Movie analysis part 3
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Transcript of Movie analysis part 3
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Scene 11: BCU of Dortlich’s facial expression
Shows Dortlich in pain, as if he knows he is about to be
claimed as Lecter’s victim.
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Scene 12:CU of the rope
The blood splattering on the rope represents the death of
Dortlich.
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Scene 13: CU of the blood splattered on Lecter’s face
CU shot showcases Lecter’s satisfaction of the murder.
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Lighting
• Source: The point of origin and the direction of its beams
• Type of lighting: affects the meaning of shot
• Colour of the light
• Quality: includes the light’s brightness and continuity
(Butler A. M.,2005)
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Lighting
• Outdoor lighting
• Outdoor illumination is primarily accomplished by sun
• Diffusion through the trees
• Constructs a horror/thriller mode
• Light can enhance the genre of a film such as the diffusion of light used in this film.
• E.g: in the lab, in the ship
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In this scene, the light is diffused by the trees, thereby creating a soft illumination.
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The dim light in the laboratory creates the ambience of horror.
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The darkness of the lighting in the ship grabs the audience’s curiosity for the next scene of the storyline.
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Costume • Act as a pointer to their personality or style
• Shows the status of a person
• Make clear to the audience what era is the film from
(Butler,2005)
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The thick jacket is the hint to tell the audience that the weather is extremely cold.
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Make-up
• Usually invisible, aesthetics of the film
(Butler,2005)
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• The makeup on Grutas acts in portraying Grutas as a savage.
• Lecter’s face is clean and grime-free, this perhaps is indicative of the fact
that he comes from a refined, educated background.
• Make-up creates division between social classes.
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Mise en shot
• The process of translating mise en scene into film is called mise en shot.
• To create a film an interaction must exist between mise en scene & mise en shot.
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Continuity Editing
• To cohere various shots to produce a scene.
• The axis of action line
• The eye line match
• The match on action cut
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The Eye Line Match
• Scene: When Hannibal finally puts Mischa to rest.
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The Match on Action Cut
• Occurs throughout Dortlich’s strangulation scene.
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Diegetic Sound
• Sound whose origin is to be located in the story world.
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Narratives
• What is shown / depicted in the film.
• Comprises of actions, events & characters.
• Aid in the storyline’s cause & effect.
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Narratives in 3 stages
• Pioneered by Tzvetan Todorov:
• A state of equilibrium.
• The disruption of this equilibrium by an event.
• The successful attempt to restore the equilibrium.
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Linear & Chronological
• Narratives of a film: linear & chronological.
• A flashback disrupts the linear order of the film.
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Upsets a film’s cause-effect logic
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Additional Elements
• Exposition
• Obstacle
• Deadline
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Narration
• A tool that determines how narrative information is conveyed to the spectator.
Omniscient Narration
• Viewers are offered the ability of all-seeingness.
• Functions to create suspense.(Buckland, 2010)
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Psychoanalysis
• Coined by Sigmund Freud
• To describe his theories & techniques for finding & curing the mental problems of his patients.
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Id, Ego & Superego
• Id
• It operates by The Pleasure Principle.• Selfish & yearns for immediate gratification.
• Ego
• It operates by The Reality Principle.• It battles against the Id.
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Id, Ego & Superego
• Superego
• Super monitors the ‘Id-Ego’ battle.
• Described as our ‘conscience’ or ‘moral watchdog’.
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The Libido
• Does not infer to sex drive in this particular context.
• But an INBORN ENERGY we have that motivates & enables us to survive.
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The Defence Mechanism
• Functions in unconsciously protecting ourselves from unpleasant ideas.
• Helps in our everyday survival.
• Over usage causes fixation & identification problems.
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Combating Defence Mechanism
• Displacement: diverting your energy (Libido) into another activity.
• If something frustrates or if someone annoys us, we tend to ‘take it out’ on someone else.
(Benson, 2007)
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Bibliography• Anon., 2007. Official website: Hannibal Rising. [Online]
Available at: http://www.hannibalrising.com/site/index.html[Accessed 18 April 2014].
• Anon., 2008. IMDb.com, Inc.. [Online] Available at: http://www.imdb.com/name/nm0916424/bio?ref_=nm_ov_bio_sm[Accessed 18 April 2014].
• Bordwell, D. & Thompson, K., 1997. Film Art: An Introduction. 5th ed. New York: The McGraw- Hill Companies Inc..
• Buckland, W., 2010. Understand Film Studies. 4th ed. London: Hachette UK Company.
• Butler, A. M., 2005. Film Studies. 1st ed. Herts: Pocket Essentials.• Monaco, J., 2009. How To Read A Film: Movies, Media, and Beyond.
4th ed. New York: Oxford University Press.• Nelmes, J., 2012. Introduction To Film Studies. 5th ed. New York:
Routledge.