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“ Cinematic influences on making and editing a film ,with reference to theory, genre and works of established directors”

Within the New Media module we were given the task of producing a 5 min. short film. In order to do so we were taught about different techniques of camera movement and composition. Furthermore we were encouraged to watch a variety of films to take as a basis for our own personal project.

We worked in a group of seven, which was a source of many creative ideas but also many divergent intentions. Therefore, to amend the divergences, we chose a well known fairy-tale. We took Goldilocks and the Three Bears as our script and adapted it to a modern interpretation, calling it “Afrolocks and the Three Beers” in which we enhanced the controversy of the moral tale by using film noir lighting and settings. Although we had chosen Southey’s tale, we studied the structure of the Brothers’ Grimm fairytales, their constant repetition and gruesome, fatal endings.

When filming we used hard light (Millerson, 1999) both for the characters and the settings. For the main character we used side light (ibid.) in order to accentuate the dark side of her face, symbolizing deceitfulness and the ambiguity of her character. The hard light employed for the setting was with the purpose of creating a haunting, surreal ambience with geometric patterns and distorted shadows.

Furthermore, as a soundtrack we chose Psycho by Bernard Herrmann for the pursuit and street scenes, Pencil Full of Lead by Paolo Nutini for the drinking and drunken scenes and for the last scenes Vertigo, again by Bernard Herrmann; these scores further fulfilled the purpose of situating the audience, for we had chosen not to use speech and merely achieve the expression of our message with pure imagery and sound.

The initial minutes within the film were made to resemble the archetypal noir scene, with wet pavements, bright streetlights and the overall sense of unease and fear (Spicer, 2002). On the other hand it was meant to enhance the figure of the damsel in distress so typical in fairy tales, and finally when adapting the story to contemporary times, justify the reason for which Goldilocks would enter the house, thus creating a psychological frame. (Ibid.)  In order to achieve this we used a combination of different camera angles and movements: we used a high camera close-up on Afrolocks’ feet and the pavement combined with a track camera movement in combination with a low camera that points up at the passing streetlights, thus adopting the characters’ perspective. (Bennet, 2007)

The entrance of the house and the drinking scenes are those that most notably bring us near to contemporary time, with a rhythmic soundtrack and a combination and repetition of images. When filming these, we used a combination of different angles, from close-ups to medium shots and we speeded up the film in order to enhance the wildness of the scene.

In order to allude to Diva we integrated the soundtrack within the setting.

The next scenes are meant to create a sense of unease and dizziness to the audience, in order to do so we indulged in camera movement, (Arnheim, 1958) to which we added an angled scene of Afrolocks’ reflection in the mirror in allusion to The Third Man.  (Spicer, 2002)

The subsequent scenes in which we see Afrolocks climbing the stairs are again supposed to create a dislocating effect on the audience. For these we used a low camera to enhance her weak position and a high camera with downward tilts to show her point of view. And finally the scenes with the bears in them vastly consist of shadows, close-ups and busts. These scenes were those most influenced by The Third Man.

In conclusion, we tried to achieve the crudity and banality of reality such as is seen in film noir, but within the fantasy and innocence of a fairy tale, and furthermore adding a comical twist to approximate it to the present. 

Bibliography

Arnheim, R. (1958) Film as Art. London: Faber and Faber Ltd

Beneix, J.J. (1981) Diva.

Bennet, P., Hickman, A. and Wall, P. (2007) Film Studies: The Essential Resource. London: Routledge

Bennet, P. (2007) Film Studies: The Essential Resource. London: Routledge

Buss, R. (1994) French Film Noir. London: Marion Boyars

Dyhrenfurth, N.G. (1952) Film Making for Scientific Field Workers, American Anthropologist. New Series, Vol. 54, No. 1 pp. 147-152

Hitchcock, A. (1960) Psycho.

Hitchcock, A. (1958) Vertigo.

Millerson, G. (1999)  Lighting for video. Media Manual.  Third Edition. Oxford: Focal Press

Spicer, A. (2002) Film Noir.  London: Longman

The Doctor, &c Southey, R. (1863) THE STORY OF THE THREE BEARS. London: Longman, Greens, and Co.

Welles, O. (1949) The Third Man.