Here is my Music Video:

Here is the outside panel for my digipak:

Here is the outside panel for my digipak:

Here is the inside panel of my digipak:

Here is the inside panel of my digipak:

Here is my website:

Here is my website:
Please click the image to follow the link to our website.

Tuesday 20 September 2016

My Preliminary Exercise Evaluation


My continuity video

1. WHO DID YOU WORK WITH AND HOW DID YOU MANAGE THE TASK BETWEEN YOU?
Me and Sayo

Me editing
I worked with Sayo and Kristina to plan and film the video, and edited in a sub-group with Kristina. We all helped equally with the discussion and story boarding for the planning. The filming was predominantly done by Sayo, as Kristina and I were acting, but the shots that we are not in are ones that we filmed.  Kristina and I edited equal amounts of the video, whereas Sayo edited his own video. Unfortunately, since the video, Kristina has moved to a different school, which is why she is not in any of these photos.
Me filming

This task really helped me learn how to effectively work in a group, which I think will be very useful in the upcoming coursework project. Firstly, we all put in ideas together democratically, and we made sure that everyone's ideas were given a chance. I also feel like Kristina and I worked well editing together, as we took turns editing and both contributed to the style of editing, and the chosen shots.

I think our approach to the project was good, as we all had our ideas heard and everyone played a big part in the project.

2. HOW DID YOU PLAN YOUR SEQUENCE? WHAT PROCESSES DID YOU USE? WHAT THEORIES DID YOU TRY TO TAKE INTO ACCOUNT?

After a group discussion, we made a story board displaying all the shots in order. Additionally, we made a shot list for the filming and a script for the actors.The process order was:
  1. Discussion - we had a democratic discussion about the main theme of the video before we started story boarding, where all of our ideas were heard and included in our video. We didn't really start discussing the main story elements until we had started blocking out the shots, but I think it would have helped if had discussed the exact story with a beginning, middle, and end first.
  2. Story boarding and blocking out the shots - this was when our exact story came together. When drawing the shots down on the story board with each other, we blocked it out so we could convey our ideas more clearly to each other, and also to see if the shot would work. I think this really helped us, as without a story board we wouldn't know any of the shots, and without blocking it out, we wouldn't have been able to see which shots worked and which shots didn't.
  3. Writing the script - Sayo mostly wrote the script himself, while Kristina and I gave him ideas.
    We made this so that we had something to follow when filming. It was not a definite plan, so we didn't follow it perfectly, but it helped us to remember queues and helped s to create better match-on-action.
  4. Making the shoot list - we copied down all the shots that ere in the same location and set up, rather than in chronological order, in order to save us time when filming. 
Story board
Shoot list (left) and Script (right)


The continuity theories we made sure to take into account when making our storyboard were:
  • 180º rule - we kept to one side of the actors and did not cross the line. This helped to create a sense of direction.
  • 30º rule - we did not create any jump cuts.
  • Match on action - we managed to recreate the action the same for each shot and take, helped by the fact we blocked out all of the action in the video when planning.
  • Shot-reverse-shot - created in a conversation.
  • Classic narrative pattern (beginning, middle, and end) - created during planning and blocking out the movement.
  •  
3. WHAT TECHNOLOGY DID YOU USE TO COMPLETE THE TASK, AND HOW DID YOU USE IT? 

Sayo and I were very familiar with the equipment, as we had used it before in media GCSE. Kristina, however, was new to the equipment, so we were able to help her and show her how it was used. We all used the equipment effectively to our advantage in this video. Here is a table showing the different equipment we used, how we used it, and the advantages and disadvantages of using it.

TechnologyHow we used itProsCons
Camera

Canon Legria HFG30
We used it along with the tripod to shoot our video.High quality focus. Small, lightweight, and portable, which meant we could get it into small spaces for filming. Automatic focus, which saved us time.The automatic camera meant we couldn't have any depth of focus for added affect.
Microphone & boom

Canon DM-100 Directional Microphone
We attached it to the microphone slot in our camera to reduce background noises.It reduced background noise and grainy white noise, such as the wind (however not completely, so there is still some).We could not move the microphone independently of the camera, so the sound was from the camera's perspective, rather than focusing on the dialogue/ sounds we intended to be the focus of the shot.
Tripod

Libec TH-650 HD Tripod
We attached the camera to keep the shots steady. We extended the legs so we could have the shot with the right framing and angle.Kept the camera steady. Helped us get correct framing and eye-line matches with the camera. Had a spirit level to make the shot perfectly level. It also enabled us to do a pan just by rotating the pivot on the camera (shot 3).It was quite big when all the legs were extended, so it was difficult to get into tight spaces, for example, in the shot-reverse-shot sequence.
Adobe Premiere ProWe renamed all of our shots once they were in Premiere Pro, then we chose the in points and out points of all our chosen takes.We were able to see all of our shots in chronological order on a time line, and edit them there, which I found really useful for visualising the finished video. We were also able to play it back so we knew which parts to cut (etc).

Premiere Pro (left), tripod (centre), boom (top right), and camera  (bottom left).
I think we used the equipment to our advantage and managed to take some good shots given the limitations.

4. WHAT FACTORS DID YOU HAVE TO TAKE INTO ACCOUNT WHEN PLANNING, SHOOTING, AND EDITING?

The most important factors we had to take into account were the time limits, and the location limits. 

When planning, we had to finalise our ideas quickly and not over-think it, or else we would run out of time. Also, we had to plan a scenario that involved only the media department, so we couldn't branch out to other locations around the school. We also had to think of a scenario that would not look boring in the classroom, as it is a small location. For this, we made a story that matched with the location: a student tells her teacher that she has not done her homework , and suffers the consequences.

When filming, we had to do the minimum number of takes for each shot we could, and try to get it right in one take in order to speed us up and finish within the time limits. Also, we had to expand our location in any way we could. Our technique of doing this was by filming in the corridor, outside the media block, and in the classroom. Another way we could have done this was by shooting from different angles inside the room, showing various different parts of the room. I think that in some shots, we did not use the space as efficiently as we could have. For example, the shot-reverse-shot sequence was filmed from the same side of the desk as the characters, meaning it was very cramped and difficult to frame. Instead, we could have filmed it from the more open side of the table, giving us more space to get the framing right.

When editing we had to take into account the time restrictions, as trying to do anything complicated would have taken up too much time and we would not have completed the task. Additionally, we had to create a shot-reverse-shot sequence that doesn't create jump-cuts, which was difficult given the time restrictions, as it is surprisingly complicated.

To conclude, I think our group managed to work well given the restrictions we had, and we managed to create  well flowing video within the time, also meeting the brief.

5. HOW SUCCESSFUL WAS YOUR SEQUENCE, PLEASE IDENTIFY WHAT WENT WELL, AND IN HINDSIGHT, WHAT WOULD YOU IMPROVE/DO DIFFERENTLY?

My group video met the brief because we created a continuity video of someone walking into a classroom, sitting down, and exchanging a few lines of dialogue with another character. I think we did this well, as our story was of a student talking to a teacher, which worked with the location, as well as creatively meeting the brief.

The three continuity principles the brief mentioned were match-on-action, shot-reverse-shot, and the 180º rule. We carried out the match-on-action mostly during filming, by repeating the action exactly the same for each shot, and making sure the set and props were back in place at the beginning of each take. Additionally, we created 'invisible editing' by cutting in and out at match points in the action, for example when Kristina opens the door, we cut the shots so the action continued.

We created the shot-reverse-shot by making a sound bridge. I think we should have taken every shot with the whole action, rather than bits of it. Not doing this made it very difficult (but possible) to avoid jump-cuts when editing the shot-reverse-shot sequence of the conversation. To eventually achieve this, we had to create a sound bridge in two places, and also edit the video differently to the story board, although this is not a major concern. Lastly, we made sure to film on one side of the characters to ensure that we were not breaking the 180º rule in order to fit with the brief. However, I do not think we used the location to our advantage her, as we filmed the conversation from the same side of the desk as the characters, making it seem cramped and strange. Instead, by filming from the other side of the desk, keeping with the 180º rule, but also giving the scene more space.


Additionally to this, I thought some of our shots were really well framed, for example, the ECU of Kristina's face in the door window. This resulted in most of our transitions being really smooth, and overall helping the video to seem less jumpy, and more aesthetically pleasing. However,  some of our frames were njot very well framed during the shot-reverse-shot sequence, due to the cramped space we were filming in. For example, this LS of Kristina that cuts off the feet. To prevent this, I think we should have taken more back-up shots, and some shots with different framing as an alternative back up, as well as filming in a less cramped space.

LS of Kistina
ECU of Kristina









Overall I think that we mostly achieved continuity, but we lacked essential things such as framing, and an engaging story with appropriate shots to match it.

6. WHAT HAVE YOU LEARNT FROM COMPLETING THIS TASK? LOOKING AHEAD, HOW WILL THIS LEARNING BE SIGNIFICANT WHEN COMPLETING THE REST OF YOUR FOUNDATION COURSEWORK, DO YOU THINK?

In this task I have learnt how to work effectively in a group, how to deal with time limits, and most of all, how to create continuity and avoid continuity errors.

I think the thing this task helped me with most, was my time management skills. I have learnt how to best use my planning, filming, and editing time wisely, and how to prioritise things, which will set me up for our longer, 2 minute fictional film opening with titles. Also, the time restrictions were very tight on this task, so it was good practice for our bigger project. As this was a video less than a minute long, and it took 3 hours to make, I think it gives me an indication of how much time I will need to spend on the bigger project, and I think without having done this task  would have underestimated the amount of time it will take.

Lastly, I think that this task has really helped me to understand and carry out continuity in film. I think that had I not done this task, I would not be able to achieve continuity in our opening sequence coursework project later, as the mistakes I've made in this task are things that I will think about when making the next project.

After the experience of this task, I am ready for the opening sequence project, and excited to start it.

Wednesday 14 September 2016

HW 4b - Revise for your written assessment (DYM)

HW 4a - Plan your prelim video (BLK)

HW 3b - Existing film continuity sequence analysis (BLK)

LILO AND STITCH


SHOT LIST:
  1. ELS of Lilo running around the corner
  2. LS of Lilo licking Nani
  3. High angle LS of Nani
  4. Eyeline MS of Nani against the wall
  5. LS establishing shot of laundry room
  6. MS of Nani's legs walking in the frame in new room, becoming LS of both characters in the room
  7. MS of Lilo struggling
  8. MLS of both characters struggling
  9. LS of both characters struggling
  10. MCU of Nani listening to Lilo mumbling on floor
  11. LS of both characters on floor from behind Lilo
  12. OTS LS shot of Lilo, over Nani's shoulder
  13. High angle LS of Lilo walking up the stairs as Nani walks into frame at bottom of the stairs
  14. Low angle LS of Lilo from the bottom of the stairs
  15. High angle LS of Nani at bottom of the stairs shouting up at Lilo
  16. Low angle LS of Lilo shouting down to Nani
  17. MLS of Nani screaming into a pillow
  18. LS of Lilo  screaming into a pillow
CAMERA MOVEMENT:
  • Shot 2 pans across the setting following the two characters, making the scene immersive and almost putting the audience in the character's point of view, and therefore immersing the audience in the action (extended by the eye level framing). The camera then stays static as the characters walk out of frame and into the next shot, leading to more accurate match on action.
  • The camera pans again to follow Nani through the setting in shot 5, allowing the audience to see more of the establishing shot, and again to follow the action in the scene. Similarly to shot 2, the camera stays static as the characters leave the frame.
  • Shot 6 zooms out from a close up shot of Nani's legs to a long hot of both of the characters, allowing for more effective framing.
  • The camera pans left and up in shot 17 as it follows Nani through the frame again.
  • All the shots with camera movement follow Nani through the shot, suggesting the audience is from her point of view in this scene, contrasting to the overall point of view of Lilo throughout the whole film.
CONTINUITY TECHNIQUES:
  • Scenes 13-16 (inclusive) are a shot-reverse-shot sequence of the argument between the two characters. This sequence is very visually engaging, as it places the audience in the middle of the argument, looking up at Lilo when she speaks, and down at Nani when she speaks. This makes the scene far more immersive and involves the audience in the argument, making it more engaging and exciting. This sequence also keeps the 180º rule, as it is always facing each character when they talk, enhancing the continuity of the scene.
  • Shots 7-18 always keep the audience on Nani's left side, and while Lilo moves around the frame a lot more, the camera never crosses the line to the other side of her character, keeping the 180º rule. 
  • Neither of the two characters break the 30º rule, for example, had the transition from shot 3 to 4 been from a high angle LS to a high angle MLS, or to a slightly lower angle LS, it would have created a jump cut by breaking the 30º rule.
  • Master shots are used throughout the scene, for example shot 3, giving the first establishing shot of the house in the whole film, and shot 5, establishing the scene, and linking the action together.
  • Shot 5 is used as a master shot, as it links the strange sound heard in shot 4 with the action in the scene. Wihtout this shot, the scne e would not make sense.
  • In shots 2 and 5, the characters leave the frame before it cuts, in order to help create continuity with match-on-action, so it make sit easier for the characters to be in the right place for the next shot to mak esnese.
  • Shots 16 and 18 create ellipsis as the audience do not see Lilo walk to her bed and sit down to scream into a pillow, but the audience can fill it in. This is made easier by shot 17, which shows Nani grabbing a pillow and screaming into it, giving us a sense of what might come next, and also making sense of what does come next.

HW 3a - Continuity task evaluation (BLK)

  1. In this clip, two boys are not paying attention to where they are going, and incidentally bump into each other at the corner.
  2.  In order to create continuity, we used a range of methods. Firstly, we followed the 180 degree rule when filming the different characters, by filming on Jack's left and Emilio's right, to get a sense of space and direction. We also used a master shot ((shot 4) to join the narrative together, and give the audience a better understanding of the space and the distance between the characters, as well as setting up the circumstances for the accident.We tried to mostly use similar framing for consecutive shots in order to make the scene less jumpy for the audience. I think that the third shot created a good point of view for the audience, further extending the sense of space we set up in the scene.
  3. We did not achieve full continuity, partially due to the method of filming and time restrictions, but also due to lack of precision.  Firstly, in shot 2, the brick wall is showing for far too long on it's own, creating a boring shot and not satisfying the audience's needs and expectations for character involvement and action. Also, in the third shot, Emilio comes too close to the camera to make it an effective shot. It would have been more effective as a shorter shot, cutting when he is further away from the camera. After this shot, there is an immediate jump from the CU to an LS or even ELS, which does break the flow of the scene, which is emphasised by his change in position in the frame, jumping from close0up in the middle, to far away on the very left sied of the frame. Again with this character, the filming is not very well timed and it could have been timed and positioned much better from shot to shot, as he jumps around the space a lot, especially after the over-the-shoulder shot where we can see him turn the corner, followed by a shot of him back a few paces. Finally, the length of the final shot lessens the impacts of the character collision, as the length of the shot before the collision is too long, and loses the build up created in the previous shots. An immediate collision would have had a better effect on the audience, as it uses gthe build up create dby the previous 5 shots and follows through immediately with the result.
  4. Instead, I think we could have thought more about the space and timing of the characters, as it appears as though they are jumping through the space a lot during the scene. Planning the whole scene in advance and blocking the whole video before filming it would have had a much better effect, as we would have known where each character should start for each shot in order to create a realistic flow. Also, we could have thought more about the framing, as he transition between some shots is very jumpy and breaks the flow. Instead, we should have framed consecutive shots with similar framing, as this would achieve a narrative flow closer to if we had been able to edit the video. Lastly, some of the camera angles and props could have been better, especially the over-the-shoulder shot of Emilio and the ELS of the two characters in frame at once. To improve this, I think we could have chosen a better location without objects obscuring the frame, as in this one there are structural beams =in the way of the scene. The over-the-shoulder shot would have been better by using a dolly, or, considering we did not have equipment readily available to us, we could have had it static, as it feels very jumpy and not smooth as it is.

HW 1a - Existing film still analysis (DYM)

SHREK 2


NARRATIVE:
  • The characters have alarmed and angry facial expressions, contrasting with the formal and polite setting they are in, which shows that there is conflict between the characters, creating an intense and awkward narrative in the scene.
  • The fact that a donkey and a king and queen (Harold and Lillian, wearing royal robes and a crown) are having a formal dinner in a castle together, makes us believe that there is an unusual fantasy narrative that has had to build up to this moment. The tense character interactions may also rely on the audience's knowledge of the previous film, as this film is the sequel, so it can build the character tension even more.
  • The distance between the audience (in place of the main character Shrek) and King Harold further extends the conflict and distance between the characters, also the fact that Shrek and Harold are on either end of the table at the head, extends the distance and gives the narrative a rival male approach.
  • The setting is portrayed with a warm colour palette, making the home seem welcoming and comforting. This contrasts with the facial expressions of King Harold hosting the dinner, scowling, unwelcoming, and angry. The comforting setting also contrasts with Donkey and Lillian's facial expressions, which are not angry, but more awkward and surprised, possibly at the behavior of Harold, Lillian's husband, and Shrek, Donkey's best friend and Lillian's son-in-law.
  • This scene demonstrates the fish-out-of-water narrative plot, and shows how Shrek is out of place in the scene and setting, and viewed differently to the other characters.
GENRE:
  • The audience's expectation of the comedy genre is gratified with the ironic juxtaposition of a donkey, connotative of dirt and lower-class,  in a polite and formal setting, washing his hands with a king.
  • The fantasy part of the genre is fulfilled by the anthropomorphic donkey, the fairy-tale-style king and queen, and the stereotypical fantasy castle setting. This also juxtaposes with the serious and almost concerned facial expressions of the characters, further extending the comedy in the scene.
AUDIENCE:
  • The 3 characters seen on screen are facing towards the camera, which puts the audience in the point of view of the main character Shrek. This makes the scene immersive and allows the audience to feel a part of the film and the narrative, making the film more exciting and engaging.
  • The comedy aspects of this scene (see genre) fulfill the audience's expectations of the genre, and allow the audience to be more easily immersed in the film. 
  • The audience can relate to the setting and scene, as it mimics common fairytales that people grow up with, making the film more familiar and engaging.

HW 2c - Sound in film openings (DYM)

ALIEN


DIALOGUE:

  • None
  • The use of silence in the dialogue builds tension to convey the horror genre, as well as building tension and suspense, creating an exciting and engaging atmosphere to the film.
  • There are o characters to have dialogue, further extending the eerie and abandoned atmosphere.
SOUND EFFECTS:
  • All the sounds are diegetic to the film.
  • The sounds are very conventional of the science fiction genre.
  • The sounds are synchronised with the lights and movement on screen, making the scene more realistic and more immersive for the audience, building up suspense for horror.
  • All the sounds are either really loud or really quite, which creates an interesting contrast in terms of the genre, as it makes it very jumpy, while also a calm scene.
  • The first loud sound almost creates a jump scare, fitting with the genre, and setting up the audience's expectations of the film.
  • The mechanical sounds made by the machine after it turns on sounds as though someone is typing, which alludes to movement that isn't there. This enhances the feeling of abandonment and a deserted setting, which foreshadows later events in the film where all but one of the characters die.
  • The machinery sounds very rustic and random, highlighting the unstable ambiance of the narrative and the setting.
  • The contrast between man made sounding sounds, technological sounds, and distant, unknown sounds, creates a sense of the narrative, as it represents the conflict between the humans, the confinement of the spaceship, and the alien.
  • The distant and unknown sounds in the spaceship make the audience question who or what is in the scene, and question where the movement is coming from. This reflects the later scenes in the film where you can hear the distant sounds of the alien, but you can't see here it is, conventional of the sci-fi and horror genres.
MUSIC:

  • None.
  • Again, the use of silence builds tension to convey the horror genre, as well as building tension and suspense, creating an exciting and engaging atmosphere to the film.

HW 2b - Analysis of titles in film openings (DYM)

THE WIZARD OF OZ (1939)


"The Wizard of Oz" order of credits:
  1. Distribution company logo - Metro Goldwyn Mayar
  2. Title with institution logos underneath
  3. Director - Victor Fleming
  4. Actor names
  5. Screen play writers, adaptation creator, and author f the book
  6. Film score information
  7. Photography information
  8. Directors (etc) and institution logos
  9. Producer - Mervyn LeRoy
  10. Director - Victor Fleming
  11. Message to audience

MONSTERS, INC. (2001)

    "Monsters, Inc." order of credits:
    1. Distribution company logo - Walt Disney Pictures
    2. Production company  logo - Pixar Animations Studios
    3. Distribution company - Walt Disney Pictures
    4. Production company - Pixar Animations Studios
    5. Title
    SIMILARITIES:
    • Have original film scores.
    • Use consistent fonts for the text.
    • Use a white text colour scheme.
    • Portray the main theme of the film through mis en scene. "The Wizard of Oz" uses the pan of the sky as the background to link with the theme of the sky throughout the film, and "Monsters, Inc." uses the theme of the doors and the monsters in the main graphics. 
    • Credit distributing companies and production companies.
    DIFFERENCES:
    • "Monsters, Inc." uses a much more random title effect, whereas the titles in "The Wizard of Oz" just dissolve in and out.
    • "The Wizard of Oz" uses a medoly of the film score as the background music, with the titles appearing on the screen regardless of the music. "Monsters, Inc.", however, has an original song unique for the opening titles, with the titles appearing and the graphics moving synchronised to the music.
    • "The Wizard of Oz" has  lot more credits, contrasting to "Monsters, Inc.", which only credits the production company and distributor.
    • The focus of the "Monsters, Inc." opening is the graphics, probably because the target audience is families, so it has to remain entertaining for young audiences. However, the target audience for "The Wizard of Oz" is also families, but has lots of text and a very dull background. This could be because it is engaging in the music, or because it is conventional for films of that era.

    HW 2a - Existing opening sequence analysis (DYM)


    TO KILL A MOCKINGBIRD


    • Genre: coming-of-age/crime drama.
    • The story takes place in the fictional town of Maycomb County in Alabama.
    • It is set in 1932 over a few years.
    • The whole opening is the camera panning over a mix of random objects, dissolving between shots, making a long, slow feel to the opening, reflecting he opening of the novel.  
    • The opening is happening in chronological order in real time. The scattered nature of the objects makes it seem like there is no particular order the audience should see them in, extending the child's perspective of the film. At 0:05 there is an inter title crediting the production company, Universal, as well as white titles over the video throughout, crediting the production crew, with the title shown through a drawing from the main character Scout.
    • The events in this opening link together, as they are all part of the same scene and setting. All of the objects seem random, and create dietetic sounds within the scene. Also, each of the objects has relation to Scout, the main character and the girl humming, as they are all either used by her or come from her box.
    • The only character introduced is Scout, as we can hear her humming and we see a CU of her hands as she is drawing and colouring in. We also get a sense of her personality as we see her box of toys and symbolic objects, which represent part of her character. Despite never seeing her face, we get a sense of her character from what we do see and hear of her, combined with her objects.
    • Some of the objects seen foreshadow later events in the film, as they are the same as the objects Jem (Scout's brother) and Scout find in the tree as a gift from Boo (a 'mockingbird', rarely seen character), such as a pocket watch and old coins. The child-like voice singing in the soundtrack, as well as the toys scattered around the set, contrasts with the serious and important nature of the film. There is make-up and jewellery, which symbolises the coming-of-age narrative in the film, as well as contrasting with Scout's lack of a mother. The tearing of the drawing of a mockingbird also foreshadows the death of Tom Robinson (another 'mockingbird' character) during the film. The mismatch of objects also makes it look childish and ambiguous, highlighting the child-like perspective of the film, as well as representing Scout's innocent character.
    • In a film opening, the audience need to get a sense of the mian character, weather that is just hearing about them through other characters/props/events, or actually seeing them immediately. They also need to get a strong sense of the genre, as this is important in setting up the expectations of the film, while also gratifying the expectations the audience already have of it.

    HW 1b - Reflections on my film still (BLK)

    • The magnifying glass and dimly lit setting signify the mystery genre
    • We put the mini light behind the lantern to appear as though the lantern was lighting the scene, as well as having an MCU of the magnifying glass. We also closed all the curtains and turned off all the lights that we could to achieve a contrast in the lighting of the setting.
    • The contrast between the light of the lantern (a prop of the character), and the darkness of the surroundings, shows that the character is out of place in the setting, and that there is conflict between the setting and the character, a convention of the genre. This is extended by the magnifying glass that the character is holding, which shows how he has to figure something out, working with and against the setting. Also, the closeness of the hand and the lanterns as well as the dark background could connote danger and mystery in the scene.
    • I think that the lighting is the best part of our shot, as it makes the scene seem dimly lit and mysterious, portraying both the genre, and the mysterious narrative plot. It also sets the mood and connotes nighttime, which could signify danger or trespassing, emphasising suspense and tension in the scene.
    • In hindsight I would have had the framing slightly different, with the magnifying glass more in the middle and closer to the camera, making the framing a CU, rather than an MCU. This would mean that the focus is the clue under the magnifying glass, easily visible for the audience. Also, I feel the shot doesn't have a clear focal point, as the magnifying glass is almost pointing to the lantern, which draws the audiences eye towards the lantern, rather than the main focus. Lastly, I think we could have created better lighting by choosing a location with a darker background, or by covering up more windows. This would have extended the genre conventions and made the overall tension and narrative more realistic and believable for the audience.

    HW 1a - Existing film still analysis (DYM)

    SHREK 2


    NARRATIVE:
    • The characters have alarmed and angry facial expressions, contrasting with the formal and polite setting they are in, which shows that there is conflict between the characters, creating an intense and awkward narrative in the scene.
    • The fact that a donkey and a king and queen (Harold and Lillian, wearing royal robes and a crown) are having a formal dinner in a castle together, makes us believe that there is an unusual fantasy narrative that has had to build up to this moment. The tense character interactions may also rely on the audience's knowledge of the previous film, as this film is the sequel, so it can build the character tension even more.
    • The distance between the audience (in place of the main character Shrek) and King Harold further extends the conflict and distance between the characters, also the fact that Shrek and Harold are on either end of the table at the head, extends the distance and gives the narrative a rival male approach.
    • The setting is portrayed with a warm colour palette, making the home seem welcoming and comforting. This contrasts with the facial expressions of King Harold hosting the dinner, scowling, unwelcoming, and angry. The comforting setting also contrasts with Donkey and Lillian's facial expressions, which are not angry, but more awkward and surprised, possibly at the behavior of Harold, Lillian's husband, and Shrek, Donkey's best friend and Lillian's son-in-law.
    • This scene demonstrates the fish-out-of-water narrative plot, and shows how Shrek is out of place in the scene and setting, and viewed differently to the other characters.
    GENRE:
    • The audience's expectation of the comedy genre is gratified with the ironic juxtaposition of a donkey, connotative of dirt and lower-class,  in a polite and formal setting, washing his hands with a king.
    • The fantasy part of the genre is fulfilled by the anthropomorphic donkey, the fairy-tale-style king and queen, and the stereotypical fantasy castle setting. This also juxtaposes with the serious and almost concerned facial expressions of the characters, further extending the comedy in the scene.
    AUDIENCE:
    • The 3 characters seen on screen are facing towards the camera, which puts the audience in the point of view of the main character Shrek. This makes the scene immersive and allows the audience to feel a part of the film and the narrative, making the film more exciting and engaging.
    • The comedy aspects of this scene (see genre) fulfill the audience's expectations of the genre, and allow the audience to be more easily immersed in the film. 
    • The audience can relate to the setting and scene, as it mimics common fairytales that people grow up with, making the film more familiar and engaging.