Characters, Costumes and Props

What do directors seek to establish in the openings of thrillers?

Above, is my Thriller cobweb; confirming what aspects within an opening of a particular thriller are established, whether this be thoroughly established (outer circle) or less established (inner circle). From one look, we can immediately see that almost all of the thrillers studied, seek to establish the characters within the opening. Location is also an important factor within many of the thrillers in which the directors seek to establish. However, certain thriller openings establish one particular factor in more detail, than others. For example, from looking at the web, "Lock Stock and Two Smoking Barrels" establishes locations and tone/mood particularly well in comparison to genre and theme, "Seven" establishes character and LA Noire establishes themes.

Establishing Location:


Lock, Stock and Two Smoking Barrels (1998) immediately establishes location in two aspects; the background in which the possible protagonist is standing in front of and, his accent.

"Right, let's sort the buyers from the spyers, the needy from the greedy and those who trust me from the ones who don't"

This opening sentence is spoken in a cockney accent, with slang and rhyming words, typical of a cockney. From the accent alone, the director (Guy Ritchie), has established the location of London, specifically the East End. And when we think of East End London, we think of Hackney, the working class, urban streets. When we think of Cockneys, the connotations expressed are "cheeky chappy" dealers of the streets. Whether the "dealing" is good and honest, or a crime, is up to you. Therefore from just the accent, the audience are already familiar with the character's surroundings and possibly places he will go next.

From this particular still, the audience can see a male character against  a stripped, dirty grey metal background, possibly a garage door or steel security you see on shops. Metal and steel connotes industry, inevitable in urban areas (also supporting the link to the East End from the accent). The fact that it is dirty, cold steel, connotes grime, back alleys and crime, within the location.

This still, (from 1.27 in opening scene) establishes more of the location even still.  The location is very much urban, but, somewhat in decay. This is visible through the wet floor, litter, and barred shop in the background. This unwanted, morally ambiguous setting is much like those in Essex Boys (Marshes, Fish Market...). 

Also, at 1.37, we see two characters crashing into an stairway. The stairway is completely black, possibly connoting the dark, black persona's and actions of the characters. The director creates a sense of claustrophobia by the camera at a low angle, looking directly up at the stairway; there are no empty spaces or, way out. This is emphasised further by the light reflecting off the stairs and walls, making the audience aware of the small narrow space they are in, and the "narrow" escape they have just had from the law. The extremely obvious white graffiti is connotes that within the chosen location(s) and film, vandalism or moreover crime, is always present.

Establishing the tone/mood:

"It's as long as my arm, I wish it was as long as something else [background laughter]"

The tone/mood of "Lock Stock" is clearly established in the opening as a comedic gangster light, with cheeky and mischievous characters. This is established through the humorous lines spoken by the protagonist. The laughter amongst the other characters/spectators hints that the audience too should be laughing. This therefore establishes a light hearted tone.

"Left leg, right leg, your body will follow. They call it walking."

The comedic factors of the slow motion running and spilling all the stolen goods, is in complete contrast to the bleak, abandoned locations; the characters seem full of life, creating a lively tone which fills the empty locations. This particular film also establishes a completely different tone in comparison to the bleak and enigmatic moods of "Double Indemnity" and "The Third Man", under the genre of Film Noir.

Finally, the choice of fast pace, adventurous music enables the audience to enjoy the chase, without feeling tense or uncomfortable. It suits the mischief of the characters.


Establish the character:
Se7en:

Although enable to find the exact clip, the director of Se7en (1995) thoroughly establishes the character of Lu-tenant Detective Somerset within the opening scene.


The opening scene starts within Detective Somerset's house. The Mise en scene is neat, clean and controlled. This is in contrast to the sirens and noise outside. This connotes that the character is isolated from the chaos, remaining calm and collected at all times. One of the objects in the protagonist's house, is a chess board, expressing his mental capability; he is an intelligent man, not afraid of something more complex and challenging (preferably what his work offers him). Whilst getting ready for what supposedly is work, Lu-tenant picks up 5 key objects which, in a nut shell, establish the character completely. Keys, badge, knife, pen and a hankie-chief.  These 5 objects are very functional and practical; he is a practical, sensible man. The badge immediately establishes he is a detective, whereas the hankie-chief hints that he has a softer, sensitive side.

David Fincher not only establishes him through the Mise-en scene (also supported by his smart clothes; dated, elements of Film Noir) but also through speech.

"Look at all that passion on that wall"

"Kid"

This incredibly cynical line somewhat puts Detective Somerset on another intellectual level than his fellow colleagues, isolating him once again from the gritty, dark work he is in. The fact that he asks about the murdered "Kid" connotes his caring nature, linking to the sensitivity of the cleanly folded hankie-chief, within the line of objects.

The scene(s) end with the protagonist in his bed, falling asleep to the sound of a metronome  (0.15). Up until this point, he has never left our screen, expressing his importance throughout the film. 

Establishing plot and themes:

The 'Film Noir' style video game, 'L.A. Noire' immediately establishes plot and themes within the game, just through its opening monologue/cut scene alone.




Referring to the video above throughout, instantly, the theme of glamour and fame is established just from the title and light's of 'L.A. Noire'; the connotations that are triggered from the location of L.A. alone (fame, urban, acting, busy, glamour, pace) are enough to establish plots and themes. However, this is juxtaposed by the flickering of the lights on 'L.A. Noire' possibly hinting themes of corruption and deceit, as the sign isn't as bright and clean as you would expect, from the initial connotations of 'L.A'

The opening to the game starts with a slight panning shot upwards to reveal a car shop and two business men. Not only do these archetypes establish a possible theme of business, deals and negotiation, but the location of the car shop itself suggests that the plot will be heavily dependant on the gamer being in control; like you are with a car. This is supported by the narration of:

'A new type of city, based not on the man but the auto-mobile....freedom and vitality...'. 

Throughout the opening, no actual or evident characters are established. However, possible achetypes such as a police officer at 0.20 establishes the theme of detection or crime. With no characters being introduced, our attention is firmly upon the establishment of the narrative and any themes that may arise.

With particular reference to this still above, the theme of deceit is evidently established, as we learn from the outward zoom on the camera, that the man isn't actually on a horse; it was all a pretence. This then poses the question of secrecy, and is it for the greater good? This is possibly a plot line we, as a gamer may have to find out.

This still taken from 1.01 to 1.06 establishes the theme of revelation and interrogation, connoted through the bright camera flashes. Looking carefully at the mise en scene, braces, a low hat and a camera is often the stereotypical attire of a journalist or detective, therefore establishing the plot and theme of discovery.

'The city of opportunists'

Crime can often be two things; very well thought and planned, or simply an opportunist moment. Therefore this quote is somewhat establishing crime, corruption and the breaking of rule, in order to seize a 'great opportunity'. 

Thriller Planning; Treatment

Treatment:
Quick, fragmented establishing shots of Norwich at night, with overpowering sounds of city life (sirens, footsteps), artificial lighting from shop lights and lamp posts, along with obscured, tilted shots (with each shot not lasting longer than 0.5-1.0 seconds). We cut to a close up of a young woman talking on the phone in Polish. Cut back to a long shot to reveal she is leaving her house, as well as a close up of her feet. Quick, panning, long shots of the woman walking through Norwich, distracted by her on-going phone call. As the shots pan off the young women, a tall man is revealed lurking in the shadows. He is following her. The young woman reaches her destination of a dark alleyway where she is greeted by an acquittance. Cut to a close up of the man. Suddenly, the man jumps out of the shadows and holds a gun to the young woman. Cut to a close up of the terrified woman. Cut to a close up of the man, a confused look on his face. A series of quick, fragmented flashbacks are then shown of two holding hands. Notice the bracelet. Flash back close ups of the young woman, smiling. The man begins to lower the gun. Cuts to a low camera angle, looking up at a glamorous woman. She uses the imperative "just do it". Bang. The gun is fired. Cuts to a slow motion shot of the young woman's hand falling to the floor. Notice the bracelet. 

Treatment Influence:
Influences
Influences for our thriller include White Chapel's opening of fragmented shots, L.A. confidential's femme fatale of Lynn Bracken, and the morally ambiguous character of James Bond in Casino Royale. Within the opening, we hope to establish the male protagonist and his similarities in moral ambguity to James Bond. The panning shots are very much like those in Layer Cake, except  the smooth cuts and transitions (within Layer Cake) do not connote a glamorous and sophisticated tone;  for our thriller, it is much more of a dark and gritty tone.

Thriller Planning/Mood Board

Mood Board on Prezi

Preliminary Task.

Here is my Final preliminary outcome (as attached with my "How to shoot a conversation" post).




Below, is my "Preliminary Task: Continuity Editing" grade and teacher evaluation.

If thrillers were a tube map....

   The image above displays the "Lottie and Megan Metro Line"; a complex map of many thriller film "stations" and the routes or, conventions that link them together.
   For example, the red line is for the convention of a femme fatale, the thrillers that lay upon the line, therefore have a femme fatale. However, many of these thrillers/film noir also have a morally ambiguous character as well as a femme fatale. So, a new line is created, connecting them but also introducing new films (moral ambiguity, but no femme fatale). This carries on to create the map.
   Personally, I really like this way of presenting ideas (specifically to our topic, thrillers) because as well as being creative, the connections and links can be clearly seen.

LA Noire: How does it use features of film noir?

LA Noire (2011) is a video game developed by Team Bondi and published by Rockstar Games. The game is widely available, released for Xbox 360, PlayStation 3 and Microsoft Windows.

What Features of film noir do we see in LA Noire?

   Immediately, from the starting screen of the game, we are faced with the game title, lifted by a metal construction. The bright lights, in which the title consists of, portrays the stereotypical glitz and glamour, bright lights and fame of LA. You could also argue that the dark backdrop brings your focus onto the title, but also, that this purposefully highlights LA as a bright, clear answer or opportunity in life (The white light portraying the good and pure). However, the lights flicker, which suggests that the glamour and "spark" of LA is broken and corrupt; much like film noire, everything is somewhat darkened and bleak.

   Once onto the menu screen, we see the use of extreme dark shadows, created by a high intensity, single light source. This has particular reference to The Third Man, in which Harry Lime's shadow is cast upon the street walls. There is also suggestion of location from the menu screen; dark, gritty urban areas and alley ways; again, a conventional feature. The alley way specifically brings in a sense of closure, secrecy and claustrophobia; there is only one way out and, with reference to the game, is that one way out, finding the truth?

Title Opening scene:

Overview of opening:
By analysing the opening scene, we see many features of film noir.
   The opening itself adopts many of the features from the classic film noir film LA Confidential.
    Firstly, for example, the opening starts with two fine business men shaking hands pleasantly in a car dealing shop. As well as being very similar to the glamorous optimistic opening of LA Confidential, it also introduces us to one of many conventional film noir characters; the business man. Then, we are soon introduced to the "good cop" and his supposed wife, or, "marrying type". So far, up until 0.50, the opening is very optimistic, glamorous and "clean cut", stereotypical of the LA image. This is supported by the happy characters, bright colours, day time setting and indulgent, expressionist jazz music, particularly active within the 1950's and 1960's. The fact that it is day time, could suggest that the audience are, to an extent, assured that LA is a safe and comfortable place, as we can see everything in eye shot, as clear as day; there are no dark, hidden spaces. Focusing upon the titles, the font is very smart (expressing a serious, business/detective- like tone to the presentation), smoothly appearing and disappearing behind props and characters; portraying that LA is perfectly smooth. There is nothing "rough" and dark about it, or is there?
   At 0.50, we see a cowboy riding a horse in the Wild West. Except, he isn't at all in the Wild West at all. He is simply on a mechanical horse with a backdrop behind him. Although you could simply justify that it is showing the primary industry of film within the city, another connotation, more linked to the features of film noir, is in fact the deceit and betrayal behind the action. Much like film noir, the truth (that the man isn't on a real horse) is hidden from the cinema audience supporting the themes of suspicion and discovery within film noir.

Voice Over:
   The voice over, as like in "LA Confidential" is (supposedly) a character, automatically intriguing us as we begin to wander why he is saying certain things. These certain questionable quotes add to the enigmatic theme of film noir.
"City of dreams, where Hollywood will shape the thoughts and desires of the entire planet" This particular quote is quite ambiguous in its meaning, much like the moral ambiguity of characters within film noir. Dreams are seen to be very free and positive, however, with "Hollywood shaping the thoughts and desires", are they really ours? It hints a sense of inception, crime and power, especially because it is not the thoughts and desires of one person, it is the thoughts and desires of the "entire planet"
"The city of undercurrents, where not everything is as it seems. Focusing upon this quote, it is evidently in contrast with the rest of the opening dialogue. As a whole, the dialogue is about LA's development and opportunities, and how every man's house is his castle. However, we are then, very calmly, with no change in tone, hit with the statement that LA underlying state or feeling below the surface of it's image. This supports the film noir theme of mystery and deceit once again.
   The whole voice over is spoken in a deep, gravely voice; not as "clean cut" as the image he is describing

Playing the game:
   Once playing the game, we as an audience begin to see the extreme contrast between the opening and the actual game.

   From the selection of cases to choose from, or starting with the first case at hand, the locations, such as alley ways, streets and business offices are used. Many of locations create a sense of claustrophobia and secrecy like in film noir, and this is achieved by the wet floors, rain, mist and fog, as well as night time setting, somewhat filling empty spaces and reflecting the little light there is. In the still above, we can see that the detective character is lit (back light)  from the single light source of the car lights. This then creates dark shadows across the wall. If the car is the detective's  this connotes that he (or we, if the audience are controlling him), have the answer, and are the light within the damp and dingy dark.

   We can also see conventional feature of Mise en scene such as detective costumes (hat, suit, tie), props (gun, dated cars) and, as mentioned location. The props within the game are often used to convey another feature also. For example, the use of a torch achieves the high intensity spot light, like in "The Third Man"; only revealing certain aspects, therefore a sense of enigma is still with held. Another example, is the radio in the car, which is used to broadcast narrative advice.

   Finally, while playing, old fashioned, slightly tense music is playing. This results in an uncomfortable tone but also emphasises the tense, serious job/situation of a detective.

Camera work:
However, what both the opening and actual game have in common is that the camera keeps moving, for example panning round the car in the opening scene, or tracking the characters within the game. This connotes that LA is never still; there is always something going on, whether this be obvious to everyone or, more under the surface and darker, much like film noir.

Submarine Trailer

Analysis of Submarine Trailer (2010)
What are they selling?
Submarine (2010)
   From analysing the trailer alone, we can see that the director, producer(s) and film as a whole, are trying to "sell" many factors to the specific target audience.
   Firstly, from the still below, the trailer starts with a type write style font being typed onto the backdrop of a beach at night. The sentence "Ben Stiller and The Weinstein Company" automatically sells the film, in the sense of reputation that Ben Stiller has, and also, what other films The Weinstein Company have been involved with (Lawless, Silver Lining, My Week with Marilyn .
   We are also  presented with "the story of Oliver Tate". The word "story" suggests it will be a fun, quirky journey through this protagonists life, and the intimacy of this is emphasised by the voice over throughout the trailer. This sells the story and character, as we can immediately respond and connect to his voice, as it is the actual character, and not a separate voice over.
   Once introduced to "Oliver Tate" and the other characters, we are also then aware of the actors and actresses in the film. However, the young protagonist (Craig Roberts) is somewhat of a "new face" on the film scene, as well as the leading women Yasmin Paige. However, both have starred in well known television and children T.V (Tracy Beaker and The Sarah Jane Adventures) shows, meaning that the teenage target audience may possibly remember them from their childhood, and become interested to see how they perform now. The teenage target audience are also "sold" on the fact that Submarine is a "Richard Ayoade Film" (directed and written); Richard playing Maurice Moss in the hit comedy "The IT Crowd". From Richard himself directing the film, the audience immediately get an idea of the genre of film, possibly from his past acting parts.
   From the opening shot, to the last, the audience see and are therefore "sold" on the romantic, fun locations. This is shown for example, by the beach scenes; associated with freedom and romance, or, with reference to the still number 4, the fair ground scene. This particular scene portrays a lot of fun, and by the audience witnessing the characters having fun, we are assured that we will have fun too (watching it).
   By linking the quirky, dated look (the film is set in 1986), Mise en scene and the genre of teenage love (with a touch of comedy), an older audience may be sold on the nostalgia of the film. This is because they in particular could relate to the era but also, like the younger, teenage target audience, we can relate to the genre of love and relationships, and how we make mistakes and embarrassing decisions while trying to find "the one", while also trying to find our identity as a growing teenager. These are situations we can all relate to. The comedic factor is particularly shown through the still of Oliver Tate (2.) lying on the bed in a humorous pose. The trailer is therefore expressing that there are more humorous parts within the film, in which we will laugh throughout.
   Finally,music/ the soundtrack (still 3) is a very important part of a film as it contributes to the emotions of the audience. The soundtrack for Submarine was all by Alex Turner. Alex Turner is best known as the vocalist and lead guitarist in The Arctic Monkeys, therefore by "selling" his particular music, Alex's musical target audience will be attracted to the film for this reason alone.

The Third Man- Sewer Scene Analysis.

How does the director of The Third Man use camera work, mise en scene and sound to create claustrophobia and disorientation within the Sewer Chase Scene?




Camera Work and Editing:
   A sense of claustrophobia, disorientation is created within the sewer chase scene through camera work and editing.
   Firstly, there are many obscured shots, whether this be a wall, person or waterfall; blocking the audience's full view creates a sense of secrecy and concealment, something that shouldn't be allowed to escape.
The camera is almost always still, but placed in very tight locations, almost enforcing the obscurity of an object upon the shot. For example, the still of the camera hidden in a tunnel, looking out, is placed slightly to the left and looks to be almost facing diagonally. This therefore fills the shot more with wall, making the audience feel trapped and blocked, as the little open space is scarcely seen and even more so, right at the end of the tunnel.
   Tilt shots are also used within this scene, with a particularly interesting shot at 3.39 (video at the top of the post). The shot is tilted, as sees harry running up a extremely low ceilinged tunnel. This creates claustrophobia and disorientation because the audience can clearly see how small and contained the space is, from the positioning of the character, as well as his wish to escape it, which makes the audience feel unsettled and uncomfortable as we can't see any vast space, or end of the tunnel, making us question whether this sense of claustrophobia will end? The tilt angle emphasises the "squeeze" of the shot, as if the camera itself cannot fit in, as well as supporting the busy, disorientation of the chase.

Close ups are also used for an emotional response. This creates claustrophobia as the audience can clearly detect that the chased character does not want to be there; his worried, yearning eyes towards the light implies that is where he wants to be, as well as his damp hair and sweaty face, suggesting discomfort and desperation to escape.

Sound:
   By watching the scene, all sound is digetic; a rarity within the film which is normally accompanied by a very peculiar soundtrack. 
   The sound is very loud and continuous, such as flowing water and running footsteps. These sounds are combined with echoes  in which the sounds are repeated and lengthened, bouncing off and going through each never ending tunnel. This creates disorientation as the audience are unaware of where the sounds are coming from. The sound somewhat "fills" your ear, therefore you could argue a sense of claustrophobia is created, even at the start when you see open spaces above, and larger ,wider tunnels.
   The language changes between English and a Foreign language, supposedly Deutsch as the film is set in Vienna. This is clearly disorientating as the audience won't know the full conversation, only parts, linking to the enigmatic tone of film noir.


Lighting:
   The classic film noir conventions are shown within this scene with the harsh shadows and chiaroscuro lighting. These conventions help to create claustrophobia as, specifically in the image below, the light source (which is high in intensity) is reflecting of the water, highlighting the steam on the ground and the damp walls, really emphasising the small space in which the character is in.

With the tunnel drawing to a vanishing point, the audience are drawn to the light at the end of the tunnel. This phrase is famously linked with death, and parting from this life to the next, therefore escaping/leaving. This shot could possibly foreshadow the fate of the character but also where he desires to go; out. Therefore because the character cannot get there, or to the light, the audience feel trapped as well as the character, longing for the light.

 Mise en scene/ Location:
   The scene takes place in the location of Vienna's underground sewers. Carol Reed (director) uses all different parts of the sewer, to the extent that the audience cannot quite link the tunnels, openings and stairs together, resulting in disorientation and confusion.
   In terms of escape or in the police's case, capture, the characters routes are most often dark, unknown tunnels. The fact that there is no light gives off a stuffy, frightening feeling; running deeper and deeper into the unknown sewers, where are they running to? The disorientation continues.

Water is constantly present in the sewers; filling the scene and shot, resulting in less empty, dry areas. I also think that the water and the location of the sewers gives a sense of claustrophobia because we are aware that water can fill all space, and a sewer is the prime place for it to do so. Therefore just knowing that the location can/could be submerged with water, is quite unsettling.

Action:
   Finally, the action within the scene consists of a lot of running but, as touched upon above, to exactly where, the audience is unaware.
   The one thing we, as an audience are sure about is that one character (Harry Lime) wants to escape to the city above. Throughout the scene, we see Harry attempt several times to escape up the stairs, but results in running back down as other people are coming down. The fact that he can never quite escape alliterates his desperation to leave and the claustrophobic setting he is in. 

Particularly in still,the camera is on the floor, in line with Harry's outstretched fingers. The action of his fingers outstretched implies again, his desperation for the air and city above. The grate signifies imprisonment down below and he once again, can't quite escape.

Casino Royale- Film Noir

How does Casino Royale use conventions of film noir, and what meanings/ connotations are created?

 Within this shot we see the bleak location of a business office, conventional to film noir in the sense of corporate business and police/detective offices.  The single light source of a lamppost, dark windows and darkening edges of the building connotes a cold serious mood, but also enigmatic with the smoke and strong shadows. The shot itself is a low angle, looking up at the sheer size of the building, portraying that that is where the next seen will be held; up in a top room. Another thought, taking into consideration status, higher up/ascending connoting power and good (heaven), and descending connoting the opposite, the shot could possibly foreshadow that by ascending, the audience will encounter a hero character. The shot is somewhat obscured by a pillar and corner of a roof, creating a sense of secrecy and claustrophobia as the vast, empty sky has been closed off; there is less room to escape. This is helped by the light reflecting off the snow and onto other surfaces.

In this shot we see a character, unknown from the angle and also light, enter the room. A sense of enigma is created by the extremely dark shadows, especially the two shadows upon the door and wall closest. The top right hand corner of the room is faded by a dark shadow, increasing intimacy (along with the obscured object) and decreasing the special awareness in the room. Again, the angle is looking up, connoting a powerful status upon the character. This time, in comparison to the first shot, this one is more obviously obscured, by what looks like a round glass table. The obscurity creates confusion as the shot is not completely clear, connoting the plot also. This is conventional of film noir, as the plots often refer to flash blacks in order to unravel/make sense. As well as this, the low angle and object express a sense of secrecy, as if the audience as spying on the situation, connoting that we are not meant to be here, or anybody else.  The character himself is wearing a hat and coat, typical of film noir, connoting his serious, and business occupation. His face is overcome by shadow, connoting that he is a bad character as he is in the dark. However, the audience can only see half of his face, with a slight bright outline showing. This connotes that the character has possibly got another side, a good side, to him, supported by the light. This is moral ambiguity. Also, the glass in the object is a see through material enabling us to look through to the character. Could the glass suggest that the audience should be able to see straight through this character? Or is there in fact, more for us to see from him?

Conventions within this medium, slightly low angle shot include the extreme contrast between shadow and light, especially across the character’s (Bond’s) face. The character’s face being half in the dark and half in the light connotes the stereotype of good and bad (dark and light), and, by the face being half and half creates the meaning of moral ambiguity, meaning that the character’s morals have more than one meaning and/or interpretation, hence the “good and bad” sides to him. This ambiguity then helps create enigma, as the audience question certain actions, creating mystery. The light source also seems to be only focused upon Bond, connoting that that is where the audiences focus should be concentrated upon. The slightly low angle connotes the character’s importance and power (over the audience and other characters). Again, there are two obscurities in the foreground of the shot, possibly portraying the traits of Bond; obscured, not quite clear cut and open. This links in with him being morally ambiguous. Finally, the character is situated slightly to the left of the frame, supporting the Rule of Thirds, in which our eye is naturally attracted to certain points within a frame. By positioning Bond at those certain points, we, as an audience are naturally attracted to his direction.

  A conventional film noir prop is seen within this shot (Mise en Scene), which is a gun. The prop choice of a gun connotes crime and bad, harmful choices. The high angle, as if the audience are looking upon the gun, and the light brought upon it from opening the draw connotes that the gun itself is a revelation and new idea (as if it will be the next action completed) brought into the current situation, despite being a conventional feature.  However, in comparison to the other sparse objects within the draw (files), the audience get a sense that the gun is out of place, in society and simply compared to the other objects.

This still of a fighting scene between Bond and an unknown person is particularly bright; the room filled with artificial light, reflecting off the white tiled walls and mirrors. This bright white connotes harsh interrogation and possibly truth. However, this is in contrast to the above statement that white light portrays the good, pure and angelic, and the action within the shot is none of these things! However the tiles have a dark black outline. This outline could connote the moral ambiguity of the situation; that potentially on the whole, what Bond is doing is good, because is defeating a bad character. But, how he is completing this action is particularly bad and violent, ending in death (the black outline). Also, Bond himself is wearing black, connoting evil, and the other man is wearing white and black, resulting in an enigmatic question of does that “bad” character really deserve this action? Finally, the low angle and tilt shot creates disorientation and confusion, much like a fight. The low angle, again, connotes that Bond is the hero, and evidently, he at this precise moment is the more powerful character. 

The final shot is a close up of the protagonist. The close up enables the audience to experience the characters emotional reaction(s) and this one in particular is full of moral ambiguity. Not only is Bond sweating and mouth open, creating an uncomfortable tone, but his face is full of shadows, connoting the good and evil within him and his choice. His eyes are distant; no direct emotional response between the character and audience connotes that the character is somewhat isolated, and doesn't want to make any emotional connections. This also connotes confusion as the audience cannot relate to him, and understand his choices.



Here is an image of the group analysis we did on the opening of 'Casino Royale', in which we have brainstormed the presented conventions of Film Noir, and their connotations.



Film Noir - The Conventions.

What are the conventions of Film Noir?

Camera Work:

Conventional camera work of Film Noir includes:

Close ups (CU)/Extreme close ups (ECU):

Close up’s or Extreme close ups within film noir enable the focus upon certain objects, actions or characters, especially for an emotional response. This particularly ties in with the protagonist’s moral ambiguity, as we can clear identify the emotion, or many emotions upon the characters face. With the picture below, the male characters face is clear within shot, with the background blurred in order to keep your focus upon his expression. By not looking directly into the camera, and therefore at the audience, the character seems distant, with his own thoughts instead of emotionally connecting with the audience. This gives a sense of mystery as we can’t directly connect to the character; we are just left wandering about what he is thinking, and what he will do next.

 

Obscured shots:

Obscured shot are often used in film noir to portray a sense of concealment and privacy between the characters, as if the audience are spying on them. This could be done by a tilted shot or an object placed in the foreground, slightly in front of the characters. This image in particular is a low angle shot, looking up at the three characters within frame, slightly tilted, and a strong shadow is cast, as if the audience’s view is slightly “obscured”. The low angle portrays possibly the characters status but, moreover, as if we are in a low hiding place, looking up, the three men completely unaware.

<!--[if !vml]--><!--[endif]-->

 

 

Extreme Long shots:

As well as establishing the location, Extreme long shots enable the character(s) full body to be in shot, as well as their surroundings. The shot, considering the image below, composes space between the characters, or, characters and viewer. The distance could portray danger or emotional distance, creating suspicion and mystery. In particular, the silhouettes create more enigma as the characters identities are unknown, but their roles are still clearly known from the distinct clothing (hat, heels, hair outline).

 

Extreme angles (high or low):

As touched upon, an extreme high or low angle within film noir give a sense of status and power, depending on what character is in shot but also, as it is an extreme angle, it gives a sense of drama as the audience are not just looking straight on at the characters.

 

 

Style/ aesthetic look of Film Noir:

The style or look of film noir is achieved by taking into consideration the conventions in the use of lighting and mise en scene

Mise en scene (everything that has been put into the scene):

Props:

Typical props of a film noir include guns and cigarettes. These props alliterate the theme of crime and harsh, bad intentions. Smoking could be seen as quite an unwomanly hobby, but as we see the femme fatale possibly smoking, the prop alone emphasises her unconventional, bad and lustrous ways.

Costume/clothing:

Suits, trench coats and a hat are normally worn by the male protagonist. A hat can hide the characters eyes are create dark harsh shadows across the face, again supporting the concealed, enigmatic theme. The look also creates a very distinct and periodic style, stereotypical to detectives and crime. The women of film noir tend to incorporate 50’s glamour into their outfits, such as silken dresses, linking to the theme of lust.

Lighting:

Lighting, I believe, is a very important factor when discussing the style of film noir. Firstly, film noir is normally set in black and white, immediately setting a distinct “vintage” look, incorporating with the 50’s style outfits. Also, extreme shadows are often used in scenes. The extreme contrasts of black and white portray good and pure (white) with bad and evil (black). However, in film noir, it is often a grey scale, with extreme light and extreme shadows. This shows again the moral ambiguity as nothing is ever completely pure, or completely bad. The lighting can also tie in with the theme of discovery and suspicion; dark lighting meaning the unknown and harsh, artificial lighting meaning discovery, revelations and interrogation. Single light sources of a spot or flood light are also used to highlight a character.

 

Sets and location:

Urban locations within film noir give a sense of a busy and gritty storyline but also dark alley ways and bridges are used, as well as stairs. All these locations are somewhat claustrophobic, as if there is no where you the audience, character and secrets to escape. The stairs emphasises again, the all-important mood of enigma as we are unaware of what the characters are ascending/descending into. A lamppost is normally seen in an outside location as the single light source.

 

Themes and mood:

The themes and moods of film noir have been touched upon within the other conventions, so here is a list and annotations of them:

Film Noir films are normally filled with many conventional moods/themes. The mood created are often supported and enhanced by the camera work, characters and mise en scene.

Enigma (mystery) – obscured shots, extreme lighting, silhouettes, props…

Crime- props guns etc… femme fatale destruction

Gender- male/female, power

Discovery and suspicion- clues, murder, suspects, cops… harsh bright light for discovery, Dark/dim/obscured light in confusion

Lust- woman- femme fatal and the other types of women- clothing, lighting

Deceit and Betrayal

Concealment- lighting

Bleak “hard boiled” tone- lighting, facial expressions…

 

Example. Double Indemnity:

This image is from the film Double Indemnity (1944). The image shows a male detective, preferably the protagonist, with strong shadows cast upon his costume. His face is half in shadow, and half in light, notably supporting the theory of moral ambiguity. A lamp is within shot, preferably the single light source, as well as props such as a telephone and desk establishing the office/business setting.

Film Noir