5 Minute Textual Analysis

Title: 8 1/2
Director: Frederico Fellini
Year:1963
Country of Production:Italy, France
Budget: unavailable
Genre: Drama, Fantasy
People Involved: Federico Fellini, (director) Angelo Rizzoli, (screenplay) Fellini, Tullio Pinelli, Brunello Rondi, actors: Marcello Mastroianni, Claudia Cardinale, Anouk Aimée, (music) Nina Rota, (cinematography) Gianni Di Venanzo, (editing) Leo Cattozzo.

Narrative Context: Guido is sitting with the honorable Cardinal as he sees a woman slopily trudging down a hill. This takes him back to a childhood memory when skipped school with his friends to go watch Saraghina (a whore) dance for them on the beach. This leaves a mark on him, for his mother is disappointed, and he is exposed to a provocative experience.

ORIENTATION:
Context: The film was made in 1962-1963. The film is not as much of a Commercial Success as it is a Critical Success (winning an oscar for Best Foreign Language Film and Best Costume Design).
Genre: Frederico Fellini is known for a distinct style that blends fantasy and "baroque" images-- making "8 1/2" a typical film for Fellini. Though some of Fellini's films were apart of the Italian Neo-Realism movement--his filmmaking style changed after reading Carl Jung's book Memories, Dreams, Reflections, where Fellini showed interest in the process “which our minds live: the past, the present, and the conditional - the realm of fantasy” (Fellini to American press officer). Whereas Neo-Realism focused on realistic social issues, Fellini was attracted to the mind-- giving a fantasy-dominant reality to the screen.

Audience: The intended audience for 8 1/2 is probably toward a more mature audience.

Your choice: I have chosen this sequence because the context leading up to his flashback is so relevant to his memory. He is meeting with the cardinal as he remembers the Saraghina (the whore) on the beach-- then the religious headmasters punishing him at school. Guido is sitting with the honorable Cardinal as he sees a woman slopily trudging down a hill. This takes him back to a childhood memory when he was a schoolboy. He is taunted by his friends to skip school and leave for a remote area on the beach to see Saraghina, the shore's whore. Once they reach the shore, they give Saraghina some change to do the "rumba" dance for them. Saraghina is large, dirty (hygiene), and different-looking compared to the other delicate women portrayed in the film. Saraghina performs her number in a seductive way, the boys watch tantalized. She dances with Guido as well. The religious headmasters of Guido's school find him and take him from the beach, back to the school where his mother awaits disappointed. The other headmasters condemn him for committing sin and punish him by making him wear a dunce hat at school. This scene is crucial to the film because it shows Guido's thought process as he deals with his writer's block for his next movie, he is constantly looking for inspirational women who have impacted his life-- and Saraghina showed him a provocative outlook as a young boy.

CAMERA
Angle- Most of this scene is shot in eye-level.. The only times when the camera tilts upward or downward is when Saraghina comes out of her shack (the camera tilts downward to show her low-class) and also, when Saraghina begins to dance (the camera tilts upward) to show her dominating presence in front of the boys.

Shot- C/U when Saraghina begins to dance, Guido's mother's facial expression, and religious headmaster's expression (to show the differentiating reactions--shameless, shameful, and angry). M/S as Guido (in the present) is sitting with the Cardinal, when little Guido walks through his class with the dunce hat on (makes audience feel as though they are there). Longshot as little Guido and friends run to find Saraghina, some parts when Saraghina dances, when religious headmasters chase him on the beach, when religious headmasters bring him back to the school (shown as a memory sequence, mostly from afar except details in C/U-- Guido's memory).

Movement- This scene is pretty much following little Guido's memory, so most of it is tracking and and following (when guido and friends run to beach, when Saraghina comes out of the shack, when religious headmasters chase Guido, when religious headmaster takes guido to the room with other headmasters and his mother, Guido walking through classroom with dunce hat), there are only several parts in which the camera zooms in (Facial expressions listed above).

Framing and Comp- Guido is portrayed as this little, clean-cut boy at Catholic school. The camera follows him and frames him as this isolated character (based on clothing and interaction with friends) The camera shows him as small and non-dominant.

SOUND
Diagetic: The entire scene is diagetic since it is a realistic memory. The sound of the school bell, Guido's friends calling him, Guido's classmates laughing at him, headmasters punishing guido)

Non-Diagetic: This may be confusing for the viewer, but Saraghina's Rumba music is non-diagetic-- since the music rolls on longer than her dance-- it gives the dance a bit of character but the actual people in the scene do not hear it.

EDITING

Style- The scene has a sense of Continuity because it is Guido's memory as he remembers the sequence of events-- the shots have flow-- they're not choppy, providing a very raw memory for the audience to follow.

Pace- the pacing of this scene is rather quick- the way Guido walks to Saraghina, and the way he is being walked down to the headmasters at school is very rapid (quicker than normal pace) to show the memory being a short-lived one. Saraghina's dance is at normal pace.

Narrative- The scene starts with Guido (present) thinking back on his encounter with Saraghina, the scene flies by rapidly-- with little cuts-- but in linear order.

Special Effects: none.

LIGHTING

ambient/natural lighting- Guido (present) is in normal/natural lighting. Even throughout the memory, Guido is not a dominant figure of the memory, therefore there is no central focus/lighting on him-- However, Saraghina is the dominant figure of the scene, so during her close-up shots, her face is lit so the audience can see what she looks like-- but the scene itself is in very natural lighting.

other lighting catergories do not apply since the scene is mostly natural lighting from the "sun"-- except for the school rooms, which are incidental lighting sources.

Mise-en-Scene

Guido in the present is shown as a very clean-cut man in a suit with glasses on. As a young boy, he is mostly the same-- clean school clothes, haircut etc. This shows that he has been the same for all of his life, and throughout the movie-- as he thinks of influential women, his outer appearance does not change, but his thoughts are being affected. The cardinal/ religious headmasters are all in uniform (Catholic orthodox) to show the strict environment in which Guido is a part of, Saraghina lives in a very dirty and destroyed shack and comes out in a dissheveled appearance (ripped up black dress, messed up facial makeup, knotted and wild hair) to show her contrast against Guido's lifestyle. When Guido is being forced back into the school building, he walks by a row of portraits of other headmasters-- these all look very realistic and give the impression that Guido is in trouble even before he is brought to the main headmaster. The room in which the headmaster sits in also has other head master-figures sitting in all black uniforms--looking very much alike near the headmaster- the room is quite empty except for Guido's mother, the headmaster at his desk, and the other headmaster figures-- this is to show the simplicity and intimidating environment of the authoritative figure in Guido's life-- very simple, clean, and to-the-point vibe.

SUMMER log The Rules of the Game

Movie: The Rules of the Game
1939, B&W, 110 mins
Director: Jean Renoir
Actors: Marcel Dalio, Nora Gregor

Summary (IMDB):Aviator André Jurieux has just completed a record-setting flight, but when he is greeted by an admiring crowd, all he can say to them is how miserable he is that the woman he loves did not come to meet him. He is in love with Christine, the wife of aristocrat Robert de la Cheyniest. Robert himself is involved in an affair with Geneviève de Marras, but he is trying to break it off. Meanwhile, André seeks help from his old friend Octave, who gets André an invitation to the country home where Robert and Christine are hosting a large hunting party. As the guests arrive for the party, their cordial greetings hide their real feelings, along with their secrets - and even some of the servants are involved in tangled relationships.

Q:How is the camera movement significant in the ending scene of this film?
A:The final scene in The Rules of the Game is important in revealing several mysteries. The camera movement moves the story forward in showing the truth behind the romantic "couples" through a series of shots and tracks that follow several of the characters. The movements differentiate from one another-- reason being the difference of relationships among characters. For example at one point the camera follows a certain character and during another shot, the camera moves without following a character (moves on its own). Since the film has a general "hide-and-seek" theme throughout the romantic games, the camera parallels the film's complex relationships.


Q:How does costuming play a role in this film?
A: According to an online article, "The movie takes the superficial form of a country house farce, at which wives and husbands, lovers and adulterers, masters and servants, sneak down hallways, pop up in each other's bedrooms and pretend that they are all proper representatives of a well-ordered society." With that being said, each character's outfit does a really great job in representing the social class/ area of society they come from. It is a multifarious group of characters, and like any film, the mise-en-scene, or more specifically, the costuming plays a great role in visually describing the character. Clothing plays a key role in The Rules of the Game because of the complex plotline.

SUMMER log The 400 Blows

Movie: The 400 Blows
1959, B&W, 99 mins
Director: François Truffaut
Actors: Jean-Pierre Léaud, Albert Rémy

Summary (IMDB):A young Parisian boy, Antoine Doinel, neglected by his derelict parents, skips school, sneaks into movies, runs away from home, steals things, and tries (disastrously) to return them. Like most kids, he gets into more trouble for things he thinks are right than for his actual trespasses. Unlike most kids, he gets whacked with the big stick. He inhabits a Paris of dingy flats, seedy arcades, abandoned factories, and workaday streets, a city that seems big and full of possibilities only to a child's eye.

Q:Discuss the significance of the film title.
A: The French translation of this film figuratively means "to raise hell." but "the 400 blows" are an expression of specific tricks one must complete in order to call oneself free or wild. Though the English translation is a direct translation of the French phrase, the true meaning is lost. In my opinon, the viewer should research the title before watching the film (as I did) for it will give one a good idea of the meaning behind the plot and the intent of several characters.


Q: What is the importance of camera angle in the film?
A: The 400 Blows opens up with several "high-angle" shots to create the mood of young, and naive experience. The opening shot parallels the child in the film-- as he starts out as an innocent boy. Images of a large city with buildings and skyscrapers are shown as dominant and large-- as if a young child is viewing them. Furthermore, a "high-angle" shot is used with the teacher in the school scene. The camera zooms in at a high angle-- giving the audience an impression that this teacher has a sense of power and dominant presence. The teacher does have this personality-- a very controlling and powerful role in the rest of the film.

SUMMER log Cinema Paradiso

Movie: Cinema Paradiso
1988, Color, 155 mins
Director: Guiseppe Tornatore
Actors: Philippe Noiret, Enzo Cannavale


Summary (IMDB): A famous film director remembers his childhood at the Cinema Paradiso where Alfredo, the projectionist, first brought about his love of films. He returns home to his Sicilian village for the first time after almost 30 years and is reminded of his first love, Elena, who disappeared from his life before he left for Rome.

Q: How does costuming play a role in this film?
A: Surely, Cinema Paradiso is a film that shows the story of Toto growing up. As a young boy, Toto has a dissheveled look-- this shows his societal belonging, lower-middle class living with his single mother and sister-- Toto does not wear clean and crisp clothing. As he grows older, he begins to make more money, but evenso- Toto does not flaunt his money on clothing, he wears very basic clothing, coats, pants, etc. However, once Toto moves away to pursue his dreams-- he is shown in a very elegant apartment 30 years later.. His clothing, his demeanor, his hygiene are all signs of money. When he goes back to his hometown, the people are in the same state as before, poverty, uncleanliness, and simple,small homes.

Q:How does the camera movement play a role in the film?
A:Specifically, during the scenes in which Toto and Alfredo are in the projection booth above the theater, the camera movement is very continuous-- not choppy. This mood creates a sense of intimacy and bonding between the two. The camera moves behind walls, through doorways, and pans out to show the small space they work in. These scenes in the film really exaggerate the closeness the two share.

SUMMER Film Log- 8 1/2

Movie: 8 1/2
1963, b&w, 138 mins
Director: Frederico Fellini
Actors: Marcello Mastroianni, Claudia Cardinale, Anouk Aimée


Summary (IMDB): Guido is a film director, trying to relax after his last big hit. He can't get a moments peace, however, with the people who have worked with him in the past constantly looking for more work. He wrestles with his conscience, but is unable to come up with a new idea. While thinking, he starts to recall major happenings in his life, and all the women he has loved and left. An autobiographical film of Fellini, about the trials and tribulations of film making.

Q: Explain the importance of Mise-en-Scene in the film.
A: Specifically referring to a scene with Saraghina (the whore of the slums)--Guido in the present is shown as a very clean-cut man in a suit with glasses on. As a young boy, he is mostly the same-- clean school clothes, haircut etc. This shows that he has been the same for all of his life, and throughout the movie-- as he thinks of influential women, his outer appearance does not change, but his thoughts are being affected. The cardinal/ religious headmasters are all in uniform (Catholic orthodox) to show the strict environment in which Guido is a part of, Saraghina lives in a very dirty and destroyed shack and comes out in a dissheveled appearance (ripped up black dress, messed up facial makeup, knotted and wild hair) to show her contrast against Guido's lifestyle. When Guido is being forced back into the school building, he walks by a row of portraits of other headmasters-- these all look very realistic and give the impression that Guido is in trouble even before he is brought to the main headmaster. The room in which the headmaster sits in also has other head master-figures sitting in all black uniforms--looking very much alike near the headmaster- the room is quite empty except for Guido's mother, the headmaster at his desk, and the other headmaster figures-- this is to show the simplicity and intimidating environment of the authoritative figure in Guido's life-- very simple, clean, and to-the-point vibe.

Q:How do shots and angles play a role in the film?
A: referring to same scene as above;; C/U when Saraghina begins to dance, Guido's mother's facial expression, and religious headmaster's expression (to show the differentiating reactions--shameless, shameful, and angry). M/S as Guido (in the present) is sitting with the Cardinal, when little Guido walks through his class with the dunce hat on (makes audience feel as though they are there). Longshot as little Guido and friends run to find Saraghina, some parts when Saraghina dances, when religious headmasters chase him on the beach, when religious headmasters bring him back to the school (shown as a memory sequence, mostly from afar except details in C/U-- Guido's memory).

Movement- This scene is pretty much following little Guido's memory, so most of it is tracking and and following (when guido and friends run to beach, when Saraghina comes out of the shack, when religious headmasters chase Guido, when religious headmaster takes guido to the room with other headmasters and his mother, Guido walking through classroom with dunce hat), there are only several parts in which the camera zooms in (Facial expressions listed above).

Film Log- 2nd Semester-Forest Gump

Movie: Forrest Gump
1994, Color, 142 mins
Director:Robert Zemekis
Actors: Tom Hanks, Sally Field,


Summary (IMDB): Forrest Gump is a simple man with little brain activity but good intentions. He struggles through childhood with his best and only friend Jenny. His 'mama' teaches him the ways of life and leaves him to choose his destiny. Forrest joins the army for service in Vietnam, finding new friends called Dan and Bubba, he wins medals, starts a ping-pong craze, creates a famous shrimp fishing fleet, inspires people to jog, create the smiley, write bumper stickers and songs, donating to people and meeting the president several times. However this is all irrelevant to Forrest who can only think of his childhood sweetheart Jenny. Who has messed up her life. Although in the end all he wants to prove is that anyone can love anyone

Q: How does costuming/makeup play a role in the film?
A: Forest Gump is film that follows a boy throughout his life-- in order to emphasize the time era of when the movie is taking place in, costuming is crucial. During Forest's childhood, preppy and crisp clothing was used to show the era of the 50s and also the social status of his mother (upper middle class). Forrest remained quite the same throughout the course of the movie while his surroundings were changing. Every decade was defined by the clothing-- mostly shown through Jenny (hippie phase, 60s, druggie phase 70s), as well as through supporting actors coming in and out of Forrest's life. Costuming was crucial in portraying Forrest as a consistent person-- never changed person while the whole world was changing.

Q:How does the soundtrack play a role in Forrest Gump?
A: Much similar to the concept of the costuming in the film, the musical soundtrack to Forrest Gump is extremely crucial in portraying the time period in which Forrest is living in. The music is used as a tool to show his surroundings-- not so much his perspective on what is going on. The Beatles, The Who,& Jimi Hendrix are just a few of the well-known artists that made it to the soundtrack. Each track is filled with depth and relevance to what Forrest is doing next (war, ping-pong, sorrow). The use of music makes a strong statement as to what the movie makes of its' main character.

FIlm Log- 2nd Semester- North by Northwest

Movie: North by Northwest
1965, Color, 131 minutes
Director: Alfred Hitchcock
Actors: Cary Grant, Eva Marie Saint

Summary: Middle-aged Madison Avenue advertising executive Roger O. Thornhill is mistaken for a government agent by a gang of spies. He gets involved in a series of misadventures and is pursued across the States by both the spies and the government whilst being helped by a beautiful blonde.
http://www.imdb.com/title/tt0053125/

Q:How does the camera movement play a role in the film?
A: The way Hitchcock maneuvers the camera embraces the intentions of every character-- showing that each one of them has their own agenda. Coming from a "formalistic" film making history, Hitchcock relies more on the editing of a film, rather than the actors to enhance the emotions off-screen. Hitchcock shows the importance of camera angle and focus in order to move the story forward. Hitchcock's films "usualy seemed as if it had been considered an after though, often mirroring the audience's sense of fear and anticipation only to confirm what their feelings really were."

Q:How does costuming/makeup play a role in this film?
A: One of the most memorable aspects of this film is the beautiful Eva Marie Saint. Her sense of elegance and irresistibility comes from her outer appearance. Her perfectly styled blonde hair, clean and fashionable clothing, and poise are factors that give the viewer the ability to determine her character. Cary Grant's character is another example of a "put-together" and sharp man-- mostly due to his outer appearance. His character was mostly seen in a clean suit.

Film Log- 2nd Semester- Toy Story

Movie: Toy Story
1995, Color/Animation, 80 minutes
Director: John Lasseter
Actors: Tom Hanks, Tim Allen

Summary: A little boy named Andy loves to be in his room, playing with his toys, especially his doll named "Woody". But, what do the toys do when Andy is not with them, they come to life. Woody believes that he has life (as a toy) good. However, he must worry about Andy's family moving, and what Woody does not know is about Andy's birthday party. Woody does not realize that Andy's mother gave him an action figure known as Buzz Lightyear, who does not believe that he is a toy, and quickly becomes Andy's new favorite toy. Woody, who is now consumed with jealousy, tries to get rid of Buzz. Then, both Woody and Buzz are now lost. They must find a way to get back to Andy before he moves without them, but they will have to pass through a ruthless toy killer, Sid Phillips.
http://www.imdb.com/title/tt0114709/

Q: Why do the toys seem more human-like/ realistic than the actual humans in the movie?
A: The film focuses on a Toy's journey/ conflicts-- therefore the humans in the movie are mostly an "extra" background addition. However, the central conflict of the story does revolve around the Toy's efforts to remain in a human's life-- but the director hardly elaborates on any of the human characters- most likely in defense of taking away the characteristics that make all the toys, dolls, or plastic seem real. (this element of the emotions of the toys entices emotion from the audience)

Q:How does the costuming play a role in this film?
A: As previously discussed, the central characters of Toy Story are "inanimate" in terms of "real life". However, their costuming contributes to all of their characteristics. The stereotype of "beautiful/feminine blonde," or handsome cowboy, and even the brawny astronaut are extremely prevalent points in giving the audience something to base their characters off of. Though the humans are lowkey in the movie, their clothing exemplifies their social standing in their community as an upper-middle white suburban family.

FIlm Log- 2nd Semester- To Kill A Mockingbird

Movie: To Kill A Mockingbird
1962, Black and White, 129 minutes
Director: Robert Mulligan
Actors: Gregory Peck, Frank Overton

Summary: To Kill A Mockingbird is a screen adaptation of the original novel by Harper Lee. The story takes place in Alabama through the eyes of a young white boy with a father who is a lawyer. During this time, blacks were looked down upon in society and when a young black man is accused of sexually harassing a white woman, Atticus, the lawyer, decides to take the case and defend the black man. Meanwhile, the children cause mischief as they run amuck the town and mess with the town "creep" Boo Radley.

Q: How could Atticus Finch's appearance alter the initial judgement of the viewer?
A: Based on the fact that the film takes place in a racially segregated town set in the 1930s, the white community of this town is the vast majority. Atticus Finch is a lawyer, and his clothing shows his hygiene and stance in society. Initially, the viewer can make the assumption that this white man, who appears to have money, is just as racially prejudice as the town he resides in. Eventually, the viewer sees Atticus make a brave move and defend the black man in his trial.

Q: How does the black and white aspect of the film prove to be significant?
A: This film was released in the 1960s-- a time when color movies were, in fact, released/ produced. The director uses this "old" style of film-making to emphasize the era of when this was actually happening. The town, the courthouse, and even the clothing was especially true to the styles of the 1930s, and the director could have shot the film in color, but in order to add the antiquated depth the story needed, black and white was most appropriate.

Film Log- 2nd Semester- JAWS

Movie: Jaws
1975, Color, 124 minutes
Director: Steven Spielberg
Actors: Richard Dreyfuss, Roy Schneider

Summary: Martin Brody is a police chief on Amity Island on the East Coast of America. On a random summer morning, he is called to the beach to investigate a "mangled" body of a tourist washed upon the shore. Police investigators and medical examiners suspect the cause of her death to be a shark attack. Meanwhile, the Mayor of Amity Island tries covering up the death with another reason in order to keep the 4th of July festivities unaffected. The police chief, marine scientist and fisherman set out to find the cause of the tragic deaths in their area.

Q: How does the musical score play a role in this film?
A: The theme song of Jaws has carried over into so much of today's media as a "villain" song. The two notes are haunting, mysterious, and perfectly adds the deadly aspect of what lurks in Amity's waters. As soon as the theme song begins to play, the viewer knows danger is coming up in the story. It is simple, sharp, and adds character to the shark itself. Though the orchestra chimes in later in the song, the two notes are the most prominent and well known.
http://www.youtube.com/watch?v=e3mKAKPYh6k

Q:How does this film relate to symbolic social issues facing America then, and now?
A: Jaws can be viewed as a controversial film aimed at society. The killing of the first victim-- a blonde woman, is an example of sexual dominance of man. For example, a critic wrote:"The shark’s-eye camera view watches from below as the woman swims acrobatically above. Then it rises up under her toward her crotch as she scissorkicks vertically in the water. The camera quickly switches to the surface of the water. Here the close up of the woman’s agonized face as the unseen shark tears her body under the water is a frightening imitation of orgasm, the cliché of the equivalence of pleasure and pain used almost from the first portrayal of female orgasm in film." and the Second killing of the child stresses the importance of " civic responsibility and male protectiveness." And Lastly, the film can be an attack on America's economy-- in that it kills its victims and praises the value of money over life (mayor and his concern with the 4th of July).

Film Log- 2nd Semester- Titanic

Movie: Titanic
1997, Color, 194 min
Director: James Cameron
Actors: Kate Winslet, Leonardo DiCaprio

Summary: Rose DeWitt Bukater is a 100-year- old woman explaining her story on the Titanic to her grandchilden. She started out on board with her mother and fiancé, all of whom were first-class passengers. Rose tells the story of meeting Jack, a boy from the third-class of the Titanic, and how they fell in love on the tragic voyage of the iceberg-stricken ship.

Q: How does the setting of the film affect the passengers/ their social classes?
A: Most of the film takes place on board the Titanic. Cameron really does an incredible of capturing the essence of the two main characters within their element/ social classes. Rose comes from an incredibly wealthy family and without having to hear it, the viewer can infer this by the people she associates with/ the cabin she is staying in. She is rarely seen in a "lower" ranked class area of the ship. Jack is a third-class passenger and he is mostly shown in the "nitty-gritty" parts of the the ship and where the coal workers help run the ship in an orderly fashion. He is mostly associated with blue collar workers and not-so-luxurious cabins.

Q:How does costuming play a role in the film?
A:Rose and Jack are the two most extreme cases to show how important their costuming was to show the "irony" of two separate worlds falling in love. Jack, as mentioned before, wears casual clothes that get dirty easily (from his work on the ship), and Rose wears elegant, crisp clothing that shows what kind of a background she comes from. Both characters are defined by their lifestyles and this is easily seen through what these two wear. Crewmen, the Captain, and the rest of the guests on board are clearly labeled to be a part of a certain class based on their clothing.

Film Log- 2nd Semester- E.T.

Movie: E.T.
1982, Color, 115 minutes
Director: Steven Spielberg
Actors: Drew Barrymore, Dee Wallace

Summary: E.T. takes place in Northern California where a group of botanists from outer space come down to collect samples-- the US government show up and the aliens quickly flee, forgetting one of their crew members behind. Elliot, a suburban boy, is introduced. He is shown to be quite lonely , trying to find his connection with people/ his siblings. Elliot notices the alien and lures it with Reese's Pieces. This eventually works, bringing the alien into his home and hiding it from his family/ the government.

Q: How does the opening sequence of the film tell the audience about the nature of the aliens?
A: Spielberg barely shows the creatures in the beginning sequence to add more mystery to the image of the aliens. When the craft lands in the forest, Spielberg really shows the machine from every angle, through every bush or tree, and through the smoke/fog. The focus is shifted from what the actual aliens look like, to why they are there and how quickly they flee when search guards come for them. This shows the viewer that the aliens are powerful and much quicker than the humans are-- displaying a bitter attitude the aliens may have toward humans. This is later contradicted by the relationship Elliot builds with E.T.

Q: How does costuming/ makeup play a role in the production?
A: In every movie, the mise-en-scene is a crucial aspect of the production. Obviously, E.T is a built creation, but it's appearance makes it so outer-wordly in order to justify E.T's foreign presence. The characters in the film are quite average and display the mediocrity of suburban lifestyle with their clothing.. Jeans, baseball caps, t-shirts, plaid flanels, etc are common clothing and easy to access in their "social class." This also contributes to the vastly different worlds both Elliot's family belongs to and where E.T. comes from.

Film Log- 2nd Semester- The Sound of Music

Movie: The Sound of Music
1965, Color
Director: Robert Wise
Actors: Julie Andrews Christopher Plummer

Summary: Maria is an Austrian Nun that leaves her convent to care for the children of a naval officer. These children are quite the handful and the naval officer has had previous troubles hiring a caretaker. This movie shows the bond between the children and Maria-- and the special connection that flourishes between Maria and the naval officer during the dangers and crime of WWII.

Q: How does the musical aspect of the film contribute to the film?
A: Like most musicals, the songs move the plot forward and add extra flare to the linear aspect of the story. This musical, however, incorporates the magic that is Rodgers and Hammerstein's talents into one production. All of the songs in this film find a way to incorporate personal stories, struggles, and relations to the conflicts with soldiers/ anti-semitism. The songs did have political value and raised some controversy toward the endings of the war. For example; "Climb Ev'ry Mountain"-- played at the end of the film shows the family's struggle in making it to the border/ avoiding nazi oppression.

Q:How does makeup/ clothing play an important role in this film?
A: In all movies, costuming defines much of the character's social class, personality, and wealth. In the Sound of Music, clothing is used to show the wealth of the Von Trapp family (orderly home, children in uniforms, children are clean and show signs of hygiene, Captain Von Trapp is clean and tidy as well) Maria the ex-nun wears very simple and inexpensive clothing to show her background as a nun/ commoner. The nazi soldier's are easily identified with their guns and swastikas on their clothing. Clothing among social classes is a very prominent theme throughout the film

Film Log- 2nd Semester- Wizard of Oz

Movie: Wizard of Oz
-1939, black and white and technicolor, 101 min.
-Director: Victor Fleming
-Actors: Judy Garland

Summary: Dorothy, a girl from Kansas, and her little dog Toto are caught in an extreme Kansas Tornado that lifts up her entire house and lands them in the magical land of Oz. Here, Dorothy meets 3 friends: the cowardly lion, the tinman, and the scarecrow.. all of them help in finding way to Emerald City to find their way home. The four of them are conflicted with the evil intentions of the Wicked Witch of the West, but their dynamic shows that love conquers all.

Q: What role does the specific historical connection play in the Wizard of Oz?
A: Many viewers have made a legitimate connection from the film to the "Gilded Age" in America's history. The wicked Witch of the East represented eastern industrialists and bankers who controlled the people (the Munchkins); the Scarecrow was the wise but naive western farmer; the Tin Woodman stood for the dehumanized industrial worker; the Cowardly Lion was William Jennings Bryan, Populist presidential candidate in 1896; the Yellow Brick Road, with all its dangers, was the gold standard; Dorothy's silver slippers (Judy Garland's were ruby red, but Baum originally made them silver) represented the Populists' solution to the nation's economic woes ("the free and unlimited coinage of silver"); Emerald City was Washington, D.C.; the Wizard, "a little bumbling old man, hiding behind a facade of paper mache and noise,... able to be everything to everybody," was any one of the Gilded Age presidents."

http://www.clas.ufl.edu/users/pcraddoc/ozqys.htm

Q:How does Costume/ Makeup play a role in this film?
The characters of this film were defined by their appearance. Dorothy, a beautiful girl, wore very clean and simple clothing and her makeup was also very clean-- showing her simplicity. The other characters such as the lion, tinman, scarecrow, and both of the witches wore very obvious clothing to show what/who they were. The lion had excess hair all over his face to show how much he resembled that of a lion. The tinman was brought to life with silver makeup and very shapely clothing. The scarecrow's makeup made it so that his face looks like a burlap sac with hay coming out of his clothing. The witches are great examples as to how the makeup/ costuming can play a major role in illustrating good from evil. Glinda is associated with pink, lightness, blonde, beauty, and her sister is associated with ugliness, green, evil intent, and malicious behavior.

Film Log- The Birth of a Nation

Movie: The Birth of a Nation
-1915, black and white, 190 min.
-Director: D.W. Griffith
-Actors: Lillian Gish, Mae Marsh

"The Civil War divides friends and destroys families, but that's nothing compared to the anarchy in the black-ruled South after the war. Two brothers, Phil and Ted Stoneman, visit their friends in Piedmont, South Carolina: the family Cameron. This friendship is affected by the Civil War, as the Stonemans and the Camerons must join up opposite armies. The consequences of the War in their lives are shown in connection to major historical events, like the development of the Civil War itself, Lincoln's assassination, and the birth of the Ku Klux Klan." (IMDB)

Q: What is the significance of the disclaimer at the beginning of this film?
A: The film's disclaimer basically emphasizes and promotes the Idea of the KKK-- for many years, D.W. Griffith's film has been, and still is very controversial. The fact that the director put in this disclaimer really shows the personal views of the filmmaker, and the P.O.V the film is made to be in. The racist outlook of the film director himself shows through the movie and strongly reignited the spiteful powers of the KKK

Q: How does makeup/costume play a role in this film?
A: The mise-en-scene was true to the time period despite the time frame it was shot in. The women wore very colonial outfits and the color of their skin was extremely white and bright. The black actors in the film were actually white men with extremely dark make-up and an emphasis on their lips. Griffith obviously did not cast any real black actors to contribute to the film and all of the extremities. However, every actor was dressed in the appropriate costuming to satisfy the time period of the civil war-- these costumes showed wealth, poverty, service to the country, etc.

Film Log- The General

Movie: The General
-1926, black and white, 107 min
-Directors: Clyde Bruckman, Buster Keaton
-Actors: Buster Keaton, Marion Mack

Johnnie (played by Keaton) is a Southerner who has two true loves: Annabelle Lee, and his train. The story follows Johnnie as he is denied a position in the Confederate Army to serve as an engineer. According to filmsite.org The General is a story based on a "Civil War story of the daring raid/seizure by a group of about two-dozen Union spies of a Confederate train near Atlanta." Johnnie must rescue both the train and win back his love Annabelle in this film.

Q: Why is the use of body language so crucial in Keaton's film?
A: During the times of silent films, the use of sound and gesture is crucial to get the point of the story across. Buster Keaton is widely known for his contributions to the world of film, and with that, he really used his body as a comical feature and also to exaggerate emotions in order to justify the story line. His gags are funny because he has a way of working with his body to continually fall and get back up again--a huge addition to the character's personality. The use of facial expressions of every actor in this film is also crucial in order show the attitudes and emotions of the supporting actors-- also, it shows how one's personality reflects off the other--giving that character a dominant position or not.

Q: What is the significance of lighting/ angles in The General?
A: Keaton and Bruckman use the camera in so many great ways at a time of early film development. The camera really shows the difference between the Confederate and Union soldiers by placing the camera at a low shot and capturing the movement of the soldiers. The camera also acts as a focusing tool to guide the viewer to look at certain things (i.e: railroad tracks, costuming, etc). The lighting is also important because the scenes shot on the train are in natural lighting, whereas the indoor scenes use high-key lighting to really emphasize facial expressions and characters.

Film Log- Amelie

Movie: Amelie
-2001, color, 122 min.
-Director: Jean-Pierre Jeunet
-Actors: Audrey Tautou, Mathieu Kassovitz

Amelie Poulin is a French girl who enjoys the small things in life. Because of the false ideas she has of her childhood, Amelie often finds herself alone and rarely makes deep connections with others. After finding a special book in the train station in paris, Amelie goes on a mission to return it to the owner, through this mission, Amelie finds herself devoting her all to bettering the lives of those around her. In this pre- French New Wave style film, the audience member follows her into her whimsical mind and all of the beauty she finds in life.

Q: How does Amelie's appearance contribute to her character in the film?
A: The whole film is shot in a red scheme. Amelie often wears red, implying that she is blending in with the background, and as the film progresses, Amelie makes several bold steps in her daily fashion to show her character evolving into a more open and confident girl. Her haircut is very bold and dark, which greatly contrasts with her gentle, and pale face. Amelie wears "no-makeup" and sports a very natural look to complement her "purity" and "naiveness."

Q:How does the soundtrack to Amelie set the mood in the film?
A: This film is scored by Yann Tiersen. Jean-Pierre Jeunet chose Tiersen to add his music into the film after hearing the romantic and charming music that captures Parisien culture so powerfully. The film is full of changes in emotion, location, and scenery, the music goes hand in hand with every step of the way to fully embellish the vibrant mood of the film. It certainly captures the roots of Amelie as a child, losing her mother, all the way to her day-time job as a waitress. The constant shift in atmosphere is greatly complimented by Tiersen's score to lead the viewers through the story and to help aid them to understand what Amelie is undergoing internally.

Film Log- Taxi Driver

Movie: Taxi Driver
-1976, color, 113 min.
-Director: Martin Scorsese
-Actors: Robert De Niro, Jodie Foster

Travis Bickle is an ex-Marine who works as a nighttime cab driver. He suffers from Insomnia and unfortunately fails to connect to anybody because he is a loner. As a cabbie, Bickle drives all over the downtrodden mid-'70s New York City, "wishing for a real rain to wash the scum off the neon-lit streets." In his isolation, Bickle misjudgingly takes out his anger powerfully and lashes out at the world he lives in by transforming into a violent individual, he hopes to connect to Betsy, a smart office-worker, and to rescue a pre-teenage prostitute, Iris.

Q:How does Scorsese use the camera to imply that Travis Bickle is racist?

A. Although the audience viewer never hears Bickle explicitly make a remark against the blacks in the movie, Scorsese set the movie up in a way to focus the viewer's attention to Bickle's responses toward the black men in the movie. Throughout the story, Travis encounters a few instances where he shares the same hatred against blacks as the people around him. One example is the scene where, in fact, Scorsese acts as a passenger in the cab and tells Bickle to pull up to the apartment where his wife is having an affair with a black man. The other instance is when Travis is in the liquor store and he kills the black man in the store with him. The store-owner tells travis to leave because "he can take care of it" and he immediately begins to beat up the shot man.
Another huge point in Bickle's deep hatred for the blacks is the way the camera reacts toward them. In the film, everytime Bickle lays eyes on a black person, the camera slows down to portray Bickle's way of lingering looks and point of view on this particular race.

Q: How does clothing play a major role in determining the female characters?

A. Costuming plays an enormous role in helping the audience realize the social status of Betsy and Iris.
Through her costuming, one can tell Betsy works in a professional environment. The first time we see her, she is wearing a white dress to show her angelic presence. Throughout the film, Betsy wears a red dress, a blue dress (to show serenity and calmness), and a cream colored coat. Betsy works in a political office and her costuming is crucial in showing her hygiene, beauty, and representation.
Similarly, Iris, the 12-year-old prostitute wears clothes in order to fit into her environment. Though these two characters come from different backgrounds and social statuses, their choice in clothing distinctly defines their role in the film. Iris wears vibrant colors, tight clothes, and heels. From afar, one could not tell she is a 12 year old, however, when she reveals her eyes from her over-sized sunglasses, one is able to tell she is a child. The way she dresses is made to appeal men on the streets to run "Sport's" business.