Blog Post #8 - May 27th, 2011

After viewing some great films this semester, the three I believe every film student should see are: American Beauty, Pan's Labyrinth, and Memento.

American Beauty is an amazing film. It is a great character piece where the cast and crew all perform top notch work as it was honored at the Academy Awards that year being nominated for eight Oscars winning five including Best Picture. This film is such a perfect example of film at its best with everything made to perfection in classic form.

Pan's Labyrinth is a foreign language film by Guillermo del Toro. It is a film that can show film students the power of imagination, make-up, and mise-en-scene. The film blends both the real and the fantastic in perfect form. It tells an amazing story and it definitely one of the two best foreign language films I have seen except the one mentioned further down the blog.

Memento depicts the beauty of plot. The story is actually quite straight forward but the plot shows the story in reverse not only showing the audience how Leonard Shelby feels but  the audience actually only knows what he does and they actually feel what Leonard feels as the audience is left in the dark. The plot created by writer/director Christopher Nolan makes is amazing along with the editing perfection makes this film one any film student should view.

Although I found just about all of the films this semester to be amazing, the three films that I found most compelling and noteworthy were: North By Northwest, The Diving Bell and the Butterfly, and Eternal Sunshine of the Spotless Mind.

North By Northwest is a classic. It is an adventure with mystery, comedy, drama and thrills in it. It is classically acted and created by Alfred Hitchcock. It left a lasting impression on me as it does stay ambitious throughout including scenes like Cary Grant running from crop dusters and climbing down Mount Rushmore. Overall, it is a thrill ride with perfect acting and a great example of amazing storytelling that left me yearning for some adventure in my own life, not an adventure as intense as Roger Thornhill's, anyways, or should I say George Kaplan?

The Diving Bell and the Butterfly is the best foreign language film that I have ever seen. The cinematography during the beginning of the film puts one in the audience in Jean-Dominique Bauby's point of view with great examples of point-of-view cinematography. But past that is an amazing story of a man who experiences locked-in syndrome after a stroke. He experiences all sorts of feelings ranging from severe depression to extreme optimism for the future. The film has mixes of mild comedy, inspiration, sorrow, and tragedy into an amazing story that really left an effect on me.

Eternal Sunshine of the Spotless Mind has become one of my favorite films ever after viewing it. It left a great effect on me as the character development in this film is the best I've ever experienced personally. It tells a contemporary story with science fiction elements in a very unorthodox form. The editing of those things make this film that has left a lasting effect on me. Both Jim Carrey and Kate Winslet put in what I believe to be their best performances to this date. This film is a masterpiece in my mind and I could speak of it greatness in detail and with ease. Truly one of the best films I've ever experienced.

Blog Post #7 - "Greg Mottola Interviewed on The Treatment"

The guest that Elvis Mitchell had on March 23rd, 2011 was Greg Mottola. Greg has been a director in the industry for over a decade. He started out in the "indie" film scene and continues to bring that sort of style and storytelling to his bigger budget films. He has directed four feature films: The Daytrippers (1996), Superbad (2007), Adventureland (2009), and Paul (2011). He has also directed episodes for TV series as well including the Judd Apatow-produced "Undeclared" and Mitchell Hurwitz-produced "Arrested Development."

Overall, I learned how each character, even in a silly comedy, can be much more well-rounded and developed than initially noticed when watching the film. Mottola gets into this a whole lot while talking about both the character Paul and Kristen Wiig's character within the film. Mottola also carefully chooses his music in films as well and they all help push the story and a big surprise happened when he voiced about how music should not be explaining what is going on in the frame but adding to it and enhancing the scene. I've noticed firsthand how both of these things can help make a film so much better. I had an idea of these things but he explains it in great detail. I notice this a whole lot in Adventureland, one of my favorite films, where both of these aspects are present. He also explains what sorts of stories compel him and many regard just what all people must do in life in general and even though one of his films involve an alien they all are quite easy for the audience to relate to a character within the film.

"I'm very attracted to stories about people who are in denial or delusional about a relationship or their place in life or whatever and have to face reality, reality slaps them in the face. " This quote explains his style of story telling and what he is drawn to and looks for in a film when he comes on board. He is explaining his style of filmmaking and how he can mold stories about the people referenced in his quote and better the film with his presence and direction. He is explain the type of story that gets him going and gets him creative. The thing about this quote and the one below in the next paragraph is that he enjoys doing films that are about people and how people must adapt and face life. Everyone has to at some point so everyone can relate in certain ways,

Just like the paragraph and quote above, Mottola in the quote points out about no only his characters but people in general when something potentially big comes up in a person's life,"It's scary, it's scary to hit those kind of crossroads in life, where your own nature is telling you to do something and you are not listening to it." It is a great quote because it relates to film and the real world and that's what I strive to do when I make films or think about them which is to entertain but also teach and inspire. People can relate and/or learn from a film character's mistake. He seems to understand people and how to help them see the good things going on and things really are not that bad but they just need to go out and take a chance at that moment like in Superbad or Adventureland.

Another great quote is when Mottola explains some background about how he created some of the characters from Adventureland in this quote,"I was making fun of lots of people I actually knew from my youth in that movie but I think I made fun of no one more than I made fun of myself, I mean I was making fun of somebody who was, you know, feeling sorry for himself because he could not go on a backpacking trip to Europe and all these things that were, you know, theses are not real world problems, but when you are young and jealous of other people, you think they are and the point of this movie was this guy needs to grow up." Like pointed out above, he makes films about people and their current state of life. The characters are usually from the middle class and do relate to the average viewer and can truly help one respect where they are at in life and realize all the good they have even though he is directing movies with many comedic elements present. The quote can also be seen as proof that the average human life can be funny, entertaining, inspiring, and dramatic. A person can pull all aspects of life into a compelling idea and story to tell others. Adventureland has a great blend of a dramatic and comedic elements and moments including all the aspects of life that someone James's (main character in film) age would truly have.

Overall, I have gained a huge amount of respect for Greg Mottola and what he brings to his films. I was already a fan but I truly cannot wait for his next film and I most definitely try to see Paul as soon as possible. I think his insight and what he had to say were very valuable to people and it is even more valuable when you have seen at least one of his films. I believe he contributes a good amount to the film world as his films are great and he can also work certain situations in films to blend the film into a multi-genre film. He is still working with an indie film style and making films mainly about people (minus a CGI alien) even though the budgets to his films seem to rise more and more. He is a great director in Hollywood and I think contributes to the industry.

Blog Post # 6 - April 9th, 2011

SHOT LIST

Production Title: L.A. Confidential

Director: Curtis Hanson

Cinematographer: Dante Spinotti

SHOT #	LOCATION	SHOT TYPE	CAMERA ANGLE	CAMERA MOVEMENT	SHOT DESCRIPTION (subject, action, lighting, etc.)
#1	Int.	2S - MCU	EL	None	Int. Restaurant, Exley & Vincennes see a person of interest in a case.
#2	Int.	LS	LA	Trucking	Int. Restaurant, Exley & Vincennes approach a person of interest and Lana Turner. The camera moves from the right to the left to show who the detectives are headed to speak with.
#3	Int.	MCU	HA	None	Int. Restaurant, a high-angle over the shoulder shot show the detectives begin to speak with the couple at the table.
#4	Int.	3S - MCU	EL	None	Int. Restaurant, Exley addresses Lana Turner thinking she is a prostitute.
#5	Int.	MCU	HA	None	Int. Restaurant, shot #4 cuts back to a shot very similar to #3 as the conversation continues.
#6	Int.	2S - MCU	LA	Stedicam	Int. Restaurant, as Exley, looks down at Lana Turner and insults her again as it starts as he leans right, the camera moves about a foot to the right as well to keep both Exley and Vincennes in the shot to keep a nice balance. It is close to a POV view shot but as Exley looks to left from the camera, it is obvious that the camera does not have Lana Turner’s POV. I’m not 100% on the camera movement term but it seems too small and too confined to be a trucking/tracking shot and still to smooth and high-grade to be handheld so I am assuming it must be a stedicam operator in the booth make a smooth move from the right to the left in this shot.
#7	Int.	MCU	LA	None	Int. Restaurant, the same shot as #3 and #5, Exley is told to stop by the man of the couple as Exley finishes his insult and Vincennes reveals to Exley that the woman is actually Lana Turner.
#8	Int.	2S - MCU	LA	None	Int. Restaurant, this shot is a continuation of shot #6, Vincennes again tells Exley that he has insulted Lana Turner
#9	Int.	CU	POV	None	Int. Restaurant, a close-up of character playing Lana Turner shows her disgusted and looking at the camera from presumably Exley’s POV as her beginning movements to throw water in Exley’s face are shown in this shot. Shot is also a great example of a reaction shot.
#10	Int.	2S	LA	None	Int. Restaurant, Exley gets water thrown into his face for insulting Lana Turner as this shot continues from shot #6 and #8.
#11	Ext.	LS	EL	Trucking	Ext. Sidewalk across from the street from the restaurant. After the prior conversation, the shot starts out in front of the car with the detectives walking back to the car. Exley asks how he was supposed to know the woman was Lana Turner. As they get near the car, the camera begins to truck to from right to left and stops once it is even with the front seat windows, which are rolled down. Once the camera settles and the characters are seated, character movement has changed the shot from the initial long shot to a medium close-up as they begin to laugh at the whole conversation.
#12	Ext.	EST - LS	EL	None	Ext. Pierce Patchett’s house, Once the Lana Turner scene has ended the next shot is an establishing shot of the following scene showing Pierce Patchett’s house obviously insinuating that the next scene is to include Patchett’s home.

Blog Post # 5 - April 2nd, 2011

Cinematography: American Beauty


Q: Determine whether or not the cinematographic aspects of the film—the qualities of the film stock, lighting, lenses, framing, angles, camera movement, and use of long takes—add up to an overall look. If so, try to describe its qualities.


A: The cinematographic aspects of this film do indeed add up to the overall look that is present within the film. Based on certain scenes, the film stock have been fast at times and slow during certain scenes as there is very low light in certain scenes of the film where fast film stock very well worked in the low light. As referenced, there are times where shadows and low light are used in the film while at other points, there is very bright and vibrant lighting and decor within the scenes. Lester's dream encounters and his actually encounter with Angela had much more low-key lighting as did the scenes within the Fitts' home. While the idea or belief of a normal, suburban life had a high-key lighting to it. The film seems to exhibit a normal array of camera angles and framing throughout in the film, nothing different comes to mind at the moment involving the angles and framing. The film has much camera movement and long takes during certain conversations and also to depict some symbolism, suspense, and even mystery in the process throughout the film.


Q: Take note of moments in the film in which the images are conveying information that is not reflected in characters’ action and dialogue. These moments are often crucial to the development of a movie’s themes, narrative, and meaning.


A: Images of the red are prevalent throughout the film with the familiar image of roses as well as the Burnham's door being red while the rest of the house is blue or white. 

Another major example in the film is when you first see Lester's office. First off, a shot has his work resembling a jail cell. This shot establishes the fact that he is trapped or stuck in this life he finds to be unhappy and quite miserable.

Also, a paper posted at his desk says "Look closer" implying that things seems fine and great and ordinary but when one would look closer at his family and his life, it is anything but ordinary, as he explains to Col. Fitts near the end of the film.

Q: Pay close attention to the length of shots in the film. Is there a recognizable pattern? Are long takes used? To what extent? For what purpose?


A: The pattern I'm noticing is that there are not many long takes used throughout the film and rather many amazingly shot and edited takes for a very smooth film. I think there was a legitimate purpose to not having very many long shots if any.


Q: Keep track of instances in which the film uses shots other than the medium shot (MS)—for instance, extreme close-ups (ECUs) or extreme long shots (ELSs). What role are these shots playing in the film?


A: These shots are breaking away from the norm to give the audience a complete look at a character's expressions, reactions, and feeling up close and personal to truly see and feel what the character is doing or saying, for example in both cases where Carolyn is screaming by herself. Long shots could be using much symbolism in many ways throughout the film or for establishing shots like when they use the long shots to show the Burnham's at dinner or the Fitts' watching TV. Both shots do establish what the families are doing but also both shots symbolize the current state of the families and their relationships with one another.


Q: Also keep track of camera angles other than eye-level shots. If there are high- or low-angle shots, determine whether or not they are POV shots. That is, is the high or low angle meant to represent another character’s point of view? If so, what does the angle convey about that character’s state of mind? If not, what does it convey about the person or thing in the frame?


A: From what I remember, I cannot really remember how many shots were not eye level and if there was it obviously was not very rememberable for me to remember in this case.


Q: As you evaluate crucial scenes, pay attention to the composition of shots within the scene. Are the compositions balanced in a way that conforms to the rule of thirds, or are the elements within the frame arranged in a less “painterly” composition? In either case, try to describe how the composition contributes to the scene overall.


A: The composition seemed to be balanced in the crucial scenes of the film. This composition contributes greatly to those scenes overall because it brings a smoothness to those scenes and keeps it in the same tight, balanced composition that it is throughout the film.


Q: Pay attention to camera movement in the film. Sometimes camera movement is used solely to produce visual excitement or to demonstrate technological virtuosity on the part of the filmmaker. Other times it is playing an important functional role in the film’s narrative. Be alert to these differences, and take note of meaningful uses of camera movement.


A: As continually referenced there was camera movement in case of the camera moving the characters out of frame for symbols, setting, and transition. The most meaningful use of camera movement in the film is near the end of the film and builds much suspense. The scene where Lester is at a table looking at a picture of his family when they all were happy and then out of nowhere, a gun is pointed directly behind his head and the camera moves left putting everything out of frame but the wall which subsequently is covered in blood after a gunshot is heard.


Q: Note when the cinematography calls attention to itself. Is this a mistake or misjudgment on the filmmakers’ part, or is it intentional? If intentional, what purpose is served by making the cinematography so noticeable?


A: From what I saw, only certain scenes where no characters are within the scene was the cinematography calling attention to itself. I believe it was very intentional to as I've continually referenced, to establish more characterization and symbolism within the film itself and I believe it helped it overall within the film.

Blog Post # 4 - March 6th, 2011

Film: Limits of Control Framing Device: Symmetrical Balance

This frame from Limits of Control is a good example of symmetrical balance because the Lone Man is standing directly in the center of the frame while both sides of the Lone Man are close to identical showing a near perfect balance on both sides of the frame if split down the middle. The impact of this still can show a few different things. It can show the perfection that the Lone Man exhibits in his life and profession as it can how the balance that he has in his life.

Film: Mystery Train Framing Device: Rule of Thirds: Left, Center, Right

This frame from Mystery Train exhibits the horizontal rule of thirds with each character in the thirds from left, center, and right while riding in the truck. This is a classic use of the rule of thirds to balance out the shot as it shows the three characters in there current mood and situation as one seems content with a blank stare, a man drinking and based on his eyes may have a sense of nervousness and the driver who seems agitated.

Film: Stranger Than Paradise Framing Device: Rule of Thirds: Foreground, Middle Ground, and Background

The frame above from Stranger Than Paradise depicts depth with the rule of thirds with the foreground (man on right), middle ground (plane on the left going right), and background (plane in center going left). This still can exhibit an emotional impact as a man stands off to the side while he watches planes at an airport both of which in the middle ground and background are going in different directions which could symbolize a choice that the man must make or it could be a sense of being lost and having no sense of direction or no place in the world.

Film: Mystery Train Framing Device: Rule of Thirds: Top, Center, Bottom

This still from of the clerk and busboy from Mystery Train shows a great example of the rule of thirds with top, center, and bottom. The desk takes up the entire bottom region of the frame, while most of the characters fill the center and the top section starting at about the clerk's eye level and above for head room. The top section is meant to start at that eye level for head room and this still has a nice balance to it because of the use of the rule of thirds. This still could have an emotional impact as though most of the frame is on the rule of thirds, the busboy's head above eye level rests in the center of the thirds as the clerk, whose eye level is about where the center and top thirds split shows him looking down at the busboy with some sort of disappointment or anger towards the busboy for an error or mistake he has made. With the clerk and setting in thirds maintaining a balance, the busboy does not have the same balance which can show there is something wrong or different about him compared to the clerk.

Film: Limits of Control Framing Device: Compositional Stress

Another still from Limits of Control show compositional stress as the Lone Man is standing in the right third of the frame and is also looking right establishing an imbalance in the frame. Based on the idea of eye room that is meant to be given to character when they are looking or moving a certain direction, the Lone Man is breaking this traditional framing device and sometimes rule by looking out of the frame of the side he is already standing. This frame could have an impact and symbolize some different things, one of which could be that some sudden or wrong to his plans and expectations has taken place and his balance is gone while is stress is now up. See that the Lone Man is a quiet character and mostly by himself, it could also show how he is different and does not do things the traditional or accepted way that most people do. It could also have many other meetings but without seeing the film, I cannot accurately describe what he is looking at in this scene of compositional stress.

Film: Down By Law Framing Device: Deep Space Compostion

In this still from Down By Law, the woman is in the foreground looking away from the man in the background after a fight between has taken place. The scene works on two of the three levels of depth. This scene has an impact and the still alone tells a story. Since a fight broke out between them, she has turned her back to him to him as he stands behind her as if he is waiting for a response or waiting for her to do something. Items are included in the composition as items are broken and shattered. This also could be showing the distance that this fight has established as in many fights, there may be no going back to the way it was. As before, depending on the scene and film there could by many other different things that could be symbolized and have a new meaning in this still.

Film: Limits of Control Framing Device: Eye Room, Looking Room, or Lead Room

Lastly, this still from Limits of Control, the Lone Man is closer to the left of the screen and is walking left with some lead and eye room as he continues to move with balance. The still shows that the Lone Man is moving left and looking left heading to an unknown destination with a good amount of lead and eye room and he is walking through the streets looking at the walls defaced and probably seeing other things about the location of where he is and his surroundings.

Blog Post # 3 - February 27th, 2011

"It's the noir idea. We don't know what's going on but we do know something bad is out there controlling events." - Errol Morris

The quote above applies to both L.A. Confidential and Out of the Past. In L.A. Confidential, even though the case has been closed by just about everyone, Lt. Exley, Sgt. Vincennes, & Sgt. White all continue to investigate into the murders at the Nite Owl. They believe that the case has more to it and is not solved. None of the three really know how deep all of the crime and corruption goes but they know someone bad is behind the crime at the Nite Owl as well as other possible crimes that may have been committed. The entire film is a maze of corruption, sex, glamour, and crime where the protagonists and the viewers of the film, as Errol Morris puts it, truly do not know what is completely going on but do know justice has not been served. They do not know who is really their friend or their enemy. They lead the viewer to believe that a few characters may be behind the whole thing when really it ends up being none of them and no one figures out how deep everything goes until the very end. In Out of the Past, Jeff Bailey continually knows throughout parts of the film that he is in the middle of something that he does not completely know or understand but does indeed know that it is being controlled by people he refuses to trust including Kathie and Whit. The documentary even shows a part from Out of  the Past where Jeff knows he is being framed be he does not knows exactly what he is being framed for nor the person who is framing him.

"She's very smart, she's very powerful, and she's extremely sexual...She uses her sexuality to get what she's after and what she's after is not the man in the picture, he is another tool. What she is after is something for herself." - Janey Place, Scholar

The quote above is of Janey Place describing a femme fatale. Her description of a femme fatale does best describe Kathie from Out of the Past. Kathie does match all of the these descriptions as she is very smart and powerful and obvious extremely sexual as she seduces Jeff in Acapulco. She uses both Jeff and Whit during different points of the film as a tool or pawn, as I like to call it. She uses Jeff as a means of escape from Whit and continues to try and convince that she still loves him and just wants to be with him so he may continue to do things for her. She uses Whit in the second half of the film to continue to make him believe she loves him. By the end of the film she has tried to kill Jeff and did actually kill Whit. In the end, all of the decisions she makes in the film are for herself as she continually uses everyone in the film and any means to do what is best for her. In my opinion, Lynn does fit the criteria of the femme fatale described by Janey Place. Lynn is very sexual woman in the film seeing as she is a prostitute. She is quite smart and all knowing with her current situation and she must be powerful as she has been with many prominent people in the Los Angeles government that the people above her like Pierce Patchett could you photos to flex power and blackmail politicians. She does indeed use her sexuality for herself and as a tool when she does sleep with Edmund Exley as Sid is taking pictures of it to show Bud White in hopes that Bud will kill Exley. Now she does match these things and could be a femme fatale for other characters in that world as seen with Ed Exley but for Wendell "Bud" White, she does not use him to get after something for herself. she develops a love for Bud and even has him go to Arizona with her at the end of the film. Her relationship with White is what makes her different from the description of a femme fatale. It makes me believe that she is a reluctant femme fatale, she does everything a femme fatale does but, at least with White, does not really want to do it but does what she has to do.

Certains noir elements that fit L.A. Confidential includes location. Most of the film takes place in populated areas within urban areas of Los Angeles just like many noir films do. As the documentary describes about the protagonist, the film do include a good amount of carnage and death all the while our three protagonists remain unharmed throughout most of the movie until Vincennes reaches his demise and the other two remain relatively unharmed until the climax of the film where the shootout at the Victory Motel occurs. Certain scenes happen in tight spaces where things are happening include a small space where the jail fight happens or when Exley kills the suspects of the Nite Owl murders. Other instances in the film also involve this closed quarters combat. The film does have many instances where deep focus is present as people are speaking about something as shown above. Throughout the film, the lighting does seems to have a fade to it as the photo below shows:

It gives it a sense of an older film when really it was made in 1997. Surprisingly, many parts of the film are in the day time but when in the night classic film noir usage of shadow and light are exhibited. The use of color photography changes do indeed effect these elements as shadows and light seem to be much fewer than in classic noir films but it also can make these changes much more noticeable in the film. The color photography does indeed help enhance the feel of the movie and does help try to make it more believable that it is 1953.

Blog Post # 2 - February 12th, 2011

 After recently watching Jacques Tourneur's 1947 classic Out of the Past, I noticed many instances of Nondiegetic and diegetic sound throughout the film. An example of great nondiegetic sound is found early in the film at 4:49 mark into the film. The kid goes out to where Jeff is fishing and spending time with Ann. The background music plays a quite pleasant and harmonious music and tone to the scene to help add romance and beauty to the situation at hand where Jeff and Ann talk about their possible future together and how great things are going. All of the sudden at 6:22 in the middle of the conversation, the music's tone and sound change to a darker, more tense, and mysterious tone once Ann begins to speak about his past and what a mystery he is and when The kid signs to Jeff that a man wants to see him. The still below is right around the 6:22 mark and is the turning point in the scene from happy and pleasant to dark and mysterious that the nondiegetic background music helps to better the narrative. Another example is at the end of the film where the viewer finds that Jeff Bailey/Markham has been killed. At 1:34:06, the music starts low and mysterious while the officers move in on the car to check if the people in the vehicle are alive. The music stays consistent until 1:34:26 when the music comes in loud and hard as the officers opens the door to reveal that our protagonist, Jeff, has been killed. The music in both instances cannot come from that world as no radio or orchestra is out there playing for the characters in their world so since it is not from that world and used as a plot device to him enhance the story, it is nondiegetic.

At 15:00 we see a scene begin with diegetic sounds. The scene begins with a trumpeter playing the intro to a song at a club when the camera pans left to show many people dancing at a club. The music continues during Jeff's time there while he is asking Eunice Leonard about Kathie Moffat's whereabouts. Once his questioning is done at 16:33 the scene cross dissolves with another while the music fades. Another example of diegetic sound is seen in the one of the scenes following the aforementioned scene when Jeff enters Pablo's at 20:08 when a violin begins playing and as Jeff is sitting at the bar the violinist can be seen playing to a couple at their table and as the camera pans left and dissolves to show time has passed the violin has stopped and a piano can now be heard and once Jeff acknowledges it is the second time he went there to wait for Kathie the camera pans left to follow Kathie to her seat where the pianist is playing and as she sits the pianist can be seen playing and seen stopping once the piano has stopped. Once she settles herself a second or two later, both the violinist and pianist begin to play a song together at Pablo's while Jeff comes to Kathie's table and begins to speak with her and 22:14 when the conversation at Pablo's has ended, the music too has ended. Both of those examples of music are diegetic because they are not only playing while the characters are at that same setting and end when they leave but in this case in both instances, the actual musicians are shown in frame playing the song that is being hear and are creating music in the diegesis itself.

An example of a familiar image in the film are one of the first and last shots of the film involving the sign that states Jeff Bailey on the gasoline station Jeff is running. At about 1:30, as Joe pulls up after the opening credits a shot shows Joe looking at the sign that says Jeff Bailey on it. He then proceeds to admit minutes later at 4:35 that he was driving through one day and noticed his name on the sign. At the end of the film, The kid is shown looking at and reading Jeff Bailey on the sign at the gasoline station at 1:35:56 and signs to it with a smile and walks away as the film ends. I believe Tourneur crafted these shots to resemble each other for a few reasons. I believe it shows that an inanimate object can be used for many different things as Joe views the sign and finds his man while The kid views the sign and signals a goodbye as if he were saying goodbye to Jeff himself. I also believe it was an effective way to start and end the film as the first two characters shown in the film look at the sign. Joe sees it and it becomes the inciting moment of the film as he has found Jeff and The kid views it as a goodbye to Jeff by looking at the sign. Both the story and the plot use the sign to start and end the film.

This classic film noir does indeed show some great elements of film noir while it does have some parts that do not fit that billing. First off, the protagonist is a picture perfect example of film noir as Jeff is a detective who works between the law and crime and indeed is a bit of an outsider. Jeff is indeed an antihero as he does not always error to the side of the law. Another example, is the cinematography of the film as it uses contrast to create shadows as shown in the photo below. Many of the exterior shots are at night and in urban areas. The contrast of light and dark is classic cinematography in film noir as the name is French for "black film".

The plot structure is complex and the plot is not very predictable with many twists and turns that change characters plans throughout the film. Narration from the protagonist is also common in film noir especially when in reference to flashbacks like the one in this film. The setting does at times fit into film noir and at times it does not as many film noirs settings are in urban areas of big cities and while they are for a time in San Francisco, they spend much of the time in the film in lesser places like Lake Tahoe, Bridgeport, and Aculpoco. The theme of the film matches the way film noir theme is described in the textbook as, "the themes are fatalistic, the tone cynical." Out of the Past's theme is fatalistic for sure and the tone set by the protagonist is cynical. Lastly, Kathie is also a great example of a femme-fatale as she was quite seductive of Jeff and very deceptive to mostly all of the people she encounters within the film. She is quite violent as she kills two men in the film and continues to work both sides and confuses many to what her actual intentions are but she is smarter than Jeff and seems to be ahead of him in many ways throughout the film.

Blog Post # 1 - February 4th, 2011

Thousands of movies are released every year. Yet only a small percentage of those movies can be described as compelling and amazing. Movies are an art form and just like all other art forms, there are two important aspects that are examined: form and content. The content of a movie tells a story or multiple stories. It can teach, inspire, entertain and do many other things to a viewer. Content within a movie is the most important aspect. A movie with amazing form but has terrible content is no good. If the story/stories are compelling and people are experiencing something that teaches, inspires, or entertains them, then a film is good or even great. Form is what turns a good/great into a classic that would probably be proclaimed as "one of the best films of the year" as the critics usually put it. The form of a movie can do many things for the content and movie all together. Both together in top form make a movie compelling. When both aspects are perfected is when the magic and beauty of cinema takes place.

Alfonso Cuaron's Children of Men is a film that fits this criteria. The content of this film is amazing. It is a Science Fiction film so it tells a story no one can relate to but is compelling and exhibits realism.  The story depicts many themes and has the ability to teach many things to people. This story is great but the form of the film that Alfonso Cuaron and his crew exhibit make the film a classic. The scene composition, tone, and symbolism are amazing throughout the film.  The photo below is an establishing shot of the current state of a street in London in 2021 that depict the composition and mood quite well.

In many instances the cinematography almost puts the viewer in the scene as if they were another character with the main characters. The tracking shots keep people in the story and are beyond amazing. Many scenes are longer than a minute, many other eclipsing two minutes and the uprising scene that lasts over seven minutes is arguably, the best cinematography in history. The acting within the film, also really impacts the story telling and take the story to a whole new level especially Chiwetel Ejiofer's performance as Luke, the main antagonist. Children of Men is a perfect film with top notch form and content that entertain, teach, and inspire people. It is a beautifully made film that is a complete masterpiece.




Ruben Fleischer's Zombieland is another film that I completely believe fits into this criteria. The form is nothing phenomenal but it is still a terrifically made film. As with many zombie movies, the zombie make-up is great and is the apocalyptic scenery exhibited throughout the film to make a well put together film as shown in the still below that shows the scenery around the two main characters. 

The content of this film is quite amazing. This movie has scenes or parts that can trigger many different emotions or genres. It is a zombie comedy that it is horrifying, hilarious, sad, surprising, and definitely entertaining. It is an ambitious film as it perfectly blends two things that most would not see going together. It blurs those lines perfectly. This film is much more on the entertaining side of content compared to the teaching or inspiring side even though things can be learned as there are many themes in this movie that are present in many films. The performances by the main actors and actresses really develop a great characterization for each of them to help further the story. The content of this film makes it a fantastic film. Zombieland is a very well-made film with excellent content, which makes for a compelling movie. As comedy films go, this one is a classic.