Ed Wood Cinematography Analysis & Mid-Term Reminder

Ed Wood Cinematography Analysis

Assuming you were in class Wednesday before Spring Break (if not, pay close attention), you should have a very detailed shot-by-shot breakdown of the scene in Ed Wood (available in the Screening Room) that begins with the bedroom scene following the reading of the reviews in the bar (7:19), and ending with Ed and Dolores talking before Ed meets Georgie Weiss (11:05). You should have focused only on elements of cinematography in your note-taking (using the Cinematography Worksheet as a guide), but your homework that is due when we return from Spring Break is to explain WHY these elements of cinematography were chosen by Tim Burton (and his cinematographer Stefan Czapsk) in relation to the elements covered thus far, narrative and mise-en-scène. You CAN use the notes that you made in class if their is adequate space for clear explanation, but it is likely preferable that you transfer your notes over to a print-out of the the Cinematography Worksheet, printing out additional pages as needed.

Mid-Term Reminder

When we return, we will take the mid-term exam, which will consist of an in-class portion to be taken on March 13th and an online portion to be taken over the weekend of March 13th through 18th.  I believe I have already given plenty of information on how to study for the online portion of the exam.  The in-class portion will be an analysis of a scene from a film we have not seen, with the cinematography worksheet as a basis for analysis but covering all elements covered thus far in the course.  Monday's class discussion should address any questions or confusion over terms and procedures.

Weekend Reminder

• Read "Mis-en-Scene" Chapter 5

• Watch Barton Fink for Wednesday (available in Screening Room now and in library on Monday)

Hitchcock's Storyboarding: Psycho & The Birds

Although critics and film historians can use storyboarding to build on controversy, as conveyed in this recent blog post about changing the aspect ratio of Hitchcock's Psycho for its Blue-Ray release, it is useful to see how crucial storyboarding is to the visual presentation of story on film.  Although it is possible the shots in Psycho could have still materialized without storyboarding, the cost of processing etc. almost necessitated extensive storyboarding for any complex mixture of shots (as one online critic complains, this explains why newer films that don't use "film" fail in their storytelling).

See how closely related Saul Bass's storyboards for the Psycho are to the actual footage of the film (I suggest turning off the sound for comparison), but also note departures from the storyboard as well:

 

Watch the film up to about 1:40:

 

Of course now you can start to see where Hitchcock built more suspense by cutting the attack scene back from the original storyboard, saving the shower curtain being pulled down until after Anthony Perkin's character has left. Vivian Leigh is still breathing, we have seen her block some blows (despite the sound of knife in flesh), so maybe she will survive

 

And finally the focus on the drain and juxtaposition with the eye, a technique used to full effect for the film's closing scene (turn sound off--this is an altered clip), but one notably missing from the shower scene storyboards:

And one that has oft been referenced and spoofed:

The Birds provide a more effective demonstration of how storyboards can be used to visually build suspense as we "see" the plot unfold on the boards and on screen.  Here is a basic juxtaposition where the viewer makes the connection between the leaking gas and obvious outcome (see textbook for Hitchcock's distinction between suspense and surprise):

But the playground scene with the growing murder of crows works on multiple levels because we slowly realize just as the character slowly realizes that something is out of the ordinary:

Charlie Kaufman on the Portal to His Brain

Adaptation & Elements of the Narrative

We will be discussing narrative in detail on Monday and Wednesday of next week, using Adaptation as a basis.  As you have or will find out, Kaufman's script defies all categorization, so it provides a wonderful lab for breaking down the elements of narrative.  We will start by discussing this in class, but if necessary, I will send you to the discussion forum as a follow up (so be prepared to avoid homework).

You can view Adaptation via NetFlix or the library also has a DVD copy, as do I.

Speaking of homework, just a reminder that both the DVD for the textbook and the chapter quizzes are a great way to keep up and review so that the mid-term does not catch you off guard.

Also remember to start thinking of proposals for your final projects, be they research papers, web projects, or film projects.  The assignment is relatively open to interpretation based upon the the concept of the class, but it must meet approval first before it is accepted for grading.  You should be well on your way by the mid-term, so be talking to me about ideas as soon as possible, especially if you are planning to do a film project.

In case there is a dearth of class discussion on Monday, the outside-class discussion assignment for next week's Narrative chapter and the film Adaptation is in the Narrative folder.  If necessary, this will be the last discussion posting for a while, so be prepared for future assignments that need to be prepared beforehand for class presentation.

Follow the instructions given below (or in the discussion) and ask for clarification in class on Monday if this is not clear. 

Pick a scene from Adaptation and pick out as many of the various elements of narrative that are present and discuss their interaction.  Try to pick a scene where you can at least discuss the difference between diegetic and non-diegetic material, but definitely discuss the relationship of plot to story and chronology AND narration to narrator and narrative.  If relevant, discuss issues such as order, suspense, characterization, and setting.  See the DVD tutorials and read the textbook's analysis of John Ford's Stagecoach (which you can watch on NetFlix if you want).  This is a FIRST-COME/FIRST-SERVE post, meaning if someone has picked a scene and posted it first, you need to pick a different one.

Screening Today

Tuesday Screening of SF Faculty Shelley Rogers film:

"What's Organic about Organic?" @ 6pm in WA-104

 Extra credit for bringing in a review!

Singin' in the Rain

Singin' in the Rain has been temporarily uploaded for viewing, but here is a collection of scenes from the movie with a special surprise homage from Stanley Kubrick at the end (you can use the NEXT button to fast forward).  For a pretty detailed overview of the film and music, see AMC's Filmsite page for Singin' in the Rain.


Next Monday will be spent covering sound and then the whole shebang of putting it all together. On Wednesday, I will be giving feedback on your drafts, but if you have yet to give feedback to ALL of your peers, then you need to do so before class next week to avoid a zero in homework. If you have added more to your proposal since the initial post, please update it. You SHOULD have a full draft done by next Wednesday.