Mood board

How does 'The Third Man' use Composition, Cinematography and Mise en Scene with the sewer scene?

The Third Man (Sewer Scene) analysis

The framing within this still image uses vanishing lines to great effect, giving the audience unanswered questions and thoughts: that they wish could be answered by peering around the corner. As well as the angle and height adding to the assumption that we aren’t looking with a perspective of a person, the wide shot captures the vast space of the sewers: which wouldn’t happen if we were looking from a perspective. Furthermore, the wide shot can also signify the possibilities for men in this time, a metaphor for how no one journey is the same as the others. The difference of height in the scene, with the corridor above, and the tunnels greatly enforces this interpretation. Moreover, the darkness of the room conveys that the possibilities in that time were evil/untrustworthy, especially how sharp and long the shadows of the tunnel entrances are. On the other hand, the size of the man within the vast space is a metaphor for how insignificant he is within this post war world. Finally, this scene is inspired heavily by German Expressionism, with the high angle shot. The lighting in the shot enhances this influence, as it makes the angles and lines within the shot; sharper, straight and parallel with more of them vanishing. It adds to the sense of hopelessness that the audience feels for the character, as his choices will lead to danger.  

The framing within this still emphasises the sense of labyrinth in the sewers, as it shows a few directions where the characters could be running towards: and those of which that are going in a complete different direction, confusing the audience. With the shadow of the main character from the tunnel, it creates a sense of uncertainty of the direction in which the character is moving. The unorthodox shot allows there to be two scenarios taking place/ being captured in one shot. The diagonal angle of this shot is the reason as to why everything has been encaptured: showing the shadow in the bottom right, with the characters following in the top of the screen. The clothes of those characters on the railings gives the impression that they are not normal police, maybe special forces/private investigators: as they don’t have the normal attire on for an officer in post war Vienna. But with the corruptness that was also happening in that time period, they might have nothing to do with the police: could have their own reasoning as to why they’re chasing the main character: with guns. With the addition of the weapon, it screams threat to the audience, that if this man gets captured he will die: adding another level of tension to the shot. 

The framing within this still image is clearly heavily influenced by German Expressionism; with the parallel lines all pointing in one direction, single light source and untrustworthiness about the entire frame. The single light source can raise a few different interpretations, first of all: it could be a symbol for freedom and hope for this character, that they have longed for. Alternatively it could resemble the end for this character, as when you die it is said that you see the light at the end of the tunnel. Also, this shot use convergence to good effect: as the wide tunnel looks to be closing around towards the end- possibly even getting smaller. This then converges into the light in the ‘white room’ that could be ‘freedom’. Furthermore, with the wide shot of this still, it allows for a lot of nothingness to be shown, i.e. brickwork- this creates the sense of loneliness and abyss for this character. Finally, the clothes of this character shows that they could be rather important, with connotations of a well off person: trench coat and hat. Overall, the still conveys to the audience that maybe this character finally has a bit of hope for his future, that Vienna in 1940 onwards, eventually will have some hope.

Within this still it captures the pain that this character is facing, even though he has made it this far to freedom: there’s no way in which he can beat the final hurdle. The concept of this still can show the health in which the character is in, even though we know as we have seen the clip, those that only see this still image can assume that he is in physical pain. This can be represented in the fact that he cannot move the drain cover, stretching his hands out: hoping for a miracle. Furthermore, the low angle of this shot allows the audience to visualise what this character could see if he finally makes it to freedom from his imprisonment. The perspective of this shot, also adds emphasise to the connotation of imprisonment- as prisoners can generally see freedom from outside their jail cell, like this character can through the drain cover. This entire frame could be a metaphor for post war countries, that even though everybody longs for freedom from the hell of war: the future is not full of joy and happiness, there will be a large struggle. Finally, with only a few dimly lit sections of this frame, it can show that the world this characters craves freedom from is; dark, evil and untrustworthy. 

What does the location of the sewers of Vienna in 1947 add to the meanings?

The sewers that were used in filming the ending of ‘The Third Man’ have many different interpretations, as to what their overall meaning and relevance was to the movie. From a simple viewpoint, they are seen to be a great place to film from many different angles and heights, to create confusing and disorientation with the character and audience. If you were to look deeper into the reasoning behind using this setting: it could be seen as a metaphor for ‘the evil beneath Europe.’ As there was so much mistrust and paranoia in 1947, the metaphor of people hiding underground running from the law: being Germany being run out of power and having to go into hiding after being beaten in the war. 

Conversation Preliminary Task

Our Preliminary Task was a continuity task involving filming and editing a character opening a door, crossing an area and sitting down in a chair opposite another character, with whom she/he then exchanges a couple of lines of dialogue.

Planning

Before we could start filming or editing, we had to plan our setting and dialogue side by side: to make sure that they fitted together. Also coming up with a plan B, just in case our original idea didn't work. We needed to plan these two vital parts of the task to make sure the shoot was well organised and smooth. We started of by discussing what angle we wanted the piece to take, quickly coming to a decision that the most effective way would be a serious scenario between two characters, with a clear power driven character! Then searching the school site where there would be a good setting to 'expose' a characters emotions and thoughts. Choosing the 'Arc' as it would allow some great wide shots of the character who is losing the battle. But, we had to choose a second idea along with this, as we knew that it would be difficult to use that space with no interruptions. Therefore choosing the abstract idea of a table outside a building, creating a level of uncertainty within the piece. The way the stairs were located alongside the table, there wasn't much choice as to where the 180 degree rule would come into effect, quickly deciding where that would be. The through nature of our planning worked well, as we eventually had to use plan B! With the floor plan, dialogue, setting and camera  all set up, we were ready to start filming.

Techniques

In our task, we used many different techniques during editing and filming. We used what we had learned in lesson, and the work that we had studied during extended learning. Throughout the piece we ensured that we didn't break the 180 degree rule, as it could've disorientated the audience during our piece. We took inspiration in the way that the 'Coen Brothers' film conversation, as we thought it best suited our piece: exposing emotion and signifying power in a shot. When filming, we also made sure our piece was always consistent, with no errors in that area. We also wanted to ensure the audience understood the power that the characters had over each other, shown with the variety of shots during the walking scenes. We did this by different height, angle and zoom of our shots. Whilst our characters were walking we allowed head room, if we didn't our piece wouldn't look very professional.

(*wouldn't allow me to crop*) This screenshot is evidence to the fact that 

we allowed enough head room for our shots. 

Taking inspiration from the intruding shots from the Coen Brothers.

When editing I used a couple of techniques when changing between shots, with dip to black symbolising danger or aggression and dip to white symbolising weakness or harmlessness. (Reference from 1:01 to 1:03) These techniques work well in the finished product as it adds another layer of expectation to the piece, you can guess what the tone will be next.

Main Learning Points

The main aspects of our preliminary task that I will take into consideration when in the process of creating the Thriller Task will be; Camera angles, and how i can make them as effective as they were in this piece. I will also take more time when editing, not overusing visual edits to make the piece more 'effective'. Also, when in the planning stage i will make sure that we have a plan A and B as the scene or audio could never go to plan when filming. Points were I would like to take into the next task is the way I filmed the actual conversation. The way in which we copied the 'Coen Brothers' came off very well in the finished product. Finally, I believe that next time I will need to establish character with more precision, so that the audience can connect with them: overall making the piece more engaging.

What areas would you seek to improve in your preliminary task?

I would look at the way in which I edited the piece. Ultimately, how I transitioned through shots during the entire piece, my thought-path was that 'Dip to black' and 'Dip to white' would create a distinct ambience of the piece. But instead it made the piece looked unfinished and as if I was covering a mistake, So therefore in the future I will have to take in consideration all of the shots I need, and the different visual features I can use,  so that I don't have to over-use the same features.

As well as the editing, my filming could be more precise and accurate as well. Although the angles were, 'well thought out and executed'- Mr Seal, I will have to make sure I make good use of the tripod, to give the piece a more professional all round look. This will keep the movements smooth, so that the camera can keep up with the action.

How does the director of Peaky Blinders use camera angles and mise en scene to establish expectation and character?

                                                         Peaky Blinders analysis

 Within this scene the camera angle is giving these characters within peaky blinders a God -like stature; with them looking down on us and that they are on top 'of society' also: As well as literally being at the top of the screen.  With this angle coming into effect from the beginning, it sets the tone for the rest of the scene/still images. The expectation of what the characters will do next can coincide with the colour pallet, in the scene that the red burning flame in the corner can symbolise hell, but more likely that violence is inevitable. The puddle also can be seen to show the transition from a happy/cheerful part of town- to the dark depths of it. With the reflection ending mid-way through the screen, the other half of the screen is black, showing that the path that lies ahead for these characters will be hellish. As well as the unity within these characters shown by the togetherness and symmetry in their walking, the clothes that they are wearing symbolises that they are all part of the same group- and that whatever they are about to do was planned, as they're wearing the same outfit.

Within this following still the director portrays that these characters as a group of thugs, that are on a 'mission.' Shown by the way that they aren't fazed by the puddle, which they walk straight through it as if it’s not there. This could also show that they're trying to assert their dominance on surrounding bystander they shouldn't be approached. Furthermore, this shot adds to assumption made previously that these characters are part of a group, wearing the same style of shoes and trousers: that was previously hidden in the last still. This colour pallet of this shot adds fuel to the already present violence that is foreshadowed, with the ripples created in the puddle this can implement the feeling of uncontrollable violence, 'waving' out of control.  With the group being the medium that is unsettling the calmness of the puddle, before the storm. 

Finally, within this still image the director zooms in on the main characters faces, creating a rule of thirds- of all three of the characters face parallel to this rule. This creates a sense of unity between the characters, which they don't need to be facing each other and/or in conversation to know what each other are thinking. Also, the camera angle within this shot gives the audience a sense that they are within this scene: possibly a bystander: gawping at this thuggish looking group. Last of all, with the characters all looking in the same direction it creates a suspense- that we should also be looking at what they are: alternatively that we were missing out on part of the scene. This, added by the repeated burning orange colour pallet used - confirms the assumption of violence taking place within the scene after.

EDITED 27/10/16 - A PowerPoint on how the director established character in Back to the Future

Back to the Future still images by Reece Slater on Scribd

Why does the director not show any character's face in the opening sequence? 

     There is many possibilities as to why the director choose to not show the face of this character until the end of the first scene. The main reason, could be that the director does not want you to make presumptions about this character. Even though the mise en scene allows the audience to understand the age and the traits about this character, they can be easily manipulated by showing other traits of the character. My point is that, if the audience have a face to a certain characters actions, then it’s difficult to then change that characters meaning and purpose. Furthermore, another reason could be that the director wants the audience to be captivated from the start, so with the ever growing intrigues towards who this character could be will do this. Finally, the director could be suggesting that this character has something to hide, with only the lower half of his body showing. Either that being disfigurement, or an item.

How does this add to the sense of characterisation and anticipation?

     The way in which the character moves within this sequence, a knowledge of the surrounding, confidence- this creates a sense of what this character is like. Also with the dress sense and mode of transport, skateboard, you can assume the age and social status of this character. With the director not showing the characters face, we can assume that this has to link with characterisation, it could be so that the audience focuses on what this character persona is, not judging a book by its cover kind of scenario. Finally, this adds to the anticipation of the scene as there are ever growing amount of questions directed towards this character throughout. Helped by the unknowing of who this character is.

#Plug to Hazy Parkour

    Keelan and Ben are sick at Parkour

Introduction

Hi, my name is Reece and this is my media A-Level blog.