The Bourne films are a series of action/thriller spy films based on the character Jason Bourne (Matt Damon), a CIA assassin suffering from extreme memory loss who must figure out who he is, created by author Robert Ludlum. The Bourne Legacy introduces a new character, Aaron Cross (Jeremy Renner), a Department of Defense operative who runs for his life because of Bourne's actions in Ultimatum.
Saturday, 31 January 2015
Monday, 26 January 2015
Re-shooting the alley scenes
On Sunday, we went back to the alley scene to re-shoot because we found that we couldn't create the night-time look that we wanted through editing so we went to film in the dark. we also felt that the shoots that we had done were not the best either when we watched them all back so we decided to re-shoot. we waited around almost an hour in the alley way for the sun to go down, but in that time we were also able to practice the scenes and angles that we wanted and played around with them a bit more.
However, we found the it hard to film in the dark because of the lighting made it a little difficult so we had to use a torch app on Nicole's phone so we could see better and make the shots a little clearer.
Despite a few problems with the lighting, people staring at us weirdly and my dad jumping out at us in the dark, we all had fun re-shooting this part of our two minuet opening.
However, we found the it hard to film in the dark because of the lighting made it a little difficult so we had to use a torch app on Nicole's phone so we could see better and make the shots a little clearer.
Despite a few problems with the lighting, people staring at us weirdly and my dad jumping out at us in the dark, we all had fun re-shooting this part of our two minuet opening.
Saturday, 24 January 2015
Troubles with editing...
Recently, while my group and I was editing, we came across a problem with one of our transitions and couldn't get it to work. We spent almost an entire hour trying to figure out what was wrong but we just couldn't work it out and so we had to Google it to see if there was a solution. Eventually we found out that the text we had on the screen overlapped with the transition and stopped it from working. Now we've got it working we can crack on with the editing!
Friday, 23 January 2015
production company titles
Our Group decided to keep the production company titles very simple because we didn't want to over complicate it and makes it look much nicer, in our opinion, compared to one with a bit more going on.
Thursday, 22 January 2015
The Musketeers Opening Titles BBC
Although this doesn't really relate to what my group is doing, I really enjoy this opening sequence and the editing used, for example the number of different transitions. The colour pallet and music used also really set the atmosphere for the show and is really interesting so it makes me want watch more and see what the show is really about.
Wednesday, 21 January 2015
Sunday, 18 January 2015
Thursday, 8 January 2015
Flashbacks in Film
The creator of the flashback technique in cinema was D.W. Griffith.
Flashbacks were first employed during the sound era in Rouben Mamoulian's 1931 film City Streets, but were rare until about 1939 when, in William Wyler's Wuthering Heights as in Emily Brontë's original novel, the housekeeper Ellen narrates the main story to overnight visitor Mr. Lockwood, who has witnessed Heathcliff's frantic pursuit of what is apparently a ghost. More famously, also in 1939, Marcel Carne's movie Le jour se lève is told almost entirely through flashback: the story starts with the murder of a man in a hotel. While the murderer, played by Jean Gabin, is surrounded by the police, several flashbacks tell the story of why he killed the man at the beginning of the movie.
One of the most famous examples of non-chronological flashback is in the Orson Welles' film Citize Kane (1941). The protagonist, Charles Foster Kane, dies at the beginning, uttering the word Rosebud. The remainder of the film is framed by a reporter's interviewing Kane's friends and associates, in a futile effort to discover what the word meant to Kane. As the interviews proceed, pieces of Kane's life unfold in flashback, but not always chronologically. Welles' use of such unconventional flashbacks was thought to have been influenced by William K. Howard's The Power and the Glory, written by Preston Sturges and released in 1933.
Though usually used to clarify plot or backstory, flashbacks can also act as an unreliable narrator. Alfred Hitchcock's Stage Fright from 1950 notoriously featured a flashback that did not tell the truth but dramatized a lie from a witness. The multiple and contradictory staged reconstructions of a crime in Errol Morris's 1988 documentary The Thin Blue Line are presented as flashbacks based on divergent testimony. Akira Kurosawa's 1950 Rashomon does this in the most celebrated fictional use of contested multiple testimonies.
Sometimes a flashback is inserted into a film even though there was none in the original source from which the film was adapted. The 1956 film version of Rodgers and Hammerstein's stage musical Carousel used a flashback device which somewhat takes the impact away from a very dramatic plot development later in the film. This was done because the plot of Carousel was then considered unusually strong for a film musical. In film version of Camelot (1967), according to Alan Jay Lerner, a flashback was added not to soften the blow of a later plot development but because the stage show had been criticized for shifting too abruptly in tone from near-comedy to tragedy.
A good example of both flashback and flashforward is the first scene of La jetée (1962). As we learn a few minutes later, what we are seeing in that scene is a flashback to the past, since the present of the film's diegesis is a time directly following World War III. However, as we learn at the very end of the film, that scene also doubles as a prolepsis, since the dying man the boy is seeing is, in fact, himself. In other words, he is proleptically seeing his own death. We thus have an analepsis and prolepsis in the very same scene.
Occasionally, a story may contain a flashback within a flashback, with the earliest known example appearing in Jacques Feyder's L'Atlantide. In John Ford's The Man Who Shot Liberty Valance (1962), the main action of the film is told in flashback, with the scene of Liberty Valance's murder occurring as a flashback within that flashback. Other examples that contains flashbacks within flashbacks are the 1968 Japanese film Lone Wolf Isazo and 2004's The Phantom of the Opera, where almost the entire film (set in 1870) is told as a flashback from 1919 (in black-and-white) and contains other flashbacks; for example, Madame Giry rescuing the Phantom from a freak show. An extremely convoluted story may contain flashbacks within flashbacks within flashbacks, as in Six Degrees of Separation, Passage to Marseille, and The Locket. This technique is a hallmark of Kannada movie director Upendra whose futuristic flick Super (2010) is set in 2030 and contains multiple flashbacks ranging from 2010 to 2015 depicting a utopian India.
Satyajit Ray experimented with flashbacks in The Adversary (1972), pioneering the technique of photo-negative flashbacks
Flashbacks were first employed during the sound era in Rouben Mamoulian's 1931 film City Streets, but were rare until about 1939 when, in William Wyler's Wuthering Heights as in Emily Brontë's original novel, the housekeeper Ellen narrates the main story to overnight visitor Mr. Lockwood, who has witnessed Heathcliff's frantic pursuit of what is apparently a ghost. More famously, also in 1939, Marcel Carne's movie Le jour se lève is told almost entirely through flashback: the story starts with the murder of a man in a hotel. While the murderer, played by Jean Gabin, is surrounded by the police, several flashbacks tell the story of why he killed the man at the beginning of the movie.
One of the most famous examples of non-chronological flashback is in the Orson Welles' film Citize Kane (1941). The protagonist, Charles Foster Kane, dies at the beginning, uttering the word Rosebud. The remainder of the film is framed by a reporter's interviewing Kane's friends and associates, in a futile effort to discover what the word meant to Kane. As the interviews proceed, pieces of Kane's life unfold in flashback, but not always chronologically. Welles' use of such unconventional flashbacks was thought to have been influenced by William K. Howard's The Power and the Glory, written by Preston Sturges and released in 1933.
Though usually used to clarify plot or backstory, flashbacks can also act as an unreliable narrator. Alfred Hitchcock's Stage Fright from 1950 notoriously featured a flashback that did not tell the truth but dramatized a lie from a witness. The multiple and contradictory staged reconstructions of a crime in Errol Morris's 1988 documentary The Thin Blue Line are presented as flashbacks based on divergent testimony. Akira Kurosawa's 1950 Rashomon does this in the most celebrated fictional use of contested multiple testimonies.
Sometimes a flashback is inserted into a film even though there was none in the original source from which the film was adapted. The 1956 film version of Rodgers and Hammerstein's stage musical Carousel used a flashback device which somewhat takes the impact away from a very dramatic plot development later in the film. This was done because the plot of Carousel was then considered unusually strong for a film musical. In film version of Camelot (1967), according to Alan Jay Lerner, a flashback was added not to soften the blow of a later plot development but because the stage show had been criticized for shifting too abruptly in tone from near-comedy to tragedy.
A good example of both flashback and flashforward is the first scene of La jetée (1962). As we learn a few minutes later, what we are seeing in that scene is a flashback to the past, since the present of the film's diegesis is a time directly following World War III. However, as we learn at the very end of the film, that scene also doubles as a prolepsis, since the dying man the boy is seeing is, in fact, himself. In other words, he is proleptically seeing his own death. We thus have an analepsis and prolepsis in the very same scene.
Occasionally, a story may contain a flashback within a flashback, with the earliest known example appearing in Jacques Feyder's L'Atlantide. In John Ford's The Man Who Shot Liberty Valance (1962), the main action of the film is told in flashback, with the scene of Liberty Valance's murder occurring as a flashback within that flashback. Other examples that contains flashbacks within flashbacks are the 1968 Japanese film Lone Wolf Isazo and 2004's The Phantom of the Opera, where almost the entire film (set in 1870) is told as a flashback from 1919 (in black-and-white) and contains other flashbacks; for example, Madame Giry rescuing the Phantom from a freak show. An extremely convoluted story may contain flashbacks within flashbacks within flashbacks, as in Six Degrees of Separation, Passage to Marseille, and The Locket. This technique is a hallmark of Kannada movie director Upendra whose futuristic flick Super (2010) is set in 2030 and contains multiple flashbacks ranging from 2010 to 2015 depicting a utopian India.
Satyajit Ray experimented with flashbacks in The Adversary (1972), pioneering the technique of photo-negative flashbacks
Sunday, 4 January 2015
Christmas blog
The Christmas holidays have given me lots of opportunities to watch films and television programmes that could help with my groups two minuet film opening.
I watched the the TV show 'Miranda' and noticed that she breaks the fourth wall quite a often and addresses the audience which takes away the some of the verisimilitude of the show, but this also creates comedic effect.although this is interesting and effective, this is not what my group are after in our opening, so we know not to do this.
I also watched 'James Bond: Die another day'. There was a particular scene when the duration of the shots were very fast which made the pace of the scene increase as well as the tension as it has the audience holding their breath, this is similar to one of the Indiana Jones films I also watched over Christmas. We want to create high tension in out opening scene, as it is a psychological thriller, and make our audience hold their breath, so this could be quite useful. However, we want out audience to feel a little more disorientated and not quite know what is going on rather than just feeling high tension like with James Bond.
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