Syd Field Character Activity

In preparation for the film, we were tasked with composing a page-long description of our character.

So, enter Walter Johnson, the star of the film.

INTERIOR: Walter Johnson is a 19-year-old  male living in a dorm on the San Francisco State University campus. Born in a small city in Arkansas, Walter decided to attend school in San Francisco because he thought he would be more interested in technology, but has not found his niche as of yet. Walter is an only child, having grown up in a comfortable but humble lower-middle class family. No major physical or mental challenges have affected Walter growing up, apart from a slight amount of Social Anxiety Phobia, which set him apart during his first few years in school.  While relatively smart, Walter is often bored by the material taught in his classes and is prone to some mischief when his mind goes errant. His parents, supporting and nurturing, always help him get out of trouble and correct mistakes. Walter did not change very much in middle and high school, only tried to “rebrand” himself as a ‘jock-ish’ individual. To retain this “status,” Walter will often act without thinking, which continues to land him in trouble with the authorities, although nothing major. Walter’s teachers identify a potential in him, a potential reflected in his SAT and ACTs, but he continues to do poorly in high school and barely completes his college applications.

EXTERIOR: Having put little effort into his applications, Walter is forced to attend his safety school of SF State. His general lack of organizational skills and experience with adult liberties means Walter spends a good portion of his freshman year at parties and not in class. At these parties, Walter is mindful enough not to consume any alcohol, but acts in irresponsible ways, often acting brashly to get attention from his friends. Walter participates in work-study programs, but otherwise receives a majority of the money from his parents in Arkansas, who work several jobs to raise enough money for his education. Walter’s group of friends invite him to parties mainly to see him acts irresponsibly, but one friend, Josh, is much more supportive of him. Josh is more studious, but enjoys Walter’s company. Walter, however, often ignores Josh’s sound advice on how to remain organized. At the party in which the narrative begins, Josh cautions Walter, warning him that he is acting very strangely. Apart from Josh, Walter does not have many friends, although he will do anything for attention from the “cool kids.” Walter does not have any girlfriends, either, but likes one of the girls in his class. That feeling is rarely mutual, as she is repulsed by his attitude towards classwork. When Walter is alone, he is taunted by the fact that he has not achieved much with his life. He has goals beyond college, but he knows his ability to act in ways that will get him to these goals are slowly diminishing. With each party he attends, Walter knows he is also giving up on his dreams to become an IT technician, and is frustrated that he cannot simultaneously be a part of the “cool kids” groups and a still be studious. Walter is prepared to make a change to positively benefit his life, no matter the price. This will become a reality when the narration begins, as he is absorbed into a coming-of-age plot that will transform the way he appreciates his life.

Blake Snyder Beat Sheet For Three Films

In preparation for my own film, I decided to view Silence of the Lambs, Psycho, and Inception. I hope that by viewing these films, I can come to a more complete understanding of the Thriller/Horror film genre and apply similar concepts to my own film. To organize my thoughts on these films, I completed Blake Snyder Beat Sheets for each. This project spanned one week.

Silence of the Lambs (1991) - Directed by Jonathan Demme

Opening Image: Camera focuses on a leafless tree in a forest. The weather is foggy, murky. A woman (Clarice) is introduced.

Theme Stated: Clarise, as an FBI agent, is tasked with ascertaining information concerning a serial killer (Buffalo Bill). To do so, she must talk to Hannibal.

Set-up: Before going to the asylum where Hannibal is kept, Clarice is warned that Hannibal will attempt to "get into her head." At the asylum, despite her best efforts, Hannibal does not decide to help her.

Catalyst: An inmate in the asylum acts rudely towards Clarice.

Debate: Hannibal is not someone to be trusted, but following the inmate's rude actions, he takes pity and gives information on how to capture Buffalo Bill. Still questionable wether Hannibal's character is to be fully trusted. Hannibal's tips lead Clarice in the right direction, as she follows the hint and finds a dead body.

Break into Two: Hannibal asks for a room upgrade in the asylum in exchange for the services, but warns that Buffalo Bill will soon strike again.

B Story: Elaborately, Buffalo Bill is able to capture the next victim (the daughter of a Senator).

Fun and Games: Clarice continues her work of investigation, as she meets with experts to determine the source of an exotic moth found on the scene of the crime.

Midpoint: FBI concedes to Hannibal's demands, with condition: the Senator's daughter must be saved and Buffalo Bill caught. Hannibal adds to his demands, as he wants Clarice to reveal more information about herself.

Bad Guys Close In: As Buffalo Bill intimidates the Senator's daughter, Hannibal suggests to Clarice that Bill was turned down for a transsexual operation, which may be the source of his will to kill. The Senator, angered by the little being done to save his daughter, transfers Hannibal to another asylum.

All Is Lost: Hannibal will soon be transferred to another asylum, and she has very little leads.

Dark Night of the Soul: Clarice, without many options, reveals her innermost secret concerning the slaughter of the lambs. Hannibal, following Clarice's departure, kills the guards.

Break into Three: While Clarice investigates more leads and Buffalo Bill continues with his victim, Hannibal is able to escape the asylum.

Finale: Buffalo Bill is seen sewing the skin of the previous victim. Meanwhile, Clarice discovers a connection between the moth victim and Buffalo Bill, and follows this connection. The FBI follow a separate, false, lead from Hannibal. Clarice kills Buffalo Bill and saves the Senator's daughter.

Final Image: On a tropical island, sunny, Hannibal walks in a crowd of people.

Psycho (1960) - Directed by Alfred Hitchcock

Opening Image: Sam Loomis and Marion Crane are in a bed.

Theme Stated: Marion hopes to eventually marry Sam, but does not have the money to do so. At her work, a wealthy man deposits money and Marion, given the opportunity, takes it. She feigns illness and decides to travel to Sam and get married.

Set-up: Marion takes the money from her work and goes home to pack. After driving several hours, she pulls over to sleep. The next morning, she wakes when a cop taps on her window. Marion avoids having the police officer look in the car, for fear he might find the money. Frazzled, she decides to ditch her car and trade it for a new one.

Catalyst: Marion trades her car at the dealership, and pays cash. The car dealer is skeptical. Marion also realizes the police officer had followed her.

Debate: A fateful debate... Marion decides to rest at a motel versus continuing to drive in the rain. She pulls into the Bates Motel.

Break into Two: Marion enters the motel lobby and meets Norman Bate, meanwhile her employer begins to worry about her and the customer's money.

B Story: Norman Bates asks Marion to have dinner with him, but "his mother" does not believe that would be a good idea. (The B Story is the potential love interests, terminated prematurely by one of its participants...!)

Fun and Games: As Marion takes a shower, she is stabbed to death by Norman, who immediately begins to clean the room and takes Marion's body in the car to the swamp in her car. Norman dumps the car in the swamp.

Midpoint: Lila, Marion's sister, becomes worried about Marion's absence, and decides to hire a private detective (Milton) to find her. She also decides to go to California to see if Marion is with Sam.

Bad Guys Close In: Milton tracks Marion's activity to the Bates Motel, where he questions Bates extensively. With very little to report, Milton calls Lila and decides to stay in the Motel to continue questioning Bates.

All Is Lost: Milton is attacked by "Mrs. Bates" when he returns to the house.

Dark Night of the Soul: Lila and Sam, worried that they have not heard anything else from the investigator, calls the Sheriff. The Sheriff calls the Bates to demand explanations.

Break into Three: Sam and Lila decide to personally investigate the Bates Motel. They register as a couple, then search the house for Mrs. Bates. Lila finds a dead body in the cellar, presumably Mrs. Bates. Norma, dressed as a woman, attempts to kill Lila but is stopped by Sam.

Finale: The police explain to Sam how Norman impersonates his mother out of grief.

Final Image: Marion's car being pulled from the swap; the mystery is solved.

Inception (2010) - Directed by Christopher Nolan

Opening Image: Along an active shoreline, a man with a beard begins to crawl from the waves. A couple of children build a sand castle, but as the man calls to them, they run and do not look towards him. An armed man forces the bearded man to turn around go to a mansion. In the mansion, the bearded man meets another bearded (older) man. The men speak, and it is clear the older man remembers the (younger) bearded man.

Theme Stated: The overarching theme of the movie, made clear from the lengthy opening image is to constantly question the perception of reality. "We are what dreams are made of" (The old man).

Set-up: The bearded man's name is Dom Cobb, and is found on the beach. Cobb speaks with Saito, before the entire layout is revealed to be the dream of Saito. As the dream collapses (water begins spewing from the windows) "Je ne regrette rien" begins to play. Cobb and a group of people wake up on a train. They leave Saito.

Catalyst: Saito finds Cobb and Arthur and suggests they focus on the concept of Inception. Saito wants his competitor's son (Fisher) to dissolve the competitive company.

Debate: Saito offers Cobb the ability to return to the US in exchange for the service and development of Inception. Cobb debates, then accepts the offer.

Break into Two: Cobb goes to France to find an architect to build the dream in Fisher's mind. 

B Story: Ariadne (the architect) must be shown the basics of inhabiting the dreams of others.

Fun and Games: As Ariadne becomes more adept at changing the environments and situations in the dreams, she begins for formulate new concepts to trick Fisher's mind into believing it is dreaming. Cobb et al travel the world and accumulate more individuals. Since Inception relies on sedation, the team get a chemist. Saito grounds the plane of Fisher, forcing Fisher to fly commercially. Saito also buys the airline, which allows them to set up camp in the first class plane lounge. When Fisher enters, they drug him, propelling him to the next stage (sleep).

Midpoint: In the dream, Adriane and Cobb go to the hotel, the other three kidnap Fisher. Fisher's subconscious had been trained, and therefore reacts to Cobb's team.

Bad Guys Close In: Saito is shot by Fisher's militarized subconscious. Since they are sedated, if he dies in the dream his mind will go into limbo. Cobb decides to go into another dream. In the second dream, Cobb and Fisher speak, Cobb turns Fisher against his own subconscious.

All Is Lost: As the third dream phase occurs, Cobb's time is limited, and the team miss the anticipated shock that would wake them up. Cobb, at first, believes they are stuck in limbo, but realizes a second shock will occur when the van in the first dream phase reaches the water.

Dark Night of the Soul: Saito is about to die, and Mal (Cobb's wife) will go to limbo with him.

Break into Three: Cobb decides to also enter the limbo phase, in order to confront Mal.

Finale: Cobb finds Mal, while Saito sacrifices himself. Adriane kills Mal. Fisher finds his father's will, which convinces him that he should dissolve the empire. Inception is therefore achieved. The "kicks" occur, and everyone awakens.

Final Image: The token, spinning. Seeming to wobble, but always spinning.
Cut to black.

Thriller Genre

For my next short film, I hope to explore the "thriller" genre. For my film to be considered a thriller, it must contain the following elements: Suspense, Tension, Surprise

     Thrillers are also generally faced-paced, a note I will be sure to make to my editor when editing begins. The shot selection must consist largely of emotional or "active" shots, as visuals will pose more significant impact on the film than dialogue or subjective perspectives. The proper use of these three filmic elements should help convey a plot that is heavily reliant on a inciting incident, ie. a murder or crime. Any subsequent action should be staged in a way that will not only further continue the plot, but give the audience "thrills" as well.

     To better determine the sub-genre for the short film, as well as the expectations of the thriller genre, I plan on viewing Silence of the Lambs, Psycho, and Inception. These films offer varying perspectives on the Thriller genre, both in plot-type and date of release. I hope that with these films, I can improve my understanding of the genre in general as well as gain inspiration for my own film.
Some additional information to consider concerning the thriller genre:

Narrative Devices
     In many films of the Thriller genre, the narration includes the ever-present progressive "build up" of emotion to a climactic point, more so in this genre of film than in others. In general, the plot line must include large amounts of anticipation, uncertainty, and anxiety. Thrillers should rarely result in a "lull," unless this lull is used to create the anxiety of an upcoming action-packed scene. In many ways, films in the thriller genre must follow an overarching pattern: first, a significant event happens, which initiates the plot. This should be followed by a momentary lapse in action, in which the characters respond to the initial significant action. Then, a second significant action should be experienced. This pattern will continue, the events and plot twists increasing in intensity as the story builds to a climax.
     Additionally, several themes are key and in nearly all movies of the thriller genre. Notably, films usually carry with them a commentary on the fragility of human life. In several films, the main character is threatened by an antagonist. The origin of this threat is also often abstract.


Lighting
     Thrillers often employ lighting techniques that emphasize an upcoming climactic point. Under-cast lighting techniques, very much like holding a flashlight underneath a chin, can create long shadows that naturally "spook" the audience. Of course, this technique is not used throughout the movies, rather simply a few key shots that emphasize a change or significant point in the plot. During the rest of the movie, there should not have a large amount of modified light.

Camera Angles/Movement
     In the scenes of "excitement" and "action," there should be very rapid camera movement, and the range of this motion is significant. In fighting scenes, for example, there should be many tightly-composed shots that are cut every 1 or 2 seconds. This bolsters the audience's ability to react positively to the film, as they become engrossed in the action. In a majority of these shots, the camera should be placed near or from the perspective of the protagonist. This positioning generates a connection between the audience and the character.

Historical Significance
     Thrillers have long been used to captivate filmic audiences. According to many sources, the first thriller would most likely be Safety Last by Harold Lloyd in 1923. This film incorporates many of the elements that dictate a thriller: a climax, several inciting incidents, and gripping action. A notable feature of the cinematography was that Lloyd filmed several perilous shots with only one hand; the other hand had lost fingers due to a prop bomb explosion.
     Another key use of the thriller genre historically was by Alfred Hitchcock. Movies including The Birds, and Psycho employ the same characteristics as Safety Last and are considered some of the most significant and noteworthy movies in the genre. Hitchcock's characters were subjected to abuse and murder. Hitchcock also gave away several hints throughout the movie that a terrible thing was going to happen, which drove audience anxiety.

Camera and Motion Analysis of The Matrix

The "escape from work" scene of The Matrix incorporates several key filmic elements to convey the emotion and importance of the scene. The camera begins by panning low across a cubicle wall to reveal Neo, working at his desk. This not only reveals the protagonist, but establishes the walls and surroundings. If the camera had been placed higher, the meaning of the shot would be greatly lessened, as the walls would not seem as confining. In effect, this pan is the manifestation of Neo's "imprisonment" by the cubicle (and the Matrix). When the camera comes to the end of its pan, a man (all that is visible is his hands and mid body), appears in the right portion of the frame, and addresses Neo. In response, the camera cuts to a slightly closer shot, following the rule of thirds and framing Neo in a way that matches his turn to face the camera. The camera is placed slightly below Neo's line of sight, which establishes Neo as an influential character. The camera remains fluid, and the man from the previous shot walks in front of the lens (at this point an "EXC" of his midsection) to hand Neo a clipboard to sign. This framing, planned in advance, therefore not only establishes Neo, it also is set up to emphasize the transaction between the man and Neo. The next scene shows the end of the transaction between the two, a handoff of a FedEx envelope. Always, the camera relies on the rule of thirds to frame the characters. As the delivery man walks out from the cubicle, the camera changes to a MS shot of Neo, holding the letter. The camera pans slightly to the right to compensate for the departure of the delivery man, then falls back to the generic model of rule of thirds (FIG 1). The shot remains this way until the envelope is opened. At that time, the camera changes from an entirely objective point of view to Neo's subjective perspective. The moment the phone begins to ring, the camera switches again, this time to an objective view. The camera frames the phone in focus and Neo's face out of focus, and the shot is taken from beneath both the phone and Neo's face. This is a very powerful shot, as it introduces the phone, and it also introduces new shot composition for the remainder of the sequence.

FIG 1

Until this point, the shots had remained fluid, and were actually very lengthy, from 5-7 seconds in duration. This serves a purpose of establishing the character and doing so in a nonchalant way. Upon the appearance of the phone, this dynamic changes, with more fast-paced cuts and more close-ups of Neo. In the shot following Neo's answering of the phone, the camera begins to be entirely responsive to the character's actions. The slight dip or raise of the head is accented by the motion of the camera that matches that action. When Neo lowers his head to speak to the man on the phone, (crouching beneath the desk) the camera follows him to that position, eventually (again) framing him according to the rules of thirds. Ok, I lied, this shot is very long, as Morpheus explains that "they are coming for you" but this rhythm will change quickly. The tactic of maintaining the shot for this long could be to attribute a sense of emotional connection between Neo and the audience. The audience is steeped in anticipation due to the long shot, and

FIG 2

Morpheus's audio cues are recognized instead of any other potential visual cues. This bond between Neo and the viewer continues when he raises his head to confirm what Morpheus warned. In this shot, the camera perspective becomes subjective, taking Neo's POV and focusing on Mr. Anderson. Then, a very quick reaction shot from Neo, and a fast cut to the original cubicle shot, except this time the camera is much less fluid. As Mr. Anderson walks down the hall, the shot is maintained from a low perspective, which lends a feeling of power and supremacy to Mr. Anderson's demeanor. This is contrasted to the next shot of Neo, taken from a higher angle, which makes Neo seems small, vulnerable, and insignificant. When Neo scurries from one cubicle to the next, the camera is placed at his level, but since he is crouched down, when Mr. Anderson appears Neo still seems small. This use of camera placement (FIG 2) is used in several of the following scenes: always to make Mr. Anderson seem powerful. Several of the following scenes continue in this pattern, emphasizing Neo's crouched position until he gets to the office and sees the scaffold. The camera then follows Neo in a very fluid, long shot. The camera continues to pan and keep Neo in a tight CU.

FIG 3

When Neo steps out from the building, the camera follows him fluidly and maintains a CU with his face, until Neo looks down. The shot does not change here, apart from panning downwards to reveal the edge of the building FIG 3. When Neo drops the phone, it continues to be his from his subjective POV, linking his despair for the loss of the phone to a similar emotion in the audience. Then, the camera cuts, revealing Neo in the custody of Mr. Anderson. He has failed to go home early.

Loglines:
An elderly kleptomaniac, suffering from dementia, plans a heist on his own house.

A computer science worker in San Francisco threatens to expose his company's privacy abuse.

A high school student must decide whether to attend a small private school or MIT, and the decision is made for him by his friend.

ReBourne Identity

A filmic analysis of The Bourne Identity. 
WARNING: As always, the potential for spoilers is omnipresent. Watch the film. It's worth it and on Netflix (DVD order only).

Opening sequences of films reveal, in general, the defining characteristics of a film and its characters, a technique that was obviously taken to heart when designing the introduction to Jason Bourne in the Bourne Identity film directed by Doug Liman. In these first two minutes of the film preceding even the title credits, Liman reveals several key themes that would be continued to be explored throughout the film.

Analysis of Shot Composition of the Opening Sequence

The opening sequence begins with a shot of a man floating lifelessly on top of a body of water. Camera placement here is important, as positioning the camera under the character delays the reveal of the man's face for an extended amount of time. "Strategically placed" lighting illuminates the water and the body for small increments of time, before letting the camera fade to black. When the camera next picks up on a small fishing vessel that is also illuminated solely by the occasional lightning. While there is no immediate proof that this shot of the ship is a subjective point of view from Jason's perspective, it is possible to consider the shot this way. The director then cuts to a shot of men inside the boat, playing a game of cards. To give the impression of being on the chaotic sea, the camera shakes purposefully, but remains objectively focused on the occupants of the ship. Then, from the interior scene, (which was given a red tint to foster the concept of warmth in the ship's cabin), the director switches to an exterior shot of the waves of the ocean and the rain, colored blue to promote cold. This pattern again repeats, with a warmly-lit interior shot of the cabin to a blue, coldly-lit shot of a man in the water. The second time this exchange occurs is shorter, which hints that a following scene will most likely incorporate the reuniting of both the ship and the man in the water. From the shot of the water, the camera returns to the ship, this time objectively focusing on a man stumbling through the corridor of the ship, accented with a blueish tint in the background of the shot. In the next scene, the man is outside, and the camera continues to film objectively, masking the surroundings of the boat from the audience (we don't know if the man on the boat will see the man in the water). Suddenly, the man on the boat stop, and looks into the distance. At this point, the "parallel action" that has spurred the plot line until this point stops, as the camera shows a subjective shot of the man in the water from the perspective of the man on the boat. The camera cuts to a close-up of the face of the man on the boat, then back to a closer shot of the man in the water. This exchange continues, every time framing the man in the water a little more closely. Then the screen fades to black and the title sequence begins.

This opening sequence, which is ultimately very riveting, simultaneously launches the film's genre, plot, and theme.

Genre, Plot, Theme

GENRE
The Bourne Identity falls under several genres, including Action and Thriller, with elements of a Mystery film. From the opening sequence, it is easy to tell that the films will have its mystery component, as the camera never explicitly shows Bourne's face.

PLOT AND LOCATIONS
Jason Bourne, played by Matt Damon, is a man found in the middle of the Mediterranean, suffering from amnesia. While he does not remember anything of his past, he has several talents that convince him that he something has happened to him that placed him in this predicament. Bourne receives help from a friend he meets called Marie, who helps him understand what has happened. The film takes place in Europe, with a majority of the film in parts of France.

THEMES
Some very clear themes that are examined from the get-go is the element of chance that is constantly helping Bourne achieve his goals. Not only was it lucky for a ship to be navigating near his location in the water, but the incorporation of the card game in the opening sequence emphasizes the theme. After all, it was because one of the fishermen, who had lost the bet and went outside, that Bourne was discovered. Additionally, a theme that develops over the span of the film is Bourne being "reborn." (Yep, wasn't just a funny title). Since Bourne has amnesia, he must discover who he is, which lead the development of the plot, very much like movies documenting an individual's life.

Context of the Film
In very obvious ways, this film (and the books from which this film was conceived) comments generally on the United State's boundless influence in other countries, which sometimes proves detrimental to both the United States and the other countries. Bourne, we learn, works for a secret sub-group of the CIA that is tasked with complex missions involving stealth assassinations. Each of its members are highly-trained individuals, like Bourne. When Bourne fails his mission, the group believes he has gone rogue, which is why they go to such great lengths to eliminate him. Bourne fails to kill the president of the African country because he realizes the president has children, and is unwilling to carry out his mission. For this he is made the target of the group he works for. This illustrates the United States's misconception that targeting a single individual has no collateral damage. The film was produced in the early 2000s, consistent with that time during the beginning of the war in Iraq, and is again relevant today, with (unfortunately) another escalation into conflict in Iraq and Syria.

Mustang News Ideas

Five Ideas for Mustang News Segments

• New teacher interviews
• "What you did you go/where did you go over summer"
• Summer movies
• Summer jobs
• Capuchino Del Sur Club Segment

Film Coming Right Up: Double Redemption

A new film is in the works:

click here: https://sites.google.com/site/doubleredemption/ to see more!

Oral Commentary on Sunset Boulevard

This is an IOC -Individual Oral Commentary- that describes the theme of human exploitation in Sunset Boulevard from the perspective of context, setting, cinematography, score, and the genre.

https://soundcloud.com/alexander-davis54-1/ib-film-oral-junior-sunset


Self Assessment

My extract related to the film as a whole, particularly in the themes of the film itself. I specifically reflected the themes of entrapment that are consistently used throughout the film, as well as the motif of Paramount Pictures and the film industry, which I likened to exploiting human life. However, I did not include as much examples of filmic similarity between this particular scene and the rest of the film. I touched on how the realist style of filmmaking is reflected in both the extract and throughout the rest of the film. To be sure that the evaluation was clear, concise, and applicable to the film as a whole, I made sure to not include any form of repetition. I did not repeat what I said! The oral also connected to the social-cultural context of the film by showing the significance of Wilder's criticism of the film industry. I believe I discussed this specifically, and explained well through precise film language how film elements help contribute to the themes of the piece. I also explained this as a rationale for why I chose the extract: I found it interesting how the themes were developed throughout the filk, and how they could be summarized in this five-minute extract. I did not include outside critics in support for my extract and comments. I did include a short description of how the film industry reacted to the film's release, but not specific examples or quotes. This may have helped prove my point.

Oral Presentation Part 4 and 5 - Narrative and Film Language

EXTRACT: 1:01:45 - 1:07:27

IV. Narrative-

Sunset Boulevard employs a definite nonlinear narrative style, which begins with the exposition of the death of the main character, Joe. From this point, the film is narrated through voiceover by Joe, until his untimely death and ultimate resolution at the bottom of the pool. This form of nonlinear narration begins by hinting at the end, from which point plot elements are introduced in purely chronological order. Other than pure narration, Sunset Boulevard uses a theme of inescapability by showing the fate of the main character at the beginning of the movie. As Joe recounts the events that lead to his death, the audience has a predicted outcome. This is what hints at the movie being a film noir. Themes of entrapment and mundane life are prevalent in the genre, which are expressed through Joe’s pre established death in Sunset Boulevard. The characters are quite accessible to the audience. Joe’s voiceover helps with this connection between the characters and audience, as Joe’s predicament is understood more easily coming from the source.

V. Film Language and Representation-

EXTRACT: 1:01:45 - 1:07:27

This extract is particularly interesting, as it is a significant display of Hollywood’s human exploitation. In these five minutes, Norma Desmond’s delusions are emphasized, as she prepares to and meets De Mille, supposedly to have a conversation. In this scene in particular, the acting of DeMille is quite realistic, with dialogue that could be actually used by individuals in the film industry. Camera positioning is not quite as significant as the actions by the actors. Often in this scene, the camera is placed at eye level with the characters, and help accentuate their actions. Throughout the scenes in this excerpt, there are often large amounts of people surrounding Norma Desmond and DeMille in the studio. This constant exposure to large concentrations of people show an emphasis on the use of proxemics, or what is seen as an appropriate distance between actors. This develops meaning by showing how despite having adoring fans for a couple seconds, those will dissipate as soon as there is something else to ravish over. The scene is edited to show a progression of events and retaining the misunderstanding between Norma Desmond and DeMille. DeMille does not tell Norma what she was called to Hollywood for (the rental of her car), but instead the sequence shows how Norma remains in her ideal notion that she will be collaborating with DeMille on her screenplay. The lighting of the studio and outside the studio is dark with shadows despite little sun. The only emphasis of light is on the set and actions, and on Norma Desmond when the light technician shines the light on her. Shining the light represents the visual aspect of film as more significant that the audio portion. The music that accompanies DeMille’s walk back towards Norma Desmond is dark and ominous, even if the moment is very reassuring to Desmond, who once again has fans. Demille is seen as a slightly evil character, who calls off the crowd of admirers with his microphone. The sound editor could have decided to incorporate sad music, but by including ominous sounds clearly shows that DeMille knows he is a part of the industry that emotionally hurt Desmond, but does not care. In a part of this excerpt, Norma Desmond is sitting on the director’s chair (DeMille) and has a microphone fly past her and hit the feather on her hat. This specific mis en scene describes the basic understanding that Norma Desmond’s influence in film had deteriorated due to some form of technological or social change that left her “obsolete” and unwanted. While the film does not state a reason for Desmond’s career failure, there are several illusions. The first is a transition into sound. This abrupt technological transition for filmmaking ousted many actors unwilling or able to act in “talkies.” However, Sunset Boulevard does not in any way emphasize this reason as she does not have a distinguishable accent. It simply alludes this with the “microphone and hat” incident in the excerpt. Norma Desmond may also have acted in an unsuccessful picture and forgotten by fans, a potential reason for why Max pities her. Nonetheless, the adoration of the studio actors and designers in the excerpt do not hint towards this possibility in the slightest. Throughout the entirety of the film, in relation to my excerpt, there are several characteristic of Desmond that serve as symbols and metaphors. For example, there is the development of a “Spider woman,” especially on the placement of Desmond’s hands; often in the position of a claw. hand in claws. Norma Desmond’s cigarette holder also contributes to this “Spider woman” idea, which helps keep the audience emotionally “off-kilter.” Another deeply emotional use of symbolism are the vines covering the guest house Joe was first kept it. This is an obvious concept of entrapment, which once again fits with the Film Noir genre.

Oral Presentation Part 2: Historical/Institutional/Socio-Cultural- Context/Factors

II. Historical and Institutional Factors-

Some major institutional factors that are associated to Sunset Boulevard is the end of the second World War. WWII helped develop a push for additional film noir movies, with plotlines that easily criticized human sincerity and integrity. Atrocities experienced during WWII may have lead to an appreciation of these noir films, which may have had a touch of “realism” during this historical context. Perhaps, like the jokes and expressions heard in the film, the realistic qualities of Sunset Boulevard were oriented towards individuals who had felt equally distressed or overwhelmed by life during the second World War. Sunset Boulevard, in particular, deeply examines the truth of Hollywood lifestyles during the 1950s. Each actor, in a sense, is parodying their own lives and influence in the film industry. By contrasting this film to others that followed, it is clear that the film came closest to exposing the reality and delusions behind the film industry. Critics of Sunset Boulevard disliked this realism, and this lead to films which became more lenient on the characters and plot. This film highlights the true effect Hollywood had on the film industry as a whole. It is clear the film industry was highly secretive and difficult to cope with. Audiences demanded perfection, forming a competition between film companies to produce films that would keep the American population away from their televisions and into movie cinemas.

III. Socio-cultural context-

Sunset Boulevard heavily ridiculed the Hollywood necessities to become (and remain) a star. Norma Desmond and Joe both aspire to be successful in Hollywood, and each face large troubles to reach their hopes. The filmmaking culture is not shown as many might believe it to be. The theme of entrapment, the inability to leave the lifestyle that an individual has chosen, not only reflects the “film noir” qualities of Sunset Boulevard. This film takes place in Los Angeles, on Sunset BLVD. Beverly Hills is connected to LA through this road, almost seen as a metaphor between Hollywood and the aspiration to achieve success and live in Beverly Hills. Sunset Boulevard is constructed around the question of what happens to stars when they are forgotten. Norma Desmond is a “case study” of the traumatizing effects of ageism in Hollywood, which has forced many successful actors to lose their fans. Sunset Boulevard therefore examines the effects of being labeled as no longer a star due to age, as parallels it to the mental deterioration of Norma Desmond. Our discussion has surrounded the actual treatment of actors and writers versus the depiction of Hollywood favored by Hollywood; where everyone is able to become a star. Sunset Boulevard criticized the film industry by portraying the “human exploitation” necessary to produce a film. Stars are used until their are no longer favored by their audiences, and writers are not supported until their work is completed and capable of making a profit. Sunset Boulevard, even if highly connoting of film noir, is a parody of the genre. By this point, many film had lead the evolution of the genre through the other evolutionary steps. The film uses this parody form of film noir to highlight social elements exposing the film industry. The film’s parody of film noir also serves as a vehicle to display the “human exploitation” described above. After the second World War, the public favored realistic interpretations of their surroundings, rather than plot lines that “hid” unwanted elements of life. American film noir movies had uncalled-for and sometimes violent endings, a fact that is parodied by Sunset Boulevard in the murder of Joe. By displaying Joe’s corpse at the beginning of the film, the plot is automatically identified as a parody of film noir and a satire of life. This film represents the film industry (obviously), and represents it quite realistically, which was not encouraged at the time by Hollywood or the industry itself. Critics of the film felt it embodied the industry and represented it as a demonic vilification that causes delirium (resulting in Norma Desmond -and Joe’s- fate). In the end, however, the film well represents its role in society, and emphasizes the various characters as representations of specific parts of the industry. Again, the film parodies the film noir aspects of other movies, and does so to emphasize the monotony and exploitative mindset that existed in the film industry during the 1950s. The audiences of the time would have understood the harshness of the industry. The film targets the majority of its criticism at the film industry for exploiting individuals who participate in it.

Oral Presentation Part 1: Genre and Audience

1+2. What tradition or genre is it in? What are the features determining genre or elements that tell us what type of film this is?

The film Sunset Boulevard incorporates several genres. These include film noir and black comedy. Film noir relies on the inescapability from death, which is clearly expressed in Sunset BLVD. By exposing the fate of the main character from the beginning of the movie, Sunset BLVD narrates the life of the main character; who, despite seeming to be in good health, is destined to die. In order to make light of this predestined fate, the movie also has several indications of black comedy, with satirical comments and witty phrases throughout.

3. What other work might it be connected to?

Considering the film's plot, other movies include Singin' in the Rain (1952) and Barton Fink (1991). Singin' in the Rain also looks at the conflict of silent actors with the arrival of sound in cinema. This is the same conflict as faced by Norma Desmond in Sunset Boulevard. Barton Fink is about a playwright to writes a screenplay for Hollywood. Billy Wilder has also directed other movies, which may be interesting to investigate in terms of the auteur theory. In 1938, Wilder directed Ninotchka in collaboration with a fellow German immigrant, Ernst Lubitsch. This connection to German influences-German audiences enjoyed Film Noir- may have begun Wilder's connection to the genre.

4. Who made this? Why?

Sunset Boulevard was directed by Billy Wilder, an Austrian-born American filmmaker. Wilder was also a reporter, and tried to make Sunset Boulevard as closely matched to potentially possible proceedings. The character Norma Desmond's name was inspired from Desmond Taylor, an actor, and Mabel Normand, a close friend of Wilder. This similarity shows that the film may be closely linked to Wilder's life experiences, and may be a potential cause for its production.

5. What can we tell about its’ creators?

Billy Wilder got his Hollywood debut with the production of Ninotchka (1939), a highly popular comedy. His third film Double Indemnity (1944) was his first successful film noir, using the popular genre characteristic of filming the shadows of venetian blinds. This film was also in adamant opposition to the Hollywood censorship, as the plot relies on the theme of adultery. Billy Wilder also directed a propaganda documentary, Death Mills (1945) to educate German audiences about the Nazi regime’s atrocities.

6. How does it fit within the director’s other work?

Sunset BLVD was a film noir piece, therefore a significant amount of theatrical and visual elements that can be compared are those associated to film noir: “low-key (high contrast) lighting; imbalanced lighting; night-for-night; deep focus; wide angle focal length; dissymmetrical mise-en-scène; extreme low and high angles; foreground obstructions” (Schrader, Cook, Hervey, and Blaser).

7. What is the film’s theme?

The film is to highlight the difficulties for “silent-era” actors during the transition to the use of sound in cinema. We have not finished the film as of yet in class, but so far it seems the theme of Sunset Boulevard is that individuals should not expect or rely on unchanging surroundings. Norma Desmond’s career, very much like the careers of actual silent actors, finished abruptly when the movie industry incorporated sound.

8. What is the target audience? How does it address its audience?

The target audience of the film is mainly individuals who understand the implications that occurred during the transition from the “silent” era in film to sound in cinema.

Works Cited:

Schrader, Paul, Pam Cook, Sylvia Hervey, and John Blaser, eds. "The Outer Limits of Film Noir." Film Noir Studies. Film Noir Studies, n.d. Web. 16 Jan 2014. <http://www.filmnoirstudies.com/essays/outer_limits.asp>.