets more of a mood to the piece.

The tree and the barbed wire continue to expand on the mood, saw cell as envisions a strong contrast between the clear sky and the dark barbed wire/tree.

The short rack focus of the spider web on the gate is another interesting shot that establishes a sense of depth, and was also interesting to do in the phone. I was not aware of this particular feature, and I was happy to be able to incorporate it.

The following shot incorporates several examples of lines, the audience is able to select which they prefer to follow.

The cornstalk relates to similar concepts attempted with the sunflower, simply with a powerful sun flare that outlines the form of the sunflower.

This second rack focus displays two extremes of contrast, first establishing the lock, then following the flag in the background.

Short bursts of the flag on the side of the screen was meant to visual movement in an otherwise steady shot.

Another use of the old barbed wire here has both contrast or color and a couple linear tracts to attract attention.

This sequence that follows was neat to put together, as I focused on framing the shots to show the water flowing rather than the faucet. This turned out not as planned, and in a wide shot. The camera could not make a distinction between the water dripping and the faucet itself. I still like how it turned out, though.

Another wev to establish an interesting focal point.

And finally some linear settings on the gate and a sunset. c Every good movie has a sunset in it. I would have preferred to have a timelapse of this shot, but I did not want to risk the integrity of my phone's camera.

Last and probably not least, the final "Director's Cut Piece:"

http://www.youtube.com/watch?v=-TOxoSGd4TM&feature=youtu.be

Enjouy

Contemporary Media Analysis

Reflecting upon the recent presentations in class focusing on media’s interpretation of society, several views have been expressed, involving the contribution of several forms of media.

Specifically targeted films isolate obviously significant, overarching recent actions  or ideals that generated strong communal feelings; ultimately able to emote audiences and cause increased interest. This was repeatedly mentioned, throughout genres that are most common to society: Gender Differentiation, Class Wealth, Good v. Evil, and Patriotism. Historical connections were also made to establish past trends, as well as the transition from cinema to television, and the desperate attempts of cinema to attract audiences by introducing the wide use of original plot and character twists (anti-heroes and evil protagonists). In large proportions, films were chosen for their underlying values that approached possible emotions as significant as possible to the audience. This audience focus idolizes films that utilize diversity to exploit recurring emotions. While individuals are necessarily attracted to feature film genres, television retains further flexibility to accumulate audience attention by employing several genres. In the frequent reintroduction of Breaking Bad, several groups portrayed differentiating emotions, relying on the overarching “evil protagonist,” but emphasizing aspects of the genre; including contrasts between subtle horror and humor. No distinction is made between the two genres, but is expressively shown in the “slitting throat” example too gory to post on a blog that may be viewed by sensitive groups. 

P.S. It's right here:

https://www.youtube.com/watch?v=T1L6jQ0Pfrw

Yet this supports the assumption that multiple genres are able to be explored throughout TV series to attract renewed interest. Television is labeled as surprising, and emotionally intuitive, when this technique is used. Films- on the other hand- are usually considered “degraded” if the marketed emotion is not attained.

This said, media formulates an opportunity for an incorporeal vacation from reality, exploring favorite emotions of an individual. Media is also able to incorporate relevant recent events to attach meaning to plot structure and changes.

Some recent news have stirred interest on the potential requirement for media-induced detachment:

http://www.npr.org/blogs/thetwo-way/2013/09/04/218894580/so-mccain-plays-games-on-his-phone-when-hes-bored-do-you

Certain aspects of “blabber” news could be personally excused as unnecessary, noticeably information not fully determined truthful or exact. The immediate reactions of news agencies cause temporary attention on “filler” information as specific facts are outlined. As further events occur, attention once again differs. Notions expressed in my presentation explained television to be adaptable to any genre and audience. I hope for my short films produced this year to reflect this form of attention on an alternating genre spectrum to my audience’s sentiment.

Notes of all presentations:

https://docs.google.com/document/d/1nsj4XHXKH-3InASrTkW5XePz9sgOmvyLI-FWxl2u74U/edit?usp=sharing

Top 5 Films

Top 5 Films:

#1: Lincoln directed by Steven Spielberg

http://www.youtube.com/watch?v=qiSAbAuLhqs

This nearly life-summarizing selection of Lincoln’s accomplishments are bonded with excellent adaption to historical research and memorable dialogue. Daniel Day-Lewis’ interpretation of Lincoln’s everyday actions and witty stories dramatize the character to extreme proportions and enable viewers to become immersed within the interactions. The movie causes me to personally ponder the outcome of the congressional meeting every time I come across certain sections of the movie.
Will slavery be abolished?

#2: Argo directed by Ben Affleck

http://www.youtube.com/watch?v=w918Eh3fij0

Rediscovering the era of the Middle-Eastern tensions with the American embassy in Tehran, the film illustrates the range of class discussions surrounding the topic; maintaining a interestingly distant approach from a plot of the true story. We are constantly challenged to accept the plot as truth, and its surrealist properties do not aid to accomplish such form of comprehension! I especially adore the connections to current conflicts; shown in a way that truly reexamines human, moral fibers.

#3: Bernie directed by Richard Linklater

https://www.youtube.com/watch?v=bG7i37HDK7Y

Once again, the surrealist qualities of an actor (formerly known for his Nacho Libre crude humor) are able to comedically twist a tragedy into a satire. The murder and segmented mind of the individual is easily pinpointed. A favorite moment of mine is when he redecorates a corpse in the mortuary, which is later revealed to be a class for future undertakers! This form of dark humor follows throughout the film. It was enjoyable two times, and I doubt any less funny the third!

#4: The Adventures of Tintin directed by Steven Spielberg

https://www.youtube.com/watch?v=9ua_4ajpP58

Having read all the series in their original language since the dawn of literacy, I can acknowledge that it is the character I am most influenced by. The amazing product movie is personally considered a coincidence. Tintin’s adventures are brought to cinema and in a way represent the culmination of Herges’ life work. The film represents the character’s adoption by Spielberg, who seems to understand the symbolic meaning of Tintin and the character’s possibilities. 

#5: Hugo directed by Martin Scorsese

https://www.youtube.com/watch?v=hR-kP-olcpM

The complexity of character-building dominates the entirety of the film; causing the audience to become entranced by the situations expressed during the film. As Hugo explores his father’s death, the story creates an intense sensation of fondness towards the plot and Hugo’s interaction with other individuals. Hugo’s run-ins with the station manager, while certainly plot-demoralizing, allow for many smirks at the expressed, basic humor. 

A Good Film Relies on...

Film, being the most energetic form of art, must continually absorb the audience's attention and emotions into a storyline completely detached from the targeted viewers. As another universe unfolds, the script writer must distinguish certain scenes that will serve as a major outline of events; contrasting with those that pry seemingly unimportant details that become vital participants of the overall product. Crafted similarly to an essay, shots must be varied to not seem bland or fade into forgetfulness. Therefore, script editors must congregate amongst the film editors to produce the most visually attractive film. Visionary arts cannot be the sole attribute to a film; the scripting procedures must as intuitive for the audience to fully appreciate the movie. In Spielberg’s Lincoln, the research of the scripting crews are prominent features of the film, accented by the large range of shot types. Shots are rarely static, they constantly search to accumulate emotion. An important static shot, nondiegetic in audio nature, occurs near the beginning; during Lincoln’s reiteration of his address to a group of soldiers. He is situated in a off-centered Medium Shot while he delivers choice quotes of his speech to the collected soldiers. At this moment, he narrates the speech, and it serves as a historical and moral recapitulation of his personal beliefs. Through obvious collaboration between production teams, the film is able to “catch the audience up to speed” and begin the film. Certain metaphorical elements physically surrounding Lincoln, the rain and mud he stands in and upon, are quickly noted and incorporated into the meaning of the piece; a transition visibly insisted upon by the shots and sounds of the particular scene. 

Similar techniques are employed in other recent movies, such as Argo; yet seem to be portrayed further by respect to the overarching role of acting. Nearly tangible emotions are generated through character’s acting, aided by the film composition, yet that are able to stand individually as an insight within the generated filmic world. The morally decaying and constant stress of threat is easily conveyed through the character’s actions, including the audience in the world conflicts of the era.

Finally, any movie must, at a certain point, include an amount of historically-accepted piece of information. It is on this tidbit of knowledge that any form of symbolism is able to arise, as including a small amount of details will further facilitate audience members to become engaged within a movie. In the case of Argo and Lincoln, this is a prominent feature. Nonetheless, this attention to detail is present in many films, and seems to be the root of the success of any movie.

Combined, these three elements are the basis of filmmaking, and contribute to an improved experience for the audience.

End of Year Reflection

Deducing comprehensible meaning about a movie’s plot has been a major focus of this semester’s research papers; isolating the metaphorical meaning and how it is expressed through film. This methodical examinations of films have provided many examples of necessary research in the filmic field, as certain techniques are cliché in their abilities to produce certain emotions from an audience. These moments in a movie are then identifiable, presenting the correlation to meaning. Nonetheless, further integration of physiological evidence with film technique must be provided; establishing the connection of research to personal production. Reaffirmation of required guidelines would be beneficial, as the type of research could ultimately be narrowed to the evidence that could later be applied as a personal filmic technique reference and used in future productions.

Preparation of presentation seemed comprehensive during the oral talks; outlining the necessary information in an efficient manner in order to remain under the targeted time limit. This form of template preparation eventually turned to be detrimental and limiting, as certain information stimulated during the exam could not be provided. Also based on prior data accumulation, the oral was quickly finished, nearly half of a minute under the time requirement. In addition, the facts seemed rehearsed; not displaying the impromptu qualities that denote a impeccable examination. Mock examinations using an interview approach may help prepare the student to formulate responses once prompted during the oral.

Organization was a topic that was lengthily referred to during this year’s productions. Personal ability of team members were also necessarily considered, as optimum creation originates from this source of coordination. Connections were also made between potential actors, also providing interesting insight to the amount of luck needed to find willing actors near home. Planning certain shots were also enticing; causing a few key shots to be filmed by myself to match the targeted emotion. Larger teams would allow further amounts of division between positions and amplify the production value. Actors may also be transported to a set site that has been scouted prior to filming; giving more insight of location.

Project Links

Come Back Project Portfolio

https://sites.google.com/a/capuchinohighschool.org/come-back/

Enjoy!

http://www.youtube.com/watch?v=R7Gjm3KVWDA&feature=youtu.be

Brazilian Cinema and City of God

  Cultural divisions originating from the lack of wealth equality define the plot of the film, experimented on by Fernando Meirelles; who is intent on the portrayal of certain unflattering stereotypes of the Brazilian lifestyle. The contrast is primarily created by these conventions that target the independent cultures of the affluent and the needy. The desperation felt by the poor was well conveyed in City of God, a perpetual livelihood led by violence that eradicates feelings of organized civility. Independent perspectives from the filmmaker offers unique approaches to the separation of classes in the environment City of God captures; bordering on exaggeration to emphasize reality.

     While the powerful force of drama felt throughout the film is persistent, Meirelles intends his viewers to be educated of the reality of the situation in certain cities of Rio; lead by the onslaught of ethical and financial divisions. The divisions between the siblings alone serve as important symbols for the cause of violence in Brazil; one continues the chain while the other attempts to share his perspective. From these major standpoints observing the social influences of Brazil, Meirelles is able to compel his audiences into comprehension of the horrors witnessed in Brazilian slums.

  Similar movies should have likewise connections that will interest audiences on personal levels, as maintaining a distanced perspective would cause loss of interest. To facilitate the creation of such connections, additions of drama at key moment will allow for variable amounts of dedication to the subject to be shown from the filmmaker’s perspective; easily interpreted by the audience. This said, a majority of the consequent research will revolve on the possibilities of generating such an appeal to audiences; even when narrating an uncomfortable subject.

Violence Expressionism in City of God

Perception of violence as deeds that are “beyond representation, comprehension, and escape” (Carsten, 1) allows for a categorization of brutality’s origin; generating two independent methods for individuals to explain such witnessed violence. Partitioning the characters through their intents towards the adjustment of their lives become the movie’s plot, as one character decides to demonstrate his perspective through his images; his brother simply displays his personality through actions. The violence that confined the characters to their actions as adults originally “defines manhood and [eventually] initiates the young boys into adult life” (Carsten, 2). This plot variety is also established through the cinematography of the film; emphasizing instances that may seem “conventional” in the slums. However, City of God identifies such violence as a necessary aspect of an impoverished society; allowing Rocket to “[observe] and eventual[ly] participa[te in violent actions], … [connecting] the youth of the favela” (Carsten, 2). 
The characters find unity in the violent participation; trademark of Brazil’s “institutionalized forms of violence” (Carsten, 2). By finding this sole method of organization, the youth are able to develop primarily as observing victims of their malfunctioning society; their actions displaying this victimization. Character design is an important factor in determining genre as well, specifically the lack of female involvement; other than as an “other site for the men to carry out violence against one another” (Carsten, 2). This accentuated tomfoolery provides a link of human moral decay which allows all surroundings to be seen as source of violence. Throughout the movie, the characters find themselves direct and indirect victims of violence; ceasing any chances for improvements, as the characters obtain methods to redirect their angers towards others.

Come Back Production Portfolio

Advanced Art of Video

Production Portfolio for

Come Back

Alexander L. Davis

Session: May 2012

Individual Rationale:

Come Back was created in the intent of portraying a film most likely characterized as science fiction. Interestingly, it took a while to find an appropriate method to convey the genre; as I pitched several versions of the step outlines before the general concept was accepted. The movie developed rapidly by trial and error as we altered certain unclear areas. The choice of genre was made clear immediately, however, and reasoning for such genres is quickly understood.  It has come time that humorous subjects are no longer strongly revered to in our class, and I believed it was necessary that our film reflect this evolution of genres.

Word Count: 107

Individual Rationale (Trailer):

The trailer embodies the film’s genre, and does so by focusing on the audio. Simply using a steady drone creates suspense, which is then highlighted by the cacophony created at the end; creating a climax. The choice of dialogue fits with the drone, yet does not necessarily match the visuals, created in order to show two story lines at once. This allows for the audience to understand the basic story line and receive a glimpse of the suspense that will be involved in this film. Intensity is also conveyed with this arrangement, as the amount of tension between scenes displays the character’s anxiety; which ultimately is transferred to the audience.

Word Count: 110

Individual Commentary:

Collaboration between myself and my group member allowed the original script to be created, yet serious alterations were necessary to alleviate viewer’s confusion. From this point, it was necessary to revisit reasoning behind certain events in the plot and revise. We created a new plot line that experimented with several variations of the story, as well as considered several methods to portray the information; through ways such as vocal narration. We decided against this, and chose a more traditional method of storytelling, as we considered the efficiency of simply showing the ways the characters are affected by the certain scenarios inflicted upon them. Vocal narration would distract from this emotion creation, and make the film seem more comical. This comedy was not a goal from any perspective, as the genre we were aiming for would not be interpreted well by the audience. The audience would most likely feel further confusion if we redirected away from the plot in any significant ways.

After several attempts, we found the proper combination necessary to generate the balance identified as a science fiction film. This final interpretation was created into the treatment and script; which -in comparison to the creation of the final step outline- was created quickly. Once this was green-lighted, it was understood that I would be partaking in the edit of the film, while Jonathan would ensure the position of cinematographer.  We continued the scripting, and followed the normal processes following the script to achieve a two-column script. This allowed us to experience some form of audio and dialogue scripting, as identifying set scenes allowed us to compensate for certain abilities.

A few days before the original shoot date, I was told that our previous arrangement would not work due to emergency situations. We were forced to postpone the filming until the following weekend, which felt jeopardizing. Nonetheless, the movie was not seriously affected by this, as location scouting occurred during that week. We found a family willing to donate their home and time for the film in San Ramon. Pictures were taken on Friday and uploaded to an online server for them to be posted on the website. Simply looking at the images suggested this location would perfectly suit our filmic intentions, and we were looking forward to beginning the filming portion. The home was located relatively near to a forest location, which would allow the script to be filmed quickly. Our primary location would not have been as efficient.

Next we focused on the filming. I signed out an HFM camera, as it was suggested to me by Jonathan. We used a simple shotgun mike and boom pole for audio, and a tripod. We had decided to make as many adjustments as possible from the camera on every shot in order to have a repertoire to chose from. This was suggested by Jonathan, and I believed it was extremely appropriate. For this project I used my own SD drive in order for the editing to be done on several devices, all coming from the original footage. We also devised a few blocking procedures based on the scouting images in order to decide camera placement beforehand. Once it had been decided that we were to film at this location, these blocking diagrams provided us with a sense of comfort, as we decided what should be omitted from the scene, such as the extra bed in the room scenes, beforehand. This granted us options as to arrangement of the props and actor locations.

On the day of the shoot, we were aiming for completion by the end of the day, so that we would be able to edit everything the following week. We had given ourselves a buffer space consisting of the next day in order to ensure we would obtain the needed footage. Nonetheless, the sheer travel time necessary to arrive at the location was daunting, and we wished to keep the commuting to a minimum. The filming went well, streamlined by the PreProduction work. The blocking diagram was very useful, as we were quickly able to use the proposed camera placement to film exactly what was scripted. Exterior filming was very successful as well, as we used the selected area during the location scouting. The exterior shots around the home were successful as well, yet we decided to film in an early time of dusk, as proposed by Jonathan. This was in order for the camera to be able to see the actors, and allow us to darken the footage later. By doing so, we were actively lowering the changes of having to eventually making the footage spotty of grainy.

My preferred shot was an outdoor one, when Quinn discovers the footprints. I heavily emphasized this scene with music in order to convey the suspense, and was pleased when my little brother watching the first draft of Come Back started to “feel nervous” around this time. The sound truly sells the shot. Following this observation, I created similar variations of the Drone-Suspense sound I had found on Final Cut Pro using GarageBand. I simply reversed the audio for one of the changes, the second was made by altering speed and pitch. This audio generation constituted the majority of the necessary soundtrack for the film, as it was sufficient to create the aspect of the genre. Once I had created this series of sounds, I shared them with Jonathan for his version of the trailer. I also explained how this was done, so that further changes could be made to the originals.

With this film, I hope to expose myself to the genre and explain to my audience that I am willing to undertake the challenges linked to this type of filmmaking. I feel that Jonathan and I collaborated well, while certain circumstances kept us from hypothetical perfection. We enjoyed the experiences of this project, as I truly began to understand the difference between comical films from more suspenseful  movies. Jonathan’s cinematographic work was exemplary, and this was quickly incorporated into the final edit. We would have liked to include the originally conceived opener, yet the still images of the family were not acquired on time. Instead, the plot relied on Quinn’s dialogue when he first encounters his mother.

(QUINN:

“he reminded me so much of dad”

MOTHER:

“I know you miss him”)

This dialogue had been created as a back up in the case that the opener was not successful. We were fortunate to have filmed this scene, as we now need it to convey the plot.

I believe I will continue to pursue this genre of filmmaking, as it invokes the most emotion from an audience. However, I hope to evade any attempts at the incorporation of melodrama into these films. Suspense is more invigorating when the audience is not necessarily feeling empathy or pity for the actors. Just as the genre must be maintained throughout a movie, the creation of Come Back has made me want to continue producing short films with the same genre. I look forward to the following movie, so that I can re-experiment with the genre and see where it brings me. But I will always come back.

Word Count: 1,199

Short FIlm: Genre Research

Genre Research

With this film, I hope to create a science fiction-oriented movie, with very little humor or comedy other than comedic relief. Incorporating comedy might distract the audience from the proper emotions that would create the genre. As an example, I look to Signs (2002), which depicts the habitual first encounter. Originating from a mystery, impressive details arise and drive the plot. If one were to copy this template, it should easily be seen how to create a movie in similar genre to Signs that would embody the science fiction genre.

Many short shots would build the suspense in this short film, as seen in the example Signs. In addition, simply by observing certain scenes such as the one on the right, it is noticed that many shots are in MS or ECU; either slightly detached or completely involved. When making my film, I will need to take this into consideration, as these details, along with the scripting, allows for the emotion to be conveyed.

Alongside this is the concept of audio. When watching the movie- and the trailers- for Sings, I have seen that the audio incorporated is quite simply, consisting of ambient noise that eventually crescendo to a climax. From an auditory perspective, this should be a relatively undemanding endeavor.

Perhaps the most difficult aspect of the filmmaking would be to find a location. The script based off of my short film will need to consider the quasi-lack of location opportunities. South San Francisco mountain might provide areas of open plains, and Crestmoor Canyon can cover forestry locations. When operating at these locations, time will also be important to track, as when light conditions change… needless to say. However, by observing other sci-fi examples, I have observed that many climaxes occur at night. It might be possible to use light kits in order to a) create more climactic scenes and b) increase production value. Filming the scenes in the dark appears more realistic on-screen, as there are not as many chances of it being grainy.

Possible Log Line:

A man returns from the dead to confront his son and bring the kid back with him.

IB Oral Presentation on Psycho

The link to the IB Oral Presentation can be accessed here:

https://soundcloud.com/user995131185/alexander-davis-ib-oral

or

http://snd.sc/X5D3ux

Film Language and Representation

Filmic Language/Representation in Psycho

From the five minute of Marion driving, the plot conflicts are emphasized, as the conflicts of the plot advance, mainly through voiceovers. During this time, there is little noticeable camera changes or positions, as the scene is nearly narrated by the other characters of the film, who are describing the plot. Using this method, Hitchcock is able to emphasize the actions occurring offscreen within the minds of the viewers. This “detached” version of the film’s narration provides interest in the visual intent necessity of the scene.

Certain perspectives suggest the previously stated “detachment” that occurs between the characters and viewers in relation to proxemics, as the viewers lack the insight that occurs with visual aide. Nonetheless, from alternate standpoints, this shot may seem intimate. The viewers may begin to associate with Marion and experience these narratives as a form of subconscious mentality. Marion never seems to respond directly with the dialogue, yet seems perplexed. The guilt of theft obviously affected Marion’s moral judgment, yet Hitchcock allows for viewers to decide on personal ways to perceive the character developments occurring; either by feeling intimacy with Marion, or detached from plot evolution with other characters. 

This scene occurs at night, therefore contains a significant lack of lighting. Darkness offers the possibility to allure to the obscurity of Marion’s ideals in response to her fall in corruption. The concept of Marion’s “obscure” mentality is emphasized by very little location changes or detailed set design. The medium shot of a car remains neutral of developments, allowing for Marion, and the viewers, to assess their opinions on the crime; as well as build suspense. Hitchcock does this for Marion’s moral values to therefore be reexamined and criticized, leaving the audience the ability to create symbolism through suspense.

Psycho Scene - We all think crazily!

Audience Importance in Psycho

Audience engagement is created and maintained through the consistent use of suspense and according horror. Beginning quite intimately, association between audiences and characters are created. Relying on the corruption from theft, the plot allows characters to begin development, resulting in brasher actions in response to complications.Through this form of narrative, actions are justified, allowing plot to escalate quickly. Therefore, as conflicts become evident throughout the plot, the stress of traumatic experiences are perceived well by the audience. An interesting form of narration is used during Marion’s escape in her new car. Via voiceover, dialogue between Marion’s coworker and boss is heard, growing more alarmed as time progresses. This particular narration occurs with little shown events, yet generates a strong response with the audience. Guilt is obvious to audiences, yet it is unsure wether this is originates from Marion’s thoughts, or if it is a filmic version of an aside. 

Marion’s reactions, seen as coincidental, match the emotion that would be associated to the ironies of the dialogue. (Here yet another allusion occurs for those who have already seen the movie or audience members who have predicted the outcome; “I'll get it back and if any of it's missin' I'll replace it with her fine soft flesh!” Such psychopathic thoughts, while presently comprehensible, lead to the theme that revengeful brash actions arise from other brash actions.) Therefore, this scene not only suffices to include the character’s reactions to the theft, it also reveals underlying themes that orient the film as well as our society.

Culture Reflects Psycho and vice versa

Culture Reflections of Psycho

Hitchcock’s Psycho reflects many of the cultural “expectancies” of the timeframe, and displays the bold experiments sought by its producer. American filmmaking had not revolved around the horror genre, yet Psycho generated an onslaught of similar films, suggesting the perspectives on film experiences had been altered. Hitchcock’s own style of filmmaking varied as well, as the usual suspense was applied to further horrific scenes. “[Hitchcock’s films] unquestionably establishes [him] as an indispensable historian, critic, and analyst of American middle- class culture from the 1940s through the 1970s, and ratifies the importance in general of a socio-historical approach to the films of Hitchcock's major period.” (Hitchcock’s America, Jonathan Freedman, 58). When released, the film was revolutionary in the sense that it introduced many novice experiences of filmmaking, and began the “slasher” film genre. Therefore, the film not only displays many experiences linked to culture, it shows the evolution of publicly accepted film topics. 

Psycho provides focus on society, and analyzes each; supplying large amounts of emphasis on corruption. Using such corruption as a major plot generator creates attention regarding the human ability to underestimate consequences; and more importantly to suggest that the human mind can produce justification for corruption. Using examples both from Marion’s theft of the forty grand, as well as Norman Bates’ excuses for the murder of Marion and many more, it is established that Hitchcock wishes Psycho to serve as a reminder of our ability to deem malicious deeds insignificant. Assuming this film’s themes reveal American cultural flaws, one may associate the lessons of corruption as applicable towards the audience; targeting the potential shame felt by offenders. Additionally the film offers the possible punishment of stealing $40,000!

Historical and Institutional Influences

Psycho and Hitchcock

The production and success of Hitchcock’s Psycho was heavily affected by the factors of the production’s time of creation. Independently produced by Hitchcock, the film is able to acquire a certain freedom of expression and implement a new genre of filmmaking altogether. Psycho derived from the horror novel by Bloch, yet once interpreted to film was considered at the time to be so poignantly gory that it deserved the association of a slasher film. In an analysis, Michael Lewis adds that “Psycho helped create the modern horror film… [Hitchcock was] So fruitful… that a single film could spawn an entire genre” (1). With a film adaptation of a novel, it allowed Hitchcock to exploit his audience’s emotions of terror.

  The movie Psycho in itself provides some forms of historical documentation, including the aspect of developing the slasher film genre. Lewis comments that “Psycho [has become] a capsule history of cinema” (26). During the late 1950s, costs of living were relatively low by current standards. The plot of Psycho involves a hefty sum, which might have caused further liaison between the audience and the character’s actions. Majority of audience members were below average income, recovering from a recession. During this time, the reasoning for actions by the characters could be justified, not scorned upon; generating a feel of reasoned helplessness towards Marion Crane, not necessarily anger. Hitchcock’s films often “took place in a moral universe” (26). While the plot is not moralizing, brash action remain justified. Audiences’ awkward emotions towards Marion where generated by Hitchcock, who enjoyed finding “situation that were [interesting], about which he could base a script” (2). The suspense offered little distraction from the plot; fueled by the character’s actions, and the potential for morale justification from these actions.

Sources:

http://web.tiscali.it/andrebalza
http://en.wikipedia.org/wiki/Slasher_film

http://movies.toptenreviews.com/reviews/mr250898.htm

Analysis by Michael Lewis

Psycho

Analysis - Psycho 

Psycho follows and sets guidelines to common horror films, notably the sequences of events focused on generating suspense in the audience, rather than the focus be set mainly towards the plot. Alfred Hitchcock found inspiration for the movie Psycho from the novel by Robert Bloch, as well as Henri-Georges Clouzot’s Les Diaboliques (The Diabolical(s)). Interestingly, when Hitchcock decided to generate his movie, he quickly bought the rights to the novel and nearly every copy of the novel made in order to maintain the ending anonymous. In this sense, those who had heard news of the novel were ignorant as to plot, and would be “unprepared” for climatic moments. Additionally, Hitchcock wanted to separate himself from the common large-budget films and wished to conduct and experiment with Psycho. Hitchcock wanted to determine if a low budget, black and white film could be filmed in seemingly more efficient television filmmaking. No largely known actors were used in Psycho, not matching other films produced by Hitchcock, which included well-known actors.

            Aimed towards audiences that had probably not read the entirety of the novel, Hitchcock oriented Psycho in order to demonstrate that A-class movies could be achieved without necessarily the use of color or flamboyant amounts of investment. In order to attain such rating, Hitchcock manipulated the script in order to largely build suspense, introducing characters in a similar style technique of parallel action. Psycho primarily introduces the ill-fated Marion, lead actress, then the merciless villain, named Norman.

           Similar to many films produced by Hitchcock, themes within Psycho are not explicitly shown, often relying on underlying metaphors. Examples of such symbolism are the recurring imagery of stuffed birds and reflecting mirrors, which from a perspective reflecting the death and the eternal, as well as the awkward use of hands and eyes. Audiences could equally be interested in this imagery that includes the prerequisite elements for dark comedy. The film also identifies the themes of degeneracy and fraud, as well as individual’s vulnerability towards being corrupt.

            All these aspects where incorporated in the movie Psycho, which cost a measly $800,000 for the full production. The critics posted mixed reviews about the film, which introduced new elements into American filmmaking, such as unconventional voyeuristic scenes, as well as the first flushing toilet to ever be filmed for an American production.

            In these perspectives, Psycho was nearly an experiment directed by Hitchcock to identify what extent audiences would allow a film to remove aspects of glamour, and still be considered A-rated. This experiment proved to succeed, demonstrating that by removing excess flamboyancy, the plot is emphasized, the underlying messages can be evaluated, and the gore of the movie “appreciated.”