Charlotte - Film Studies Blog

I saved every letter you wrote me from the moment I read them I knew you were mine you said you were mine thought you were miiiiiiine do you know what Angelica said when she saw your first letter arrive she said "be careful of the one love hell do what it takes to survive" you and your words flooded my sensecyour sentences left me defencelss you built me palaces  out of paragraphs  you built cathedralsssssss I'm rereading the letters you wrote me im seraching  and scanning for answers in every line for some kind of sign and when you were miiiiiiine the world seemed to buuuuuuuuuuuuuuuuurn buuuuuuuuuuuuuuuurn you published the letters she wrote you you told the whole world how you bought this girl into our bed in clearing your name you have ruined our liiiiiivesssss do you know what Angelica said when she read what you'd done she said "you have married an icarus he has flown too close to the sun" you and your words obsessed with your legacy your sentences bor...

Short Film Scene 1: INT car    Open in a car, as if the camera is on the dashboard. We see a child in the passenger seat idling about, humming along to a relatively happy tune on the radio. Warm sunlight comes from the passenger window, saturating her and the bear sitting on her lap. The bear is rather small, and it’s ears are lined with pink felt that’s worn down to reveal the old felt underneath. It’s a small pooh bear that is no longer the golden yellow it should be, and instead is a dirty tan from years of love and affection. The child has a grip on the bear with one of her hands, the other is tapping on the door in time to the music.  Jarring cut to the driver of the car, who is the father of the young girl. His point of view is very dark, there is a lack of music and instead a single low note is playing in the background. He is gripping the steering wheel so hard that his knuckles are turning white, a clear signal of his stress. The lighting turns very cold, missing...

 The opening scene of City of God uses a multitude of editing techniques to 

Narratively, Shaun of the Dead plays with the conventions of two genres, those being the classic romance-comedy and the popular zombie thriller. Throughout the film, each of these genres twist and intertwine to create the well loved zom-rom-com. Both genres have a starting equilibrium, a major disruption and a new equilibirum, all of which fit with the conventions of both sides.

How far are the characters in Trainspotting a product of their political and social environment? Thatcherism and New Labour ideologies have a massive impact on the characters within Transporting and how they react in their  environment, mainly Leith in Scotland. It can be argued that Renton is the perfect 'Thatcherite' for many reasons, but part of his personality contradicts that label,and although his actions may mirror what Thatcherism stood for, he seems to be the product of the political, social and economic state of 1980s Scotland. National identity also plays a large part in why each of the characters behave the way they do, and why they seem to resist the idea that times are changing and things are evolving. Although it is hard to tell the length of time the film takes place over, it's safe to assume its in the mid-late 80s. Margaret Thatcher held a lot of very conservative viewpoints that only really benefited a small amount of people,...

The opening scene of Trainspotting introduces each character, bar one, and briefly helps to show and distinguish each character's personality. We're instantly aligned with Renton, simply due to the fact that he's the first character we see and hear, as he voices over the majority of the scene with a monologue that's primarily his opinions and views. As the scene opens, were joined by Renton and Spud, seen running away from what look to be security guards. Renton gets caught up after almost being hit by a car, and a freeze-frame is shown with his name appearing on screen. This simple but effective technique of introducing the characters is seen throughout the rest of the scene, and helps the audience easily grasp who is who within the rest of the film.  This technique is repeated in the next shot, as a chaotic football scene introduces Sick Boy, Begbie, Spud and Tommy, each with a freeze frame that gives a small glimpse at the personali...

The first thing seen in the opening of the film is a quaint woodland area with very light atmosphere, with two establishing shots that linger on to show the setting. A deer is then introduced, and for the next few shots it's in the centre of the frame, which aligns the audience with the animal but this allegiance is quickly revoked. A variety of different shot types are used to enforce this alignment, mostly the close up right before a sound is heard by the deer, in which the shot quickly cuts to an unknown figure hiding in the bushes. We're then given a POV type shot from the perspective of this mysterious person watching the animal, which provides an almost looming sense of tension which further pushes the idea that the audience is supposed to feel a strong sense of alignment with the deer. More shots of the animal are shown, in which it's just going about its business, until the figure is now present in the frame with the deer. The figure, who is now clearly seen as a yo...