Romantic Comedies
Audiences expect a certain structure from romantic comedies. Generally the basic outline of a romantic comedy is that boy meets girl via some sort of event or communication. For example, in the film “Notting Hill” the superstar “Anna Scott” meets the average, ordinary, English man “William Thacker” when he accidentally spills orange juice down her top, in a market street of Notting Hill. This is a typical beginning to a romantic comedy as the audience are shown that, “Will” and “Anna” share an attraction even though they are so different by their status and roles, it’s seems an impossibility.
However the is always some sort of obstacle between the two. Such as, in “You’ve Got Mail”, “Kathleen Kelly” is a small time bookshop owner; her shop is under the threat of closer. Due to a huge, new book chain store shop just opened nearby, owned by “Joe Fox”. The audience know that they are the perfect couple, by the way that they have been communicating via email, and are pinning for the couple to work out their differences and realise the are meant for each other. Unfortunately, the “perfect couple” are separated by their roles, as “Fox’s” company eliminates competition via discounts and “coffee”. “Kelly” and “Fox” are at a business war that can only end in the death of a business.
Finally, the climax of the story is when the character that realises their feelings at the last moment makes public statement, or does something such as an extraordinarily romantic gesture towards the person that knew their feelings all along. For example, in the film “Bridget Jones’s Diary”, “Marc Darcy” already knows his feelings, where as “Bridget Jones” doesn’t realise hers until the latest possible moment. Therefore means that she makes a heart-warming, embarrassing statement, which the audience greatly appeals to.
Also, in romantic comedy films there is a lot of pathetic fallacy used (when the weather matches the mood), for instance, in “Wimbledon” when “Peter Colt” and “Lizzie Bradbury” spend the day training together realising their feelings for each other, the weather is spectacular. The film shows a beautiful, bold, colourful sunset; which is a typical romantic situation, which the audience just falls in love with. In contrast further on in the film when “Bradbury” and “Colt” have an argument the weather is dark, gloomy and upsetting. Also, to add to the setting, there is rain on the ground when “Colt” turns up to “Bradbury’s” house to apologise, which symbolises the tears and upset which is keeping them apart at the moment.
The music/audio has a huge affect upon the audience and determines their feelings, meaning that the music indicates to the audience what they should be feeling at that particular moment. For example, if the music was slow, delicate and moving, the audience know that they should be feeling sympathy for that particular character or set of characters.
“Bridget Jones’s Diary: The Edge Of Reason” and “Notting Hill” uses a narrator throughout the film, or at the start, which is also an example of non-diagetic sound. This gives an insight about the character towards the audience, for instance they get a sense of the characters education, and personality. Also they feel as if they are a part of the film, especially when the film writers use rhetorical questions, which help the audience to see their point of view.
Within romantic comedies sometimes certain things happen that lack verisimilitude, such as in “27 Dresses”, when “Jane” finally realises her feelings for “Kevin” she crashes a wedding reception. This is a classic example of when a film hasn’t included verisimilitude, as the bride was ecstatic and excited to let this wedding crasher stand up and make a speech, which wouldn’t happen in real life.
The characters are also, quite typical, as there is one that realises their feelings first are generally the male, and the character that makes a public statement or romantic gesture is the female. This is the case with many romantic comedies such as: “Runaway Bride”, “Bridget Jones’s Diary” one and two, “Wimbledon”, “27 Dresses”, “There’s Something About Mary”, “The Proposal” and “Roxanne” so on so forth.
However, there are a few romantic comedies that have the male realise their feelings last the female first, such as: “Shallow Hall”, “He’s Just Not That Into You” and “The Break Up”. Which go against the audience’s conventions but make the movie a whole lot more enjoyable.
The main convention of a romantic comedy is the structure, meaning that the beginning starts off with boy meets girl, (either for the first time, or haven’t seen for a long time) there is some sort of obstacle keeping them apart. Then during finale/climax, the obstacle is removed and the last character realises their feelings makes a public statement, or romantic gesture.
Our Chosen Colour Theme
As a group it was decided that we would use mainly black and white throughout our opening sequence.
However there is one exception to this; we will be using two purple items for each of the main characters. These two purple items would be seen as a way to give the two characters an instant connection, a way of setting them apart from everyone else, whilst bringing them closer through the use of the same colour.
We thought it would be best to do a black and white theme as it would mean that the purple will stand out a lot more in comparison to using colours.
We researched colours and decided on the colour purple for a number of reasons; the first of these reasons being that it would set this movie apart and didn’t follow the usual conventions found in romantic comedies, which would use pinks and reds as their main colour.
In many cultures, purple is also the colour of passion and romance, with its warm blend of ‘passionate red and tranquil blue’. It is also a colour that induces mystery, sophistication, spirituality and royalty.
The two items that we were thinking of making purple were a pair of shoes and a tie. This is because these items are known to ‘finish an outfit’ and are often the article of clothing that stands out the most, therefore it would be noticeable and effective. The audience would see these items and instantly predict a possible storyline outcome.
Questionnaire Results
The majority of people we asked were female who watched romantic comedies quite often. The males we asked said they hardly ever watched rom-coms but they did admit to enjoying them when they did get the chance to watch one. The males that did enjoy these films said they liked them because they had better storylines than a lot of other genres. They also confessed to rom-coms being good date movies and being films that allowed them to have a good cry. The males that didn't like rom-coms said that other genres had stronger story lines with stronger characters.
The perfect age group for the main characters appears to be between 20 and 30 years old. There are several reasons for this: 1) people aged 20 and above can relate to these characters if they have similar personalities or if they have been in situations like the main characters. 2) people under the age of 20 have something to aspire to and can picture themselves in similar situations when they are older. However, two of the teenages we asked said they prefer films with teenage characters in. This could be because they can easily relate to these characters and find it harder to relate to the characters aged 20-30.
From our questionnaire, it is apparent that the main twists people like to see are love triangles and affairs. Reasons for this could be that people have experienced a partner cheating on them or having an affair. Most people, at some point in their life, will no doubt be part of a love triangle which, the majority of the time, will lead to an affair in some way or another.
The personalities of the different characters are very similar. The male character has been described as being a romantic man who is also manly and can stand their ground. This has been described because a lot of females would like their partner to have these characteristics. None of the people we asked said that they wanted uncaring males in the films. This shows that women want to be with someone who will love them as well as being someone like a friend. The main characteristics of the female character has been described as an outgoing woman. Sometimes a bit ditsy and someone with a high class job. The reasons of women being depicted in this way could be because men like to see this in their partner but also because a lot of women want to be this type of character if they aren't already.
Filming Locations (If We choose some of these, we will have to as permission to film of the premises)
Park – Arboretum
Sutton College
Own Houses
City Centre (Birmingham, Walsall, Sutton)
Church
Swimming Pool
Restaurant/Café
Number of romantic comedies released since 2000
Spring 64 This is because it’s the season of valentines and start of new life/love/relationships.
Summer 69
Autumn 54
Winter 58
Top 20 Romantic Comedies
1) My Big Fat Greek Wedding - 19/04/02 - Lifetime Gross £145,174,380
2) What Women Want – 15/12/00 - Lifetime Gross £109,922,851
3) Hitch – 11/02/05 - Lifetime Gross £107,928,882
4) Pretty Woman – 23/03/90
5) There’s Something About Mary – 15/07/98
6) Sea And The City – 30/05/08
7) Runaway Bride – 30/07/09
8) Knocked Up – 01/06/07
9) As Good As It Gets – 23/12/97
10) Bringing The House Down – 07/03/03
11) The Proposal – 19/06/09
12) Coming To America – 29/06/88
13) Sweet Home Alabama – 27/09/02
14) My Best Friends Wedding – 20/06/97
15) Sleepless In Seattle – 25/06/93
16) Mr Deeds – 28/06/02
17) Something’s Gotta Give – 12/12/03
18) 50 First Dates – 13/02/04
19) The Break Up - 06/02/06
20) Notting Hill – 28/05/99
Things you can legally include in different rated films
U
Discrimination
No discriminatory language or behaviour unlessclearly disapproved of.DrugsNo references to illegal drugs or drug misuse unlessthey are infrequent and innocuous, or there is a cleareducational purpose or anti-drug message suitablefor young children.
Horror
Scary sequences should be mild, brief and unlikely tocause undue anxiety to young children. The outcomeshould be reassuring.
Imitable behaviour
No potentially dangerous behaviour which youngchildren are likely to copy. No emphasis on realisticor easily accessible weapons.
Language
Infrequent use only of very mild bad language.
Nudity
Mild sexual behaviour (for example, kissing) andreferences only (for example, to ‘making love’).
Theme
While problematic themes may be present, theirtreatment must be sensitive and appropriate foryoung children.
Violence
Mild violence only. Occasional mild threat ormenace only.
PG
Discrimination
Discriminatory language or behaviour is unlikely to be acceptable unless clearly disapproved of or in aneducational or historical context. Discrimination bya character with which children can readily identifyis unlikely to be acceptable
Drugs
References to illegal drugs or drug misuse must beinnocuous or carry a suitable anti-drug message.
Horror
Frightening sequences should not be prolonged orintense. Fantasy settings may be a mitigating factor.
Imitable behaviour
No detail of potentially dangerous behaviour whichyoung children are likely to copy. No glamorisationof realistic or easily accessible weapons.
Language
Mild bad language only.
Nudity
Natural nudity, with no sexual context.
Sex
Sexual activity may be implied, but should bediscreet and infrequent. Mild sex references andinnuendo only.
Theme
Where more serious issues are featured (for example,domestic violence) nothing in their treatment shouldcondone unacceptable behaviour.
Violence
Moderate violence, without detail, may be allowed,if justified by its context (for example, history,comedy or fantasy).
12
Discrimination
Discriminatory language or behaviour must not beendorsed by the work as a whole. Aggressivediscriminatory language or behaviour is unlikelyto be acceptable unless clearly condemned
Drugs
Any misuse of drugs must be infrequent and shouldnot be glamorised or give instructional detail.
Horror
Moderate physical and psychological threat may bepermitted, provided disturbing sequences are notfrequent or sustained.
Imitable behaviour
Dangerous behaviour (for example, hanging, suicide andself-harming) should not dwell on detail which could becopied, or appear pain or harm free. Easily accessibleweapons should not be glamorised.
Language
Moderate language is allowed. The use of stronglanguage (for example, ‘fuck’) must be infrequent.
Nudity
Nudity is allowed, but in a sexual context must be briefand discreet.
Sex
Sexual activity may be briefly and discreetly portrayed.Sex references should not go beyond what is suitable foryoung teenagers. Frequent crude references are unlikelyto be acceptable.
Theme
Mature themes are acceptable, but their treatment mustbe suitable for young teenagers.
Violence
Moderate violence is allowed but should not dwell ondetail. There should be no emphasis on injuries or blood,but occasional gory moments may be permitted ifjustified by the context.
Sexual violence may only be implied or briefly anddiscreetly indicated, and must have a strong contextualjustification.
15
Discrimination
The work as a whole must not endorse discriminatorylanguage or behaviour.
Drugs
Drug taking may be shown but the film as a whole must notpromote or encourage drug misuse. The misuse of easilyaccessible and highly dangerous substances (for example,aerosols or solvents) is unlikely to be acceptable.
Horror
Strong threat and menace are permitted unless sadisticor sexualised.
Imitable behaviour
Dangerous behaviour (for example, hanging, suicide andself-harming) should not dwell on detail which could becopied. Easily accessible weapons should not be glamorised.
Language
There may be frequent use of strong language (for example,‘fuck’). The strongest terms (for example, ‘cunt’) may beacceptable if justified by the context. Aggressive or repeateduse of the strongest language is unlikely to be acceptable.
Nudity
Nudity may be allowed in a sexual context but withoutstrong detail. There are no constraints on nudity in anon-sexual or educational context.
Sex
Sexual activity may be portrayed without strong detail.There may be strong verbal references to sexual behaviour,but the strongest references are unlikely to be acceptableunless justified by context. Works whose primary purpose issexual arousal or stimulation are unlikely to be acceptable.
Theme
No theme is prohibited, provided the treatment isappropriate for 15 year olds.
Violence
Violence may be strong but should not dwell on the inflictionof pain or injury. The strongest gory images are unlikely tobe acceptable. Strong sadistic or sexualised violence is alsounlikely to be acceptable.There may be detailed verbal references to sexual violencebut any portrayal of sexual violence must be discreet andhave a strong contextual justification.
18
In line with the consistent findings of the BBFC’s publicconsultations and The Human Rights Act 1998, at ‘18’ theBBFC’s guideline concerns will not normally overridethe principle that adults should be free to choose theirown entertainment. Exceptions are most likely in the following areas:
• where the material is in breach of the criminal law,or has been created through the commission of acriminal offence
• where material or treatment appears to the BBFC torisk harm to individuals or, through their behaviour,to society – for example, any detailed portrayal ofviolent or dangerous acts, or of illegal drug use,which may cause harm to public health or morals.This may include portrayals of sexual or sexualisedviolence which might, for example, eroticise orendorse sexual assault
• where there are more explicit images of sexualactivity which cannot be justified by context. Suchimages may be appropriate in ‘R18’ works, and in‘sex works’ (see below) would normally be confinedto that category.
Sex education at ‘18’
Where sex material genuinely seeks to inform andeducate in matters such as human sexuality, safersex and health, explicit images of sexual activity maybe permitted.
Sex works at ‘18’
Sex works are works whose primary purpose is sexualarousal or stimulation. Sex works containing only materialwhich may be simulated are generally passed ‘18’. Sexworks containing clear images of real sex, strong fetishmaterial, sexually explicit animated images, or othervery strong sexual images will be confined to the ‘R18’category. Material which is unacceptable in a sex workat ‘R18’ is also unacceptable in a sex work at ‘18’.
This information was taken from the British Board of Film Classification website: http://www.bbfc.co.uk/about/
Sunday 29 November 2009
Friday 27 November 2009
Continuity Piece
Although it was quite a sharp awakening as to what is to come in filming the opening sequence of our film, I thoroughly enjoyed doing this piece (this could have something to do with the good company I was in while making it, with the group consisting of Laura, Charlotte and I).
As soon as we were given the task, the idea just started flowing from us; we were bouncing off each other’s ideas and adding detail in order to refine them.
The key elements that we had to include were match-on-action, comply with the 180 degree rule and we had to show we have a clear understanding of camera positions and angles by using a variety of these.
The final Idea that we had was to have two girls exchanging drugs in a toilet, with another girl seeing what has happened only to hurry out of the girls toilets.
We managed to stick to the elements held within the task by using match-on-action for the girls toilet door and for the exchange of the drugs, we managed to stick to the 180 degree rule and we used a wide variety of shots. Some of the shots that we used were: a long shot of one of the girls making her way down the stairs, a close-up of the phones, over shoulder shot of the worried drug dealer and druggy, a medium shot of the girl coming out of a cubicle and a two-shot of the two girls talking. We also used panning in order to follow the characters to their destinations.
Overall, I would say that this piece went well, we face a couple of challenges along the way, however it was nothing that couldn’t be dealt with.
As soon as we were given the task, the idea just started flowing from us; we were bouncing off each other’s ideas and adding detail in order to refine them.
The key elements that we had to include were match-on-action, comply with the 180 degree rule and we had to show we have a clear understanding of camera positions and angles by using a variety of these.
The final Idea that we had was to have two girls exchanging drugs in a toilet, with another girl seeing what has happened only to hurry out of the girls toilets.
We managed to stick to the elements held within the task by using match-on-action for the girls toilet door and for the exchange of the drugs, we managed to stick to the 180 degree rule and we used a wide variety of shots. Some of the shots that we used were: a long shot of one of the girls making her way down the stairs, a close-up of the phones, over shoulder shot of the worried drug dealer and druggy, a medium shot of the girl coming out of a cubicle and a two-shot of the two girls talking. We also used panning in order to follow the characters to their destinations.
Overall, I would say that this piece went well, we face a couple of challenges along the way, however it was nothing that couldn’t be dealt with.
Thursday 12 November 2009
Textual Analysis 3 Rom-com and 1 horror
Romantic Comedies
The Accidental Husband
The Accidental Husband opens with its main focus on a female radio host, giving advice to female listeners with relationship issues. While being shown this woman we mainly see close ups of her face, to possibly show her passion and belief in what she is talking about.
Throughout the opening credits it jumps from showing us the radio host to showing us life in New York. We even see a split screen of the host and New York at some points. The shots of New York are mainly Extreme Long Shots, as it allows the audience to see the busy life of many of the residents and to possibly make the audience think “how do people have time for a healthy relationship in amongst their busy lives?”
It also shows a lot of happy-looking, independent women listening to the radio station in their cars and through headphones while walking about...possibly trying to prove to themselves and the outside world that they are just fine, however, deep down we get the impression that they have relationship issues. All of these shots are shown in Long shots, as it allows the audience to see both the women and their surroundings.
There is also a lot of non-diagetic sound throughout this opening sequence, of the radio host talking to women while we are shown New York, there are also sirens in the background (could this be an early indication that there is to be some form of conflict?)
This cuts to a Long Shot of a football field and pans down to ground-level; from here we track some players around the pitch, this is used to set the basic atmosphere.
This goes to a medium shot of a woman by a car, which is parked next to the football pitch and she is listening to the radio. The medium shot is used in order for the audience to see both her body language and facial expressions all at once. Another medium shot is then used to show one of the men on the football pitch looking at the woman, this shot is used for the same purpose as the previous medium shot but it also singles him out to the rest of the players.
From here we are shown to play on the pitch and the woman is almost narrated to the problems with her partner through the radio.
Then we see a long shot of the same man getting into a car with his friends, not with the woman...this leaves the audience wondering why this could be. We are then shown a medium close up of the men in the car listening to the radio.
We are then taken to a new scene of the woman in her car on the phone to the radio host; a medium close up is used to show the facial expression of the caller and cuts to another medium close up inside the ‘lads’ car and is of just the partner of the woman as he hears her on the radio this allows the audience to focus solely on the man’s facial expression as it goes from happy to sad.
This then fades to black in preparation for the film to get going.
There are a few examples of non-diagetic sound used in this opening sequence, some of which have already been mentioned, however the most noticeable sound is the sound of soft music playing throughout the entire piece. This is used in order to set the vibe and mood of a romantic comedy and also to put the audience in a false sense of security as they will assume that everything is ‘rosy’ until we start to realise what is going on.
The is also a lot of diagetic sound, the sound of talking and horns being honked add to the atmosphere of New York and the sound of the referee’s whistle being blown, players shouting to each other and cars driving passed which allow us to come to ‘ground-level’ with New York.
The Mise En Scéne all follows convention, from the radio booth with its microphone and buttons, the hectic city of New York...taxis, traffic jams, the sound of horns, things that we all associate with the city to the football pitch with its players, arguments and referee.
Bridget Jones's Diary
Bridget Jones’s Diary opens with a medium shot of Bridget walking in the snow, her body language giving the impression that she may be fed up and annoyed. This then goes to a long shot of a car and Bridget getting out of the car; it stays on the long shot as the camera pans to follow her to the doorstep of her parent’s house she seems to be slamming her feet into the snow...is this out of frustration or does she just not want to fall over?
Once Bridget reaches the door, an over-shoulder shot is used to show her mother’s welcoming reaction towards her.
A high-angled long shot is then used to show Bridget entering the house, this may foretell the scale of events that she has to overcome, that are grand but possibly reachable.
There is then some medium close ups of a conversation between Bridget and her mother, her mom is trying to get her out of the ‘single’ life and is try to set her up with someone, medium close ups are used to show the expression on both of their faces and the coldness that Bridget feels towards her mother at that moment in time.
The camera then tracks Bridget through a party on a medium shot looking awkward and unsatisfied with what she is wearing, the medium shot is used to show her fidgeting and lack of self-confidence.
From here there is a medium shot showing the disgust on Bridget’s face at an older man that just groped her bum.
At this point Bridget goes to her father in which there is a two shot used of them on a medium close up to show their discomfort towards the party and what her mother is trying to Do in setting Bridget up. This switches to a medium close up of the back of the man she is being set up with; this makes him seem mysterious and makes gives suspense to the feeling of possible romance.
Te camera then tracks Bridget and her mother as her mother leads her towards the man...as if being forced to go and meet him; however the narration tells a different story, it seems Bridget may deep down want to get to know this man.
The opening sequence finishes with a medium close up of the man turning around to unveil himself in an almost romantic way, as if all of Bridget’s prayers had been answered in a moment.
There were two main non-diagetic sounds heard throughout this opening sequence. The first was the sound of Bridget’s narration in order to add to the comedic aspect of the movie and also to explain the background of herself. The second was a couple of different sons played in order to build up an atmosphere for the audience to ‘play’ off of.
The diagetic sounds her were all normal and they include walking, talking, a car and shouting.
The opening sequence was based in an English village at winter time, this was made obvious by the snow on the ground and the Christmas spirit seen throughout.
The Mise En Scéne all follows convention the house is your average English country house and set out accordingly.
All of the editing used was invisible.
He's Just Not That Into You
He’s Just Not That Into You opens with the camera panning across a child’s playground on a long shot to show all of the kids, doing kids things and playing. The panning stops at a girl building a sand castle.
The shot then switches to a long shot of a group of boys heading towards her with intent. The camera then tracks the ‘leader’ as he heads closer to the girl.
There is then a couple of high angled and low angled shots used as the girl is lower than the boy, this could represent the power that he thinks he has over her. The boy then pushes the little girl down and there is a high-angled, medium close up to show her on the ground, his shows the audience her tears and the pained expression on her face. There is again a low angled shot of the boy from the girl’s perspective as he is shouting at her, this could have a connotation of the fact that the boy is having a go at her makes her feel small and is represented by the clever use of cameras.
This goes to a series of over shoulder shots of the little girl explaining what has happened to her mom, it allows us to see the sympathy on her mom’s face while seeing the pain and emotion within the little girl.
We also are given a two-shot of the girl and her mom holding hands as her mom reassures her that everything is going to be ok, it shows the audience the mother and daughter relationship between the two of them and allows us to see a bond between them.
We, as the audience are then taken to a series of different clips of women talking about their experiences with guys not calling them back, this is integral to the movie as it allows us to see what possibly is to come with the main characters.
It includes a scene of two women sat by a phone and the scene opens with a close up of the phone showing that there are no new messages and no one is calling, yet they are still staying positive.
After this the screen fades to black and the writing “He’s Just Not That Into You” shows up.
The none-diagetic sounds present in the opening sequence are the sound of ‘quick’ music, in the sense that the beat is quick however it is not jolly due to the scenes that it is present in. Also the sound of woman (the little girl grown up) narrating us through it.
The diagetic sounds include kids playing, laughing, screaming, ladies talking and cars.
The main scene’s Mise En Scéne also followed convention; the park is a typical kids place to hang out with the parent sitting around the side watching on at their children playing on the climbing frames and making new friends.
Most of the opening scene had invisible editing, excluding the very opening as it fades from black to the park and at the very end when it fades to black.
Horror
The Others
The opening sequence of The Others seems like a pretty normal opening, with no scary music and nothing odd or suspicious going on.
However, when you look deeper into it, this is what makes the movie scarier, the eeriness of a silent atmosphere and the fact that it is luring the audience into a false sense of security.
There are no none-diagetic sounds to be heard and the only diagetic sounds are that of talking, walking, the door bell and keys jangling, again adding to this eerie atmosphere in a big dark house.
The Mise En Scéne seems to follow convention with being set in a big dark-looking mansion, wooden doors and beams, the sort of house we the audience expect from a Horror movie. The old clothes and hair seem to match up with each other and the time that this movie is set in (the war period).
The movie opens with three people going towards the house, this is shown on a long shot and we pan in order to follow them. This then goes onto an over should shot towards the door to see it being opened and to see the house owner open it, this is then followed by another over should shot towards one of the people that was walking towards the house (they are looking for jobs), the person that talks to her seems to be the main speaker of the three. Following this, a series of over should shots is used in order for us to see the conversation in action.
The three job seekers then line up inside the house and are shown on a three-shot from the chest up, the owner is stood opposite them and is shown on a medium close up and seems to be shown on a low angle shot, this makes her seem more powerful and in control, as though she holds power over these three people who haven’t yet started working for her.
The camera then changes to behind the door of the next room and pans in an ark shape in order to show the house, a cold looking place with bare walls and a wooden stair case.
We then catch up with the house owner and she is shown on a medium shot, stood with her hands in clasped, maybe this shows the authority that she feels.
Another pan is used down the bottom of a corridor as the owner and three job seekers go towards a door.
This is where the opening sequence finishes, as they all enter another room.
All of the editing used is invisible.
The Accidental Husband
The Accidental Husband opens with its main focus on a female radio host, giving advice to female listeners with relationship issues. While being shown this woman we mainly see close ups of her face, to possibly show her passion and belief in what she is talking about.
Throughout the opening credits it jumps from showing us the radio host to showing us life in New York. We even see a split screen of the host and New York at some points. The shots of New York are mainly Extreme Long Shots, as it allows the audience to see the busy life of many of the residents and to possibly make the audience think “how do people have time for a healthy relationship in amongst their busy lives?”
It also shows a lot of happy-looking, independent women listening to the radio station in their cars and through headphones while walking about...possibly trying to prove to themselves and the outside world that they are just fine, however, deep down we get the impression that they have relationship issues. All of these shots are shown in Long shots, as it allows the audience to see both the women and their surroundings.
There is also a lot of non-diagetic sound throughout this opening sequence, of the radio host talking to women while we are shown New York, there are also sirens in the background (could this be an early indication that there is to be some form of conflict?)
This cuts to a Long Shot of a football field and pans down to ground-level; from here we track some players around the pitch, this is used to set the basic atmosphere.
This goes to a medium shot of a woman by a car, which is parked next to the football pitch and she is listening to the radio. The medium shot is used in order for the audience to see both her body language and facial expressions all at once. Another medium shot is then used to show one of the men on the football pitch looking at the woman, this shot is used for the same purpose as the previous medium shot but it also singles him out to the rest of the players.
From here we are shown to play on the pitch and the woman is almost narrated to the problems with her partner through the radio.
Then we see a long shot of the same man getting into a car with his friends, not with the woman...this leaves the audience wondering why this could be. We are then shown a medium close up of the men in the car listening to the radio.
We are then taken to a new scene of the woman in her car on the phone to the radio host; a medium close up is used to show the facial expression of the caller and cuts to another medium close up inside the ‘lads’ car and is of just the partner of the woman as he hears her on the radio this allows the audience to focus solely on the man’s facial expression as it goes from happy to sad.
This then fades to black in preparation for the film to get going.
There are a few examples of non-diagetic sound used in this opening sequence, some of which have already been mentioned, however the most noticeable sound is the sound of soft music playing throughout the entire piece. This is used in order to set the vibe and mood of a romantic comedy and also to put the audience in a false sense of security as they will assume that everything is ‘rosy’ until we start to realise what is going on.
The is also a lot of diagetic sound, the sound of talking and horns being honked add to the atmosphere of New York and the sound of the referee’s whistle being blown, players shouting to each other and cars driving passed which allow us to come to ‘ground-level’ with New York.
The Mise En Scéne all follows convention, from the radio booth with its microphone and buttons, the hectic city of New York...taxis, traffic jams, the sound of horns, things that we all associate with the city to the football pitch with its players, arguments and referee.
Not all of the editing used was invisible, as we had the fade at the end to black and also there were coloured bars running across the screen at different times.
Bridget Jones's Diary
Bridget Jones’s Diary opens with a medium shot of Bridget walking in the snow, her body language giving the impression that she may be fed up and annoyed. This then goes to a long shot of a car and Bridget getting out of the car; it stays on the long shot as the camera pans to follow her to the doorstep of her parent’s house she seems to be slamming her feet into the snow...is this out of frustration or does she just not want to fall over?
Once Bridget reaches the door, an over-shoulder shot is used to show her mother’s welcoming reaction towards her.
A high-angled long shot is then used to show Bridget entering the house, this may foretell the scale of events that she has to overcome, that are grand but possibly reachable.
There is then some medium close ups of a conversation between Bridget and her mother, her mom is trying to get her out of the ‘single’ life and is try to set her up with someone, medium close ups are used to show the expression on both of their faces and the coldness that Bridget feels towards her mother at that moment in time.
The camera then tracks Bridget through a party on a medium shot looking awkward and unsatisfied with what she is wearing, the medium shot is used to show her fidgeting and lack of self-confidence.
From here there is a medium shot showing the disgust on Bridget’s face at an older man that just groped her bum.
At this point Bridget goes to her father in which there is a two shot used of them on a medium close up to show their discomfort towards the party and what her mother is trying to Do in setting Bridget up. This switches to a medium close up of the back of the man she is being set up with; this makes him seem mysterious and makes gives suspense to the feeling of possible romance.
Te camera then tracks Bridget and her mother as her mother leads her towards the man...as if being forced to go and meet him; however the narration tells a different story, it seems Bridget may deep down want to get to know this man.
The opening sequence finishes with a medium close up of the man turning around to unveil himself in an almost romantic way, as if all of Bridget’s prayers had been answered in a moment.
There were two main non-diagetic sounds heard throughout this opening sequence. The first was the sound of Bridget’s narration in order to add to the comedic aspect of the movie and also to explain the background of herself. The second was a couple of different sons played in order to build up an atmosphere for the audience to ‘play’ off of.
The diagetic sounds her were all normal and they include walking, talking, a car and shouting.
The opening sequence was based in an English village at winter time, this was made obvious by the snow on the ground and the Christmas spirit seen throughout.
The Mise En Scéne all follows convention the house is your average English country house and set out accordingly.
All of the editing used was invisible.
He's Just Not That Into You
He’s Just Not That Into You opens with the camera panning across a child’s playground on a long shot to show all of the kids, doing kids things and playing. The panning stops at a girl building a sand castle.
The shot then switches to a long shot of a group of boys heading towards her with intent. The camera then tracks the ‘leader’ as he heads closer to the girl.
There is then a couple of high angled and low angled shots used as the girl is lower than the boy, this could represent the power that he thinks he has over her. The boy then pushes the little girl down and there is a high-angled, medium close up to show her on the ground, his shows the audience her tears and the pained expression on her face. There is again a low angled shot of the boy from the girl’s perspective as he is shouting at her, this could have a connotation of the fact that the boy is having a go at her makes her feel small and is represented by the clever use of cameras.
This goes to a series of over shoulder shots of the little girl explaining what has happened to her mom, it allows us to see the sympathy on her mom’s face while seeing the pain and emotion within the little girl.
We also are given a two-shot of the girl and her mom holding hands as her mom reassures her that everything is going to be ok, it shows the audience the mother and daughter relationship between the two of them and allows us to see a bond between them.
We, as the audience are then taken to a series of different clips of women talking about their experiences with guys not calling them back, this is integral to the movie as it allows us to see what possibly is to come with the main characters.
It includes a scene of two women sat by a phone and the scene opens with a close up of the phone showing that there are no new messages and no one is calling, yet they are still staying positive.
After this the screen fades to black and the writing “He’s Just Not That Into You” shows up.
The none-diagetic sounds present in the opening sequence are the sound of ‘quick’ music, in the sense that the beat is quick however it is not jolly due to the scenes that it is present in. Also the sound of woman (the little girl grown up) narrating us through it.
The diagetic sounds include kids playing, laughing, screaming, ladies talking and cars.
The main scene’s Mise En Scéne also followed convention; the park is a typical kids place to hang out with the parent sitting around the side watching on at their children playing on the climbing frames and making new friends.
Most of the opening scene had invisible editing, excluding the very opening as it fades from black to the park and at the very end when it fades to black.
Horror
The Others
The opening sequence of The Others seems like a pretty normal opening, with no scary music and nothing odd or suspicious going on.
However, when you look deeper into it, this is what makes the movie scarier, the eeriness of a silent atmosphere and the fact that it is luring the audience into a false sense of security.
There are no none-diagetic sounds to be heard and the only diagetic sounds are that of talking, walking, the door bell and keys jangling, again adding to this eerie atmosphere in a big dark house.
The Mise En Scéne seems to follow convention with being set in a big dark-looking mansion, wooden doors and beams, the sort of house we the audience expect from a Horror movie. The old clothes and hair seem to match up with each other and the time that this movie is set in (the war period).
The movie opens with three people going towards the house, this is shown on a long shot and we pan in order to follow them. This then goes onto an over should shot towards the door to see it being opened and to see the house owner open it, this is then followed by another over should shot towards one of the people that was walking towards the house (they are looking for jobs), the person that talks to her seems to be the main speaker of the three. Following this, a series of over should shots is used in order for us to see the conversation in action.
The three job seekers then line up inside the house and are shown on a three-shot from the chest up, the owner is stood opposite them and is shown on a medium close up and seems to be shown on a low angle shot, this makes her seem more powerful and in control, as though she holds power over these three people who haven’t yet started working for her.
The camera then changes to behind the door of the next room and pans in an ark shape in order to show the house, a cold looking place with bare walls and a wooden stair case.
We then catch up with the house owner and she is shown on a medium shot, stood with her hands in clasped, maybe this shows the authority that she feels.
Another pan is used down the bottom of a corridor as the owner and three job seekers go towards a door.
This is where the opening sequence finishes, as they all enter another room.
All of the editing used is invisible.
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