Tuesday, March 31, 2009

Vicky Cristina Barcelona (dir. Woody Allen 2008)

This is the entire film, just in case. Couldn't find actual clip, but it can be seen at 1:35 of screen time until 3:17.

Woody Allen has us believing this film will be conventionally told via conventional camera techniques. He begins with an establishing shot that becomes a tracking shot. We then get a point of view shot from the taxi. However, once the narration starts, (which is also unexpected) in a documentary style voice, the screen splits and we see these characters, as well as this film, completely differently.

A Touch of Evil (dir. Orson Welles 1958)


The commentary in the information box is also really helpful!

Hero - 2002 (Zhang Yimou)

9:20 to 9:44

Snatch - 2000 (Guy Ritchie)


0:49 to 2:19

Goodfellas (Martin Scorsese) 1990

Clip is from the beginning until 1:16

Beginning with a tracking shot, Scorsese follows Henry around the gangster-filled room. However, we do not maintain the POV of Henry, or anyone else in the scene- we are an objective observer. The camera simultaneously follows Henry, making sure to keep his legs in the frame, but looks all around the room, focusing on the poker chips and small details of the room. By doing this, we understand Henry when he narrates, "This is when I met the world."

2001: A Space Odyssey (1968) Stanley Kubrick

Relevant Clip from 0:00 to 1:52

Monday, March 30, 2009

Reading Hitchcock's Rear Window (1954) -- a critique

This critique of the conventional observations regarding Rear Window suggests that LB James's is more than a voyeur. In fact we see him less preoccupied with his girl, Grace Kelly, and far more interested in the goings on across the street corridor from him.

Meta this professor!Fine: Check out Mulvey references in Annette Kuhn's book p.58-65 http://tinyurl.com/dg8jpx

Mulvey points out that the Oedipal scenario relies upon narrative. James goes oedipal in this clip at 2.54mins #twitfilm

Pride and Prejudice (2005) - Joe Wright

By changing the mise-en-scene and camera movement in shot 4, director Joe Wright creates a sexual tension between the two characters, Mr. Darcy and Elizabeth, which is enhanced even more via the preceding shot's lack of movement and grand mise-en-scene.
Check out full analysis in my blog.

Pulp Fiction (1994) Quentin Tarantino


Quentin Tarantino uses editing and off-screen space to build up and let down the sexual tension in this 10-shot sequence. Mrs. Mia Wallace (Uma Thurman) and Vincent Vega (John Travolta) are never shown in a shot together, but you can still feel the sexual energy between the two. And, oh yeah, Mis is Vincent's bosses wife and he is out on a date with her at his request - better watch out Vincent!

A Clockwork Orange (1971) - Directed by Stanley Kubrick


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