AS Film Studies FM1
FM1 Exploring Film Form For this unit we will be looking at the key areas of film language: Mise-en-scène Performance Cinematography Editing Sound Mise-en-scène: costume and props Recap: Costume and props refers to any items of clothing being worn by a character or objects seen within any given setting. A costume can announce a character, giving an insight into what this person is supposed to be like. Props can give a sense of place, but may also suggest important characteristics of a particular individual. Seven: Watch the opening of the film in which we see Morgan Freeman’s character getting dressed, at work meeting Brad Pitt’s character and then finally going to bed. What do you notice about Freeman’s costume and props?
How does this differ to Brad Pitt’s character?
What meaning does this generate for the spectator?
Props and character Task: Consider the way in which books are used in relation to the characters of Mills and Somerset. Whereas Somerset studies the original texts in the calm environment of the library, Mills tries to read the texts and then the guide books in his car. What does this say about their respective characters?
Adapted from: AS Film Studies: The Essential Introduction
AS Film Studies FM1
Task: Watch the first 30 minutes of Casino Royale to the point where Bond emerges from the sea in his swimming trunks. Note each change of clothes used for Daniel Craig’s character. Why has each costume change been chosen for the character?
How and why are the costumes appropriate for each scene?
What, if anything, do the changes of clothes tell us about the character?
If you are feeling brave consider the changes in location too and the way they generate meaning.
Adapted from: AS Film Studies: The Essential Introduction
AS Film Studies FM1
FM1 Exploring Film Form For this unit we will be looking at the key areas of film language: Mise-en-scène Performance Cinematography Editing Sound Performance and movement This refers to the acting that is taking place but the phrase also helps to define a little more clearly what it is we should be looking for: there is a performance going on and essentially it revolves around movement. These movements can range from the miniscule to the expansive and can involve the whole body or the smallest parts of the body. Everything is included, from slow movements of the eyes to sudden running and jumping, and each may be ‘read’ in some way (or several possible ways) as creating certain possible or potential meanings, or understandings of character and/or emotion. The performance of the actors can suggest possibilities of how we might understand given characters and relationships between characters. Characters sitting with their backs to each other present a certain sense of relationship, while characters moving towards each other and embracing clearly present a different sense of relationship. This much is obvious, but within the performance and movement between any two characters there is, of course, a limitless range of possible permutations. However spontaneous the movement may appear to be it has in all likelihood been carefully choreographed and carefully calculated to have an effect on the spectator. Actors talk about being able to ‘hit the mark’ and by this they mean the ability of move across the acting space and arrive at a set point at exactly the moment the director wants them there. In some cases the ‘mark’ can physically exist in the form of tape on the floor. Task: Consider again the opening to Casino Royale: How do the performances of the characters here contribute towards our understanding of the scene?
Which facial expressions adopted by the actor playing the corrupt British agent seem to you to be important in conveying meaning to the audience?
What do we learn about Bond from his performance? Consider Craig’s acting immediately before and after apparently drowning the man in the sink.
Adapted from: AS Film Studies: The Essential Introduction
AS Film Studies FM1
Body language We need to be alert to the subtleties of such interaction, bearing in mind that each movement and gesture will have been decided upon in order to convey some meaning. Interactive movements involving two or more characters will have been carefully choreographed with attention to the details of body language that is designed to communicate a sense of characters and or character relationships to the audience. Choice will have been made for particular reasons, and we need to ask ourselves why this is. A range of ten body codes that have been identified by Argyle are: 1. Direct bodily contact 2. The proximity of one character to another (or proxemics) 3. The orientation of one to another (i.e. the extent to which characters stand with their bodies turned towards or away from each other) 4. General appearance of individuals (e.g. tall and thin or short and fat) 5. Head movements (e.g. nodding or shaking of the head) 6. Facial expressions 7. Gestures (or kinesics) 8. Body posture 9. Eye movement or contact 10. Aspects of speech, such as pitch, stress, tone, volume, accent, speech errors ( all of which are termed paralinguistic codes) Seven In this film there is a scene in which Morgan Freeman and Brad Pitt (playing two detectives who do not get on well) are together in the confined space of an office that Pitt’s character is about to take over from Freeman’s older character who is leaving the force. While they are cramped together in what is a small space, made all the more uncomfortable by the fact they do not like each other, they receive a phone call from Pitt’s wife. Task: Watch the scene and consider the following: 1. The different ways in which the actors’ bodies are orientated in relation to each other 2. The body postures adopted by both 3. The facial expressions used by the actors 4. Any changes in speech patterns they employ 5. The timing required for the delivery of the lines
Adapted from: AS Film Studies: The Essential Introduction
AS Film Studies FM1
By way of contrast consider the lines delivered in the grey box like space of the police interview room by the man from the brothel who has just been forced to commit the ‘lust’ murder. This is delivered in close up. Also notice how the body posture remains important and how the use of clothing in the shape of a white towel works to frame our attention on his face. Each movement of the facial muscles is intimately linked with movements of the eyes and to the carefully timed rising and falling voice pattern used to deliver the lines themselves. Task: Watch this scene again and consider the ways in which the actor (Leland Orser) is using the ten body codes identified by Argyle. Direct bodily contact
The proximity of one character to another (or proxemics)
The orientation of one to another (i.e. the extent to which characters stand with their bodies turned towards or away from each other)
General appearance of individuals (e.g. tall and thin or short and fat)
Head movements (e.g. nodding or shaking of the head)
Facial expressions
Gestures (or kinesics)
Body posture
Eye movement or contact
Aspects of speech, such as pitch, stress, tone, volume, accent, speech errors ( all of which are termed paralinguistic codes)
Adapted from: AS Film Studies: The Essential Introduction
AS Film Studies FM1
To look at Argyle’s body codes again watch the scene in which Pitt asked the police chief to be allowed to take over the whole case himself. • • • • •
Both his body language and his gestures are brash and expansive but his air of confidence is reinforced by the use of low angle camera shots. By contrast the next day when he is given his own case we are presented with an image of someone who is nervous and uncertain of his abilities. This is shown through Pitt’s performance, especially the way in which he folds his arm across the top of his head to reveal an almost childlike vulnerability. But notice that this gesture if further highlighted for us by the use of a close up and our interpretation is further aided by the use of point of view sound as Pitt’s character enters the building that is used to give a sense of isolation and pressure he is feeling. It is Pitt’s performance that gives us an understanding of his character as someone who displays confidence but is in reality much more fragile and vulnerable, but it is his performance in conjunction with the use of camera work, sound and editing (the juxtaposition of these contrasting scenes) that is really at work here.
Adapted from: AS Film Studies: The Essential Introduction