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Information about frankenstien

Published on March 12, 2014

Author: joshsloane


Research PowerPoint 2: Research PowerPoint 2 Josh Sloane PowerPoint Presentation: Frankenstein After beginning with a low angle shot of what appears to be an old fashioned chapel roof, which signifies the context of the film being in the past, the camera pans downwards following a character dressed in a golden armour, with stone coloured wings sprouting from his back. The action is synchronised with a pleonastic crashing sound of the roof of which he crashes through. A high pitch sting bridges the shot with a close up of the characters hands grabbing two blades from the ground, which is combined with another sting. As this shot fades to black, the camera moves to a birds eye view shot of this character moving towards a chest; this shot gives a clear view of the low key lighting used in the scene, which signifies how this Is a dramatic and mysterious part of the film. The man then opens the golden chest, the colour gild signifies how the chest holds something special and expensive. From which he draws a book, bound with leather with the letter F etched onto the cover in calligraphy, hinting the period of which the film is set. Next, we move to a snowy mountainside, where we firsts see the Frankenstein character, here the director uses juxtaposition of the positive connotation of the white snow, being purity and innocence, with the negative denotations of the characters costume, being torn and black in colour, which Is renowned for being the colour of evil. After this the camera moves to a close up of Frankenstein's face, with a forest in the background. The trees are bare, signifying how this character brings death and misery to everything he is around, which combined with the low key lighting, creates a very negative first impression of Frankenstein to the audience. the director then uses a series of cross cuts in which we see Frankenstein in a fight scene, which is synchronised with a fast paced score and a metallic sting with each strike of the swords, the death of Frankenstein's enemy here is met with a blaze of fire, which continues the idea that he brings a path of destruction wherever he passes. We then witness the first graphic shot of text, which is written in a white sans serif font with a blue glow around the lettering, this is a common sci - fi convention as it is the colour of space and electricity, linking to the birth of Frankenstein. Finally, we move to the key shot of the trailer, where the camera pans from the shot of the antagonist character, a winged stone beast, to a shot of an army of human shaped figures jumping over buildings, through the full moon in the background, the full moon commonly has meanings of ultimate power, which portrays to the audience the strength of this army. Bela kiss : Bela kiss The trailer opens with an image with two merged newspaper articles from the war, they are yellowed linking to the fact that they are from an older time period, also the yellowing signifies the decay of the paper, relating to the decay of the bodies presented late on in the trailer. This shot is synchronised with a voiceover talking about the war, the voice in in a German accent, possibly signifying a Germans point of view from the war. From this we get a hand held shot of a German war camp, the people are dressed in there war clothing with a helmet and holding weaponry, as they pop the lid to a waste bin, a fade to black transition met with a low pitched sting (which signifies that this is a negative part of the trailer, and forebodes a dramatic event is about to occur ) takes us to the first graphic shot of the trailer. The text that reads ‘ based on a true story’ is coloured in a cream white, with a red blood stain splattered along the text, the blood emphasises the theme of the film being horror and the red has connotations of death and power, which we can relate to the antagonist of this film, who we see later on. This shot then merges into an establishing long shot of a house, several stories high, and a car is moving towards it, the lighting here is relatively dim as it is set in the evening, which is important as it mean that the darkness of night is approaching, which is very important to this particular film; this shot is silent, with a very quiet purr of the cars engine, putting the audience into a false sense of security, as the shot seems calm and tranquil. As the shot fades to black, another sting is played, hinting that everything is not as calm as they seem, this sting is a bridge to a black screen, which is synchronised by a voiceover of a woman, whose face suddenly appears in a quick cut. Following this is a low level shot of a man laying on the ground, presumably dead, the lighting is a low key and blue in colour, smoke is rising from the ground, smoke is generally related to being the symbol of the spirit, which further emphasises the idea that this man is dead. From the top of the screen, falls a skeleton, dressed in a black hooded robe, skeletons are a common convention of the horror genre, and underlines the theme of death in the film. After a series of cross cuts showing woman in a shower, we see a quick cut mid shot where she awakes in her white sheeted bed, the white has connotations of innocence and purity, presenting the idea to the audience that she is the helpless character in the film, a possible target for the attacker. Bela kiss : Bela kiss . What follows is a sequence of quick cuts between the people in the bedroom and the door, which is being banged against, the director puts emphasis on this banging noise by placing a pleonastic knock over the shots, which relates to the idea that all that matters here is the door, and what is about to come through it. The director then takes the camera outside to view a woman looking up into a window, where the silhouette of another woman is looking out, the camera constantly switches between the woman outside at a mid shot and the shadow at a long shot, at a high tempo, to create the effect of distortion and confusion in the audience. When suddenly the shadow of the woman is stabbed from by another silhouette, a man this time, who come to the window and presses himself up against it, this is met by yet another sting, to increase the drama of the scene and emphasises the knife attack. From this point onwards a orchestral violin score is played, signifying that the death is an important event in the trailer. The score is high paced, yet low pitched, adding pace and a sense of mystery to the trailer. We are the taken to what looks like a butchers shop, blood spattered along all the walls, chains hanging from the ceiling and a body spread along a table, with a man, dressed in a white coat, hacking at the leg. The use of the colour white here is uses to juxtapose the white bed sheets,, as this character is not innocent, he is a murderer, therefore contrasts the connotation of his jackets colour. The lighting is also dim and blue filtered, in the same way that the shot with the skeleton was, therefore we can see how all shots in the trailer with death involved are linked through lighting techniques. The trailer ends with a close up of a woman's face, her features drenched in blood, as she is pressed up against the wall, her expressions show she is frightened, scared and in pain, and leaves the trailer n a cliff-hanger for the audience to watch the film to find out what happens . Pompeii : Pompeii The trailer opens up with a dolly shot following the journey of an ash particle through the wind, the lighting Is dark as it is throughout the trailer, linking to the dark and traumatic event that has taken place and destroyed a town. It passes past the volcano itself, the camera moves away from the ash to reveal the volcano in all of its glory. It is drenched in a white ash blanket, there is a great sense of irony here used by the director, as white colour of the ash suggests purity and perfection, and therefore gives the impression that there is no evil within this volcano. The shot is silent, with the faint sound of the wind and the ash whistling in the background, the silence straight away creates the impression that there is no life here, which portrays how this innocent looking mountainside, has been the cause for a widespread disaster. At this point the silence is broken as the shot fades to black by a voice over; the voice is of an older gentlemen, which creates the idea of wisdom in this character. His voice is synchronised by a close up cross cuts of a body, which has been shelled by ash. The body is golden, and white in places; the gold relates to wealthiness , in this case a metaphorical wealthiness suggesting that this persons life was an important one, and the white, in contrast to the volcano, does mean that this person was an innocent and helpless casualty in the Pompeii disaster, the body appears to be floating in a black background, linking to the idea that everything has been obliterated by the explosion. In the background of these cross cuts is a quiet, gentle orchestral score, almost angelic in its nature, linking to the innocence of those that have been killed. The camera then moves to a bird eye high angle shot of a heap of bodies, the angle makes them look helpless and defenceless, linking to the eruption of the volcano, where they never stood a chance again the incoming peril. The camera zooms out to show an even larger scale disaster, and to further intensify that scale, the scale increases in pitch and volume, which creates a more dramatic and thrilling effect to the scene. As the score reaches its maximum pitch the shot cuts to black to reveal a graphic shot of some text, which is an ash colour similar to the volcano, in a serif font making it easy to read against the black background, with specks of ash falling behind it. From this walks a man, dressed in a gladiator costume, linking to the time period where gladiators where the main source of entertainment. A voice over of this character is the bridge between this shot and a long shot of a silhouette, standing proudly on top of rocks The low angle shot makes him look strong and powerful, on the rocks are the bodies of other gladiators, which further emphasises the power idea. The director then follows the slow tempo shots of this gladiator with a burst of high tempo quick cuts of a battle scene, the first of which is a low level close up of the feet of a carriage of horses, an animal which strong and powerful denotations, the lighting is very low key, almost a solid black, apart from the glow in the background of the flames and fire caused by the eruption of the volcano. The fire indicates chaos and destruction, reinforcing the action/ horror genre of the film. The next shot is a long shot of the volcano, which presents its extreme size against the ships that are exporting and evacuating people away from the blast. The trailer then ends with a long shot dolly following the pyroclastic flow of the explosion, destroying everything in its path. The lighting as it always has been in the film Is low, suggesting that this event has no positive moments and darkness is ongoing. The colony: The colony An establishing long shot of the setting for the trailer is what the director opens up with here, the high angle long shot shows the insignificance of the human civilisation that has been covered in a sheet of white snow. The white of the snow is used to connote innocence and untaintedness , which juxtaposes greatly with the snow in the film, being the killer of millions of people. The shot has a faint tint of blue, which emphasises the idea of calmness in the shot, as all human have been killed by the cold and lack of food. At this point a voice over is played, which acts as a sound bridge as the shot dissolves into the next, which zooms in from the long shot into a mid-shot of what we can assume is the man speaking. He is hard to see due to the extreme weather, which gives the audience a feel of what the conditions are like in the film. He is dressed in a large puffer jacket, in order to save warmth, and a bobbl3e hat for the same purpose; both of which are black in colour, which symbolises the distress and grief that they have endured. From the white frozen oblivion we cut to a point of view shot which shows a completely contrasting location, we are now shown the hallway of a basement, with very low key lighting and a yellow/ orange glow from the little lights in the shot, which are the colours of danger, and therefore forebode a significant event. The hall shot then merges into a establishing shot of a lab, once again the lighting is very low key, which continues the theme of distress and mystery throughout the trailer; the lighting has a green tinge to it, which is strongly regarded as the colour linked with emotional safety, therefore we can assume that this lab is the safe, living area for the surviving humans. A bird’s eye view shot is then used by the director as the camera pulls out of a chimney of a factory. The camera continues to pull out until it reaches an extreme long shot bird’s eye view, showing the severity of the snow fall and the sparseness of human life, which is synchronous with the voice over ‘the snow never stopped’ After a series of cross cuts showing the team of three’s journey to find another colony of survivors, the camera then stops on a man, frozen yet still alive, his facial expressions show his confusion, and lack of awareness of what is going on, once the camera shifts from this man to a close up of the protagonists face, a de-synchronous pleonastic scream of a zombie, the director uses editing here in the form of fast paced cuts to exaggerate the fear, run of emotion and the speed of the battle to fight and get away from the antagonists, with pleonastic ambient gunshots to reinforce the theme of the film being an action/horror. A graphic shot is the final shot of the trailer, where the text fades in from the black background, where we can see that it is a sans serif font in a neon blue colour, which links to the blue tint to the lighting at the start of the trailer, and is commonly linked with coldness. The drive: The drive The trailer begins with an establishing extreme long shot of an American city, which straight away presents us with the setting of the film, the lighting is low key due to the night time setting. The camera then shifts to an over the shoulder shot of a car driver, with a voice over used as a sound bridge to merge the two shots. The car then parks underneath a street light; the driver and his car are illuminated by a dark yellow light, the yellow is the colour of warning and caution, which forebodes a negative event in the future. This then shifts to a series of cross cuts of a burglar running towards the car, the shots are in a slow motion format , this is an example of how editing is used in the film, in this case to elongate and stretch out the feel of running away and reaching the escape car, and fleeing the scene. Following this is a pleonastic screech of tyres as the main character attempts to drive away with the burglars in the back, also the synchronous police sirens in the background emphasises the theme of the film being a police action thriller. We are then taken to the location of a party, with balloons and banners on the door, at first glance to the audience this would appear to be an innocent and happy occasion and party for the return of a woman’s husband from prison, however the happiness within the scene of the gathering is in complete contrast to the shot of the husband in prison, drenched in blood, his white vest splattered with red that has dripped from his forehead, the white colour of his vest suggest an innocent and pure man, and the fact that the white has been ruined by the red of his blood that connotes anger and death; this is a way that mise en scene has been used to show how the innocence of this man has been taken away and tarnished. The idea of innocence being taken away is continued into the next shot where we see the son of the man, sitting on a sofa, the driver approaches the young boy to see that he is holding a bullet, a bullet denotes death, war and chaos, which juxtaposes greatly with the child, which denotes immaturity, being sinless and helpless. The camera then cuts to black, which then fades into an elevator, where the protagonist is joined by the wife and another man, the camera pans to a close up of the man jacket, where a handgun is shown peeking out of his inner pocket. From this the camera moves to a low angle show, which makes the protagonist look larger, and more powerful, the shot also shows the hammer in his hand, and the anger and determination in his facial expression. What follows is an inevitable fight scene, however the director uses a contrapuntal de- synchronous high pitched, slow tempo violin score, which we would not generally relate to the action theme, this slows down the pace of the fight, and blocks out any other sound. The angelic score is then broken by the ambient sound of a gunshot as it reaches it crescendo, after a quick cut, the camera then moves to the establishing long shot of the city that we witnessed at the start of the trailer, to reinforce the setting of the film .

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