Monday, 4 February 2013

Opening Credits


Bonnie and Clyde's Opening Credits Order

- "Warner Bros. Pictures presents" (Logo)
Actors - Warren Beatty, Faye Dunaway, Michael J. Pollard, Gene Hackman, Estelle Parsons....in...
Film Title - Bonnie And Clyde
-'A Tatira - Hiller production'
With - Denver Pyle, Dub Taylor, Evans Evans, Gene Wilder
Special Consultant - Robert Towne
Assistant to the Producer - Elaine Michea
Director of Photography - Burnett Guffey A.S.C
Art Director - Dean Tavoularis
Costumes Designed by - Theadora Van Runkle
Production Manager - Russ Saunders
Assistant Director - Jack N. Reddish
Script Supervisor - John Dutton
Makeup Created by - Robert Jiras
Sound by - Francis E. Stahl
Set Decorator - Raymond Paul
Special Effects - Danny Lee
Hair Stylist - Gladys Witten
Miss Dunawy's Makeup by - Warner Bros. Cosmetics (Logo)
Men's Wardrobe - Andy Matyasi
Woman's Wardrobe - Norma Brown
-"Technicolor" (Logo)
-"Copyright" (Logo)
Music Composed by - Charles Strouse
Film Editor - Dede Allen
Written by - Davis Newman and Robert Benton
Produced by - Warren Beatty
Directed by - Arthur Penn

Bonnie and Clyde Opening Credits Analysis



The film starts with a slide show of pictures, that is presumably each actors picture. The pictures show the character and also the way of that time, showing us the American depression in the sepia pictures After about 4 pictures the actor's name comes up on screen bold red writing. After the main actor have had their pictures and their names come up in the thirty snapshots, in the same bold font Bonnie and Clyde comes up in white writing, which gradually turns to red, like blood, presumably symbolising how they made the transition from innocents (especially Bonnie) to cold blooded murders . As the The opening credits continue rolling, non-digetic music of the jazz/swing genre - a song called "Deep Night" by Etting and Henderson, comes on. Just before the actual film starts up comes pictures of the historic pair and an introduction of them, of how their life was before they became the famous duo bank robbers.


The pictures and music from the introduction fade in to a woman's lips, which tranforms to a close up of a woman's red lips, having had lipstick just put on them, which transforms to a close up shot of a young blonde woman primping in a mirror. The woman then flings herself down on the bed, the close up shot being taken from behind the bed frame, with bars in front of her face, giving the impression she's trapped, like behind jail bars, which setts off the thought that she is meant to be behind bars later, when she becomes a fugitive. the camera then does an extreme close up of the woman's eyes. Faye Dunaway, playing Bonnie Parker is restlessly, lying around naked in her room, and pounding on her bed frame, until she gets to the window and sees Warren Beatty's Clyde looking around, contemplating whether to try and steal her mother's car. As Bonnie looks out the window at Clyde she shows lots of skin, being quite provocative, however the clever camera movements make sure she never actually reveals anything, by doing close ups of her face when it teeters on the edge of nudity. The camera exchanges shots between the two characters after Bonnie yells out the window "Hey Boy, what you doin' with my mama's car?" After the two characters seem to have sized eachother up, Bonnie tells him to wait there, while she runs back to throw some clothes on as she rushes down the stairs.


Theres lots of jump cuts in the opening scene, the editing enhances the fact that the film is all about pushing boundaries. The film is renound for being an openly violent and sexualized film. There are also not many films like this that you learn so much about the characters in the opening scene. It's one of the 60's most talked about films, as it was a volatile, controversial crime/gangster film, with comedy, terror and love.

Analysis

We have to do examples of initial textual analysis of films in the same genre. The films we have picked to analyse are:

Layercake
The Godfather
Bonnie and Clyde
Public Enemies
Gangster Squad
Rock 'N' Rolla

The films I will be analysing are Rock 'N' Rolla and Bonnie and Clyde. We are doing this so that we get a feel for the gangster genre and then we can all contribute different ideas when we make our film.

Friday, 1 February 2013

Preliminary Evaluation

 
Preliminary Evaluation

For our narrative of our preliminary evaluation, we decided to use two people talking about a girl they had just kidnapped. We used the setting of a car park near our school, and we used the far end of the car park as its surrounded by trees, and its isolated, giving it a creepy feel. Instead of using a room for the character totalk in we used a car, as we felt it gave a the right feeling for our storyline, as its about a gangster gettimg shot then dumped at the end, which a kidnapped woman in the boot.

We made a shot list to help our filming session go smoothly and it helped us stick to the script. Our filming seeming went great and we got all the shots we wanted, however we did have to change the script a bit, as the actors changed their lines a little bit to suit the character they were playing.

I was pleased with our match on action aspect used in our film, when our kidnapper is walking to the car door - while filming outside, then we see him get in the car - from filming inside. I was pleased with our use of the shot/reverse shot, which we used alto when our character were talking, and the 180 degree rule used to follow our kidnapper round the car.

The things i have learnt from pur preliminary task is that we needed to keep to the shot list, as we did multiple shot of the same thing, which was annoying as we could obviouly one. I also realized you must make the actors do exactly the same thing each time or else you don't get good continuity.

Thursday, 31 January 2013

Match On Action

Match on Action

'Match on action is a technique of filming used in many sorts of films. It consists of connecting 2 shots together in which a character finishes off an action in the second shot that was started in the first one, for example a clip of a character walking through a door in which he opens the door being filmed from behind then the clip cuts to him walking through from the other one.'

It's a cut that connects two different views of the same action at the same moment in the movement. By carefully matching the movement across the two shots, filmmakers make it seem that the motion continues uninterrupted. For a real match on action, the action should begin in the first shot and end in the second shot.

 This is an example of match on action in use:




 


This is an example of match on action in use in our film:


180 - Degree Rule


180 Deagree Rule



"In film making, the 180-degree rule is a basic guideline regarding the on-screen spatial relationship between a character and another character or object within a scene. An imaginary line called the axis which connects the characters and by keeping the camera on one side of this axis for every shot in the scene, the first character will always be frame right of the second character, who is then always frame left of the first. If the camera passes over the axis, it is called jumping the line or crossing the line."




This is an example of the 180 degree rule in use:



In our example of 180 degree rule (below), we've included the character walking round to the passenger side of the car, to establish what side of the car he is on, then the shot-reverse-shot abides by the 180 degree rule, as it shows the blond haired passenger on the left side of the car and camera, and the dark haired driver on the right side of the car and camera, so the audience don't get confused.


This is an example in the 180 degree rule in use in our film:

Shot-Reverse-Shot

Shot- Reverse-Shot


A shot/reverse/shot is....

"A film technique wherein one character is shown looking (often off-screen) at another character, and then the other character is shown looking "back" at the first character. Since the characters are shown facing in opposite directions, the viewer unconsciously assumes that they are looking at each other."

-Bordwell, David; Thompson, Kristin (2006). Film Art: An Introduction. New York: McGraw-Hill.

To establish a shot-reverse-shot you would usually have a two shot of two characters , then an over the shoulder shot of character A, then an over the shoulder shot of character B, then after that, as you have established where the characters are and who they are talking to, you can the just do face shots of them talking.

Here is an example of a shot-reverse-shot in use: 




Here is an example of a shot-reverse-shot in use in our film: