Film Analysis Notes
Mise-en-scène (what is shown in the shot)
Props
Setting
Blocking (of the set by characters)
Colour palette
Lighting
Hair
Makeup
Performance
Facial expressions
Body Language
Hand gestures
Camera work
Shot size- xcu, xu, mcu, ms, mls, ls, xls
Camera movement-dolly, crane, tilt (up, down), pan (left, right), handheld, tracking
POV shot
Camera angle
Shot reverse shot
Editing
Pacing
Length of shot
Transition- dissolve, fade, straight cut, wipe
180 degree rule
Elliptical editing (deliberately cutting things out of film that the audience doesn't necessarily need to see)
Sound
Diegetic
Ambient sound (background sound), soundscape
Foley (artificial sounds made with everyday objects)
Non Diegetic (not in the film world)
Music (score)
Voice over
Hyperreal
Macro features
Narrative
Aesthetics (how a film looks and feels)
Representation
Ideology
Genre
Stereotype
Get Out Genre
Horror/Mystery/Thriller (Hybrid)
Horror Conventions
Genre- stereotype
Halloween, Friday the 13th, A Nightmare on Elm Street--> Teenage white girl is the protagonist
Camera
Over the shoulder track with or track behind
Shots share the protagonist' journey
Exam Style Question
Analyse how genre conventions have been used to create meaning in a media product you have studied.
In Jordan Peele's 2017 film Get Out, the director subverts horror conventions through the use of character stereotypes. Typically, in a generic horror film, a black male character would be expected to be targeted first by the antagonist; the 'final girl'- the hero of the film- would be white and middle class. This was especially common in horror films throughout the 1980s, notably in the slasher subgenre. However, in Get Out, the hero of the story is Chris, a black male in his mid-20s, while a false hero, according ti Propp's character types, is a white, middle-class female.
This, though, is not immediately apparent in the opening sequence of the film, which seems to conform to generic horror conventions. For example, in terms of mis-en-scène, it is set in a quiet, leafy, suburban neighbourhood, much like that in Halloween. It takes place at night, and this is another convention of the genre. The use of a long take, without any cuts from the first two minutes, combined with a series of tracking shots around a male black character, builds a sense of suspense: we are waiting for a generic jump scare, which therefore puts the audience on edge. Tracking shots are used extensively in the horror genre. Often, as in this case, it immerses the audience into the diegesis of the film by placing them in the point of view of the endangered character; the effect is that we walk with them, simultaneously experiencing what they do. Sound is also used to create a sense of suspense and paranoia. As the film starts, the diegetic sound of footsteps and cicadas to heighten an eerie atmosphere; `z the scene progresses, a car engine is heard with diegetic music playing through the car stereo. The music, 'Run, Rabbit, Run', is in a high key; it creates a false sense of innocence for the endangered character, and therefore for the audience. This is a classic example of contrapuntal sound, an effect used in lots of modern horror films. Peele cleverly uses generic conventions in this opening sequence so that he can subvert them later on. Meaning is therefore created by the audience's expectations being confounded.
When Rose and Chris arrive at the house, we are introduced to a setting that is green and leafy, detached palatial house. An establishing shot is used of the house, with Chris and Rose in long shot as they step onto the veranda to meet Rose's parents; at this point, the camera slowly ytacks back to reveal Walter, the groundskeeper, foreground right. This creates a menacing atmosphere, in line with generic horror conventions. However, this is juxtaposed by Rose's father telling jokes and being very nice to Chris, throwing the audience off who the real antagonist is. In this sense, an enigma code is created.
Once inside the house, blocking and proxemics are used as Chris and Rose talk to her parents, Dean and Missy. A clear binary opposition is established: young vs old; black vs white; modern vs archaic views on race. Eye-line two shots are used of Rose and Chris, meaning that the audience aligns with them; however, low angle medium shots are used of Dean and Missy, creating a sense of unease with regard to their intentions. This is further reflected in their dialogue. This is further reflected in their strange, sub textually racist dialogue-for example, Dean's appropriation of the phrase "My man", before pointing out stereotypically, culturally 'black' objects in the house.
During the tour, Dean gives Chris of the house, tracking shots are used through the hallways, finally revealing Georgina in the kitchen
Fittingly, for a horror film, the final scene is set at night and ends in a bloodbath. Quick cuts are used Chris attempts to escape, adding to the sense of excitement; this is an action code. This is juxtaposed with Rose in her room, in a medium shot, with central framing used to highlight the difference between the two spheres of action.
However, after Chris crashes and she pursues him, the camera work becomes handheld when he is in shot; with Rose the camera is more steady, suggesting that she will overcome him. This is another example of film subverting generic conventions: Rose, the white, middle-class female, is the false hero, is left for dead, whilst Chris, the black male, is the hero. As Rod drives him away to safety, a new sense of equilibrium has been created, in which sterotypical race roles have essentially been reversed.
Props
Setting
Blocking (of the set by characters)
Colour palette
Lighting
Hair
Makeup
Performance
Facial expressions
Body Language
Hand gestures
Camera work
Shot size- xcu, xu, mcu, ms, mls, ls, xls
Camera movement-dolly, crane, tilt (up, down), pan (left, right), handheld, tracking
POV shot
Camera angle
Shot reverse shot
Editing
Pacing
Length of shot
Transition- dissolve, fade, straight cut, wipe
180 degree rule
Elliptical editing (deliberately cutting things out of film that the audience doesn't necessarily need to see)
Sound
Diegetic
Ambient sound (background sound), soundscape
Foley (artificial sounds made with everyday objects)
Non Diegetic (not in the film world)
Music (score)
Voice over
Hyperreal
Macro features
Narrative
Aesthetics (how a film looks and feels)
Representation
Ideology
Genre
Stereotype
Get Out Genre
Horror/Mystery/Thriller (Hybrid)
Horror Conventions
Genre- stereotype
Halloween, Friday the 13th, A Nightmare on Elm Street--> Teenage white girl is the protagonist
Camera
Over the shoulder track with or track behind
Shots share the protagonist' journey
Exam Style Question
Analyse how genre conventions have been used to create meaning in a media product you have studied.
In Jordan Peele's 2017 film Get Out, the director subverts horror conventions through the use of character stereotypes. Typically, in a generic horror film, a black male character would be expected to be targeted first by the antagonist; the 'final girl'- the hero of the film- would be white and middle class. This was especially common in horror films throughout the 1980s, notably in the slasher subgenre. However, in Get Out, the hero of the story is Chris, a black male in his mid-20s, while a false hero, according ti Propp's character types, is a white, middle-class female.
This, though, is not immediately apparent in the opening sequence of the film, which seems to conform to generic horror conventions. For example, in terms of mis-en-scène, it is set in a quiet, leafy, suburban neighbourhood, much like that in Halloween. It takes place at night, and this is another convention of the genre. The use of a long take, without any cuts from the first two minutes, combined with a series of tracking shots around a male black character, builds a sense of suspense: we are waiting for a generic jump scare, which therefore puts the audience on edge. Tracking shots are used extensively in the horror genre. Often, as in this case, it immerses the audience into the diegesis of the film by placing them in the point of view of the endangered character; the effect is that we walk with them, simultaneously experiencing what they do. Sound is also used to create a sense of suspense and paranoia. As the film starts, the diegetic sound of footsteps and cicadas to heighten an eerie atmosphere; `z the scene progresses, a car engine is heard with diegetic music playing through the car stereo. The music, 'Run, Rabbit, Run', is in a high key; it creates a false sense of innocence for the endangered character, and therefore for the audience. This is a classic example of contrapuntal sound, an effect used in lots of modern horror films. Peele cleverly uses generic conventions in this opening sequence so that he can subvert them later on. Meaning is therefore created by the audience's expectations being confounded.
When Rose and Chris arrive at the house, we are introduced to a setting that is green and leafy, detached palatial house. An establishing shot is used of the house, with Chris and Rose in long shot as they step onto the veranda to meet Rose's parents; at this point, the camera slowly ytacks back to reveal Walter, the groundskeeper, foreground right. This creates a menacing atmosphere, in line with generic horror conventions. However, this is juxtaposed by Rose's father telling jokes and being very nice to Chris, throwing the audience off who the real antagonist is. In this sense, an enigma code is created.
Once inside the house, blocking and proxemics are used as Chris and Rose talk to her parents, Dean and Missy. A clear binary opposition is established: young vs old; black vs white; modern vs archaic views on race. Eye-line two shots are used of Rose and Chris, meaning that the audience aligns with them; however, low angle medium shots are used of Dean and Missy, creating a sense of unease with regard to their intentions. This is further reflected in their dialogue. This is further reflected in their strange, sub textually racist dialogue-for example, Dean's appropriation of the phrase "My man", before pointing out stereotypically, culturally 'black' objects in the house.
During the tour, Dean gives Chris of the house, tracking shots are used through the hallways, finally revealing Georgina in the kitchen
Fittingly, for a horror film, the final scene is set at night and ends in a bloodbath. Quick cuts are used Chris attempts to escape, adding to the sense of excitement; this is an action code. This is juxtaposed with Rose in her room, in a medium shot, with central framing used to highlight the difference between the two spheres of action.
However, after Chris crashes and she pursues him, the camera work becomes handheld when he is in shot; with Rose the camera is more steady, suggesting that she will overcome him. This is another example of film subverting generic conventions: Rose, the white, middle-class female, is the false hero, is left for dead, whilst Chris, the black male, is the hero. As Rod drives him away to safety, a new sense of equilibrium has been created, in which sterotypical race roles have essentially been reversed.
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