Hot Fuzz (2007) - Comedy

Figure 1. Hot Fuzz Poster

Hot Fuzz is a Parodic comedy film. Showing cops tackling crime in a quiet town, its parody is related to cops in action films. 

Figure 2. Cops Still 

The comedy within the film comes from the understanding of the original genre. Carr states in his review “’Hot Fuzz’ manages to find humor not just in the mundane existence of a small town but also in the overblown nature of action films.” (Carr, 2014). Carr is commenting on the films understanding of action movies and how the humour in the film comes from both the parody and humour of the small village. The over the top nature of the action within the film and the violence of the film makes the audience realise just how ridiculous action films can be. This form of comedy, however, might not be funny for those who have not seen action films, therefore an understanding of the source material is required for an audience to find this film funny.

Figure 3. Swan Still 

A particular funny scene is the one in which the cops receive a call about a swan. The call is initially funny because it is made to believe that the caller is a prank caller due to the absurd nature of the call and then it cuts to the cops taking information from the caller. They take information as is the swan is a criminal, which provokes laughs. The cops then run after the swan failing to catch it. Hamilton speaks about the swan in his review “They don’t catch it on their first outing, so it turns up at key moments throughout the film.” (Hamilton, 2015). Hamilton speaks about how the swan returns throughout the film. The swan is used as a running gag after their first encounter and the audience know that when the swan is on screen something funny is going to happen. You can also consider this film to be funny because it is British and therefore swans are protected and during their adventures with the swan it can’t come to any harm. 

Hot Fuzz is funny because it’s extremely British and is satire of American action films.

Bibliography

Carr, K (2014) http://www.7mpictures.com/hot-fuzz-blu-ray-review/ (accessed 06/01/16)

Hamilton, K (2015) http://kotaku.com/hot-fuzz-is-a-god-damned-masterpiece-1699788041 (Accessed 06/01/16)

Illustration List

Wright, E (2007) Figure 1. Hot Fuzz Poster http://static.tvtropes.org/pmwiki/pub/images/hot-fuzz-poster-1.jpg (Accessed 06/01/16)

Wright, E (2007) Figure 2.  Cops Still http://i.telegraph.co.uk/multimedia/archive/01189/arts-graphics-film_1189267a.jpg (Accessed 06/01/16)

Wright, E (2007) Figure 3. Swan Still https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCsWMFwsQ5PCvTjOfo4IF0qaUw58KvXbX84NsUrMNVSCegmfQhC9shuZ-R5Bupg-hMoszl3JiEElNdUNR4Y6eNSZm5D7XKFAGXlxRwfCC52YKrHVrLKaRq4A9CYMARK-MGGJYAty19GWE/s400/swan.bmp (Accessed 06/01/16)

The Incredibles (2004) - Narrative Structure

 Figure 1. The Incredibles Poster 

The Incredibles is a Pixar movie that could be described as having a 3 or 5 act structure. It has a linear narrative, is easy to understand and follows the formula of Setup, Conflict and Resolution. This Linear narrative means that the film has an Arc Plot, in which action is rising and then falling within the film. At the start of the film, in Act 1, we are given exposition, this is where we are first introduced to Bob and Helen who, at this point in time, are the superheroes Mr Incredible and Elastigirl. An incident then leads to all superheroes having to give up their roles and we then see Bob and Helen living an ordinary life 15 years later. Bob finds his life mundane, he works a tiring job. Margaret Pomeranz mentions in her review that “Mr. Incredible is deeply depressed, he’s lost his identity. He can’t resist a bit of secret action on the side with Mr. Frozone.” (Pomeranz, 2015). Knowing that Bob has lost his identity we as an audience expect him to gain it back. These feelings Bob has lead to the inciting incident which is Bob losing his job. We then come to Plot point 1, having no job Bob accepts a job that only a superhero can perform.

Figure 2. Bob Still

We then come to Act 2 where Bob begins to face obstacles. Bob must face off against a robot on an island which is at first a struggle. Bob must also continue to lie to Helen, instead of telling her that he became a superhero again he instead says that a promotion from work means he’s working away from home now. However when Helen listens to Bob on the phone with another women she becomes worried that he is having an affair. Felix Vasquez talks about the issues the film deals with and describes The Incredibles as “a true accomplishment to be proud of which is an amazing fantasy tale while confronting issues of violence, marital troubles, adultery and monotony” (Vasquez, 2005). These issues not only teach the audience about how to deal with them but it also gives more depth to a story structure that can be seen as cliché and overdone. While Bob is still lying to Helen he continues down his lone superhero path however in the first culmination Bob is then captured by the villain of the island. We then reach the midpoint of the story when the rest of the family (apart from baby Jack Jack) head to the island to save Bob. At this point the children have to learn how to control their powers against the threats on the island. As we approach Plot point 2 the family is now working together as a superhero team. The family escape the island and reach the city this is where the movie reaches its climax as the family face the villain’s giant robot.

Figure 3. Family Still

As the Superheroes defeat the robot we reach Act 3 and the Third Act twist. The villain makes an attempt to steal baby Jack Jack and raise him as his own however it turns out that Jack Jack actually has powers which he uses to get away. The family are now generally happy about being superheroes and this is the films resolution. The ending of the film is a Partial ending, there’s still room for another adventure, possibly with the villain that turns up at the end. The ending however has been critised by some, R. L. Shaffer says that “it's a shame Pixar continually bypasses redemption for any of their villain characters.” (Shaffer, 2011). With the third act generally being a shorter part of the film it’s often that points like what Shaffer is suggesting may be cut out. The third act structure is often cristised however The Incredibles is a pastiche to Superhero movies which often follow this structure and therefore it was an appropriate choice to make in terms of narrative. This element of pastiche obviously leaves little room to play with narrative however a simple story leaves plenty of room for a creative and consistent art direction which is certainly the films strength.

Narrative Story Structure

Act 1

Exposition

-  We are introduced to Mr Incredible (Bob) and Elastigirl (Helen) back when they were superheroes.

Inciting Incident

-15 years later Bob finds life not being a superhero mundane, this leads to him losing his job.

Plot Point 1

-Bob receives a path back into being a superhero and takes it but does so alone without telling his family.

Act 2

Obstacles

-Bob is forced to Lie to Helen, he faces off against a robot, which after a few years is a struggle.

First Culmination

-Bob is captured by the villain on an island.  

Mid Point

-The rest of the Family head to the island to save Bob.  

Plot Point 2

-The family work together to stop the villain as superheroes.

Climax

-          The Family face off against the giant robot threatening the city.

Act 3

Denouement 1: Third Act Twist

-          The Villian makes an attempt to hurt baby Jack Jack but Jack Jack actually has superpowers and is able to save himself.

 Denouement 2: The Resolution

- The family are happy being superheroes, but still remain secret.

Bibliography

Pomeranz, M (2015) http://www.abc.net.au/atthemovies/txt/s1251292.htm (accessed 16/10/15)

Shaffer, R (2011) http://uk.ign.com/articles/2011/04/11/the-incredibles-blu-ray-review (accessed 16/10/15)

Vasquez, F (2005) http://cinema-crazed.com/blog/2005/03/20/the-incredibles-2004/ (accessed 16/10/15)

Illustration List

Bird, B (2004) Figure 1. The Incredibles Poster https://s3.amazonaws.com/static.evanced.info/Customer/veronapubliclibrary/INCREDIBLES_919DB7ED.JPG (accessed 16/10/15)

Bird, B (2004) Figure 2. Bob Still https://unclutterer.com/wp-content/uploads/090629-incredibles.jpg (accessed 16/10/15)

Bird, B (2004) Figure 3. Family Still http://media.comicbook.com/uploads1/2015/06/incredibles-sequel-138852.jpg (accessed 16/10/15)

Big Hero 6 (2014) - Archetypes

Figure 1. Big Hero 6 Poster

Big Hero 6 is a film in which we can identify hero’s journey archetypes. Our protagonist is Hiro who is the Hero of the story. Hiro is a young boy and has yet to discover his calling. We watch him grow during the film and see how he personally deals with tough issues. Hiro leaves his ordinary world behind and takes up a new world in which he is a superhero.

Figure 2. Hiro Hamada

At the start of this story we are introduced to a Hiro that doesn’t really acknowledge his full potential, McLaughlin touches upon this in her review “Hiro, having already graduated from high school, is a bright spark with no direction.” (McLaughlin, 2015). This lack of direction is frustrating to Tadashi, Hiro’s brother. Tadashi can be considered the Herald in this story because when he takes Hiro to his university he gives Hiro direction in his life, a call to adventure. Hiro and Tadashi are also orphans meaning that Tadashi could also be considered a Father or a Mentor to Hiro as he guides him and is somewhat an authority to Hiro.

Figure 3. Baymax 

Unfortunately Tadashi passes away during the film meaning that Hiro not only loses a guiding figure in his life but also must grow and come to terms with his brother’s death. Hiro finds a new Mentor in Baymax. Baymax is a healthcare robot which Tadashi built. Baymax stays with Hiro refusing to shut down unless he says that he is satisfied with his care, during this time Baymax provides motivation and guidance in a very honest and innocent way. The honesty, innocence and also growth of Baymax’s understanding also suggests he comes under the archetype of the Child. Being a healthcare robot Baymax can also be considered to be part of the Mother archetype. Baymax cares for the Hero, providing ways to help Hiro feel better such as providing hugs as shown in figure 3. The traits of the Mother are also described by Fitzherbert “Resembling a cross between the Marshmallow Man and a hot air balloon he is a cuddly life support system (soft on the outside and in) who attends to all the health and emotional needs of 14-year-old Hiro” (Fitzherbert, 2015). This cuddly, soft and loveable appearance of Baymax creates a soothing and nurturing feel to Baymax’s character.

 Figure 4. Big Hero 6 Team 

Later in the film Baymax accidentally contacts Tadashi’s friends from university to help Hiro deal with his grief. During this time “Hiro forms the titular group, drawn from his science-nerd chums, pimping and weaponising their own inventions.” (Jolin, 2015). This team that Hiro creates is essentially a Group Hero. As you can see from figure 4, Hiro takes each one of their creations, considers their personalities and draws up superhero costumes for them. They help Hiro during battle therefore Go Go, Honey Lemon, Fred and Wasabi are his Combat Allies as well as Hiro’s friends. Fred, the comic relief of the group, can also be considered the Trickster with the mischief he causes. During the film the Big Hero 6 team go up against the Shadow, Robert Callaghan, who’s intent on destroying Krei over the loss of his daughter. Callaghan mirrors our Hero because he too lost someone he loved, he represents the dark path Hiro could have taken if his Allies were not there to support him. Big Hero 6 is clever in using it’s archetypes to show that it’s possible to deal with grief and that love and support go a long way. 

Archetypes summary

Hiro Hamada

The Hero – Protagonist of the story, we experience his growth through the film.

Baymax

The Mentor  - Guides and motivates Hiro.

Mother – Cares for and nurtures Hiro.  

Child – Has an innocent view of the world.

Tadashi Hamada

The Herald – Gives Hiro his call to adventure.

Father – Is an acting father figure and somewhat authority figure.

Go Go Tomago, Honey Lemon, Wasabi

Combat Ally - Is part of the big Hero 6 team and Hiro’s friend.

Fred

Combat Ally - Is part of the big Hero 6 team and Hiro’s friend.

Trickster – Is the comic relief and likes mischief.

Big Hero Six (team)

Group Hero – The team defeat Callaghan together.

Cass Hamada

Threshold Guardian – When Hiro crosses the threshold by interacting and following Baymax he sneaks past her.

Mother – Aunt Cass is Hiro and Tadashi’s guardian and cares for them.

Abigail Callaghan

The Maiden – She has been sleeping the whole time in a place of purity.

Alistair Krei

The shapeshifter – We are unsure what his intentions are throughout the film.

Robert Callaghan

The shadow – Not completely evil but wants to destroy Krei for revenge. Fuelled by his loss of Abigail.

Bibliography

Fitzherbert, H (2015) http://www.express.co.uk/entertainment/films/555248/Disney-Big-Hero-6-review-trailer (Accessed 01/10/15)

Jolin, D (2015) http://www.empireonline.com/reviews/reviewcomplete.asp?FID=138626 (Accessed 01/10/15)

Mclaughlin, K (2015) http://www.scifinow.co.uk/reviews/big-hero-6-film-review-meet-disneys-avengers/ (Accessed 01/10/15)

Illustration list

Hall, D/ Williams, C (2014) Figure 1. Big Hero 6 Poster http://vignette2.wikia.nocookie.net/marvelmovies/images/5/55/Big_Hero_6_poster.jpg/revision/latest?cb=20140611014916 (Accessed 01/10/15)

Hall, D/ Williams, C (2014) Figure 2. Hiro Hamada http://static2.hypable.com/wp-content/uploads/2014/05/big-hero-6-trailer.jpg (Accessed 01/10/15)

Hall, D/ Williams, C (2014) Figure 3. Baymax http://static01.nyt.com/images/2014/11/07/arts/07BIGHERO/07BIGHERO-articleLarge.jpg (Accessed 01/10/15)

Hall, D/ Williams, C (2014) Figure 4. Big Hero 6 Team https://thunderclam.files.wordpress.com/2015/01/big-hero-6-movie-reviews1.jpg (Accessed 01/10/15)

Wreck It Ralph (2012) - A Hero's Journey

Figure 1. Wreck It Ralph Poster 

Wreck it Ralph is a Hero’s Journey film in which we follow an unlikely hero. Ralph, the villain of his video game seeks respect and a happier life. Ralph lives in the dump away from the rest of the characters in his video game, feels isolated and is obviously tired of being the bad guy. We find this information out when Ralph is sharing his story with other video game villains, it’s clear here that he wouldn’t mind being the good guy. Ralph receives his call to adventure during the celebration of the games 30^th anniversary when he accidentally interrupts the party for his game. The characters within his game are wary of him and are convinced that he’s completely a bad guy however Ralph learns that if he could get a medal then he could prove that he’s a good guy. The refusal of the call happens however when there is doubt he can obtain the medal. Ralph leaves his game and seeks help from Tapper at Tappers bar. It could be suggested that Tapper is Ralph’s supernatural aid or mentor as here he begins searching for a way to obtain a medal. While searching however he comes across a soldier from the game Hero’s duty. Ralph learns that completing the game results in being given a medal and obtains the soldiers armour to then be able to cross the threshold into the game Hero’s duty.

It could also be suggested that the bad guys at the start of the film are Ralph’s mentors. The bad guys teach Ralph an important lesson, one villain saying that “Just because you’re a Bad Guy doesn’t mean that you’re… bad guy?” Here Ralph learns, though he doesn’t know it, that just because he is supposed to be the villain of his game and looks threatening doesn’t mean that he can’t be a hero. As mentioned by Keyes in his article Ralph is “an ideal main character; he epitomizes the notion that looks can be deceiving.” (Keyes, 2014). Ralph’s look are indeed deceiving, as shown in figure 2 Ralph is a large and intimidating person. He wears red a connotation of being dangerous and his square-like shape tells us that he is strong. Though he looks messy and angry we are later shown that Ralph is kind and that his strength can be used for good.

Figure 2. Ralph still

It’s obvious that Ralph is not used to being a hero. As mentioned by Catherine Bray in her review “he decides to strike out for pastures new, in doing so unwittingly unleashing a force that threatens the existence of not only his own game, but all the others in the arcade.” (Bray, 2013). Bray is referring to Ralph’s time in Hero’s duty, it is here where Ralph is truly in the Belly of the Whale. Ralph doesn’t understand anything outside of his own game and because of this he unknowingly releases the Cy-Bugs from Hero’s duty into other games. Hero’s Duty could also be considered one of the many trials on the road of trials that Ralph will face. In Hero’s duty Ralph obtains the medal that he has been searching to find, unfortunately he accidentally activates an escape pod and he ends up in another game called Sugar Rush. During his time in Sugar Rush Ralph meets his goddess represented by Vanellope. Vanellope is a glitch in the game meaning that she is also outcast like Ralph, she steals Ralph’s medal and uses it for a chance to race and to become part of the games racers. The medal is Ralph’s temptress, he needs it to be respected however it also controls the way he acts. Ralph wants to get the medal back and therefore participates in trials to help Vanellope win the race and therefore obtain his medal. During this time Ralph becomes Vanellope’s trainer and almost becomes like a father figure to her. As you can see in figure 3, he helps her makes her own go kart and teaches her how to drive it in the cola mountain that she lives in. This is the stage known as atonement with the father.

 Figure 3. Ralph and Vanellope 

During his time mentoring Vanellope Ralph runs into King Candy who gives Ralph his medal back in exchange for telling Vanellope that it’s dangerous to race because of her glitch. Ralph believes that he is doing the right thing and tells Vanellope she can’t race which upsets her. This is the Apotheosis, Ralph has put his medal above Vanellope who he had bonded with. He then proceeds to wreck her cart. Believing that she is safe and after receiving the ultimate boon, his medal, Ralph returns to his game. He is given a refusal to return, with the other members of his game fleeing in panic over him not being there the game can no longer go on, therefore he is again alone and not considered a hero.

During his time alone in his game he notices Vanellope on the side of her game box, knowing that something is wrong he confronts King Candy and the earlier problem of the Cy-Bugs. This confrontation is the Magic Flight. During this confrontation he receives Rescue from Without when the cola mountain reacts and explodes. With confrontation over, Ralph is able to cross the return threshold with the other characters from his game. Being the master of two worlds he invites other characters from games that were shutdown to appear in the bonus level of their game. Even without his medal he realises that now he has the freedom to live. When he sees Vanellope happy and being played in her game he comments saying “if that little kid likes me, how bad can I be?” Ralph has come to the conclusion that he’s not a bad guy fully. This is a pleasant way to end and shows the moral that it’s not looks that determine the person that you are.

A Hero’s Journey Summary

Separation

1. The Call to Adventure – During the 30^th Anniversary party Ralph learns that obtaining a medal would mean that he would be respected.  

2. Refusal of the Call – There is doubt that a medal can be obtained by him, he shouldn’t also “Go Turbo”.

3. Supernatural Aid – The bad guys give him advice/ Tapper helps him try and find a medal.

4. Crossing the Threshold – Ralph steals the soldiers armour and enters Hero’s Duty.

5. Belly of the Whale – Ralph's time in Hero’s Duty.  

Initiation

6. The Road of Trials – Obtaining the medal in hero’s duty, helping scare off the people who bully Vanellope, Building a cart, teaching Vanellope how to drive

7. The Meeting with the Goddess – Meeting Vanellope.

8. Woman as Temptress – Medal.

9. Atonement with the Father – Ralph becomes Vanellope’s mentor.

10.Apotheosis – Medal is godlike.

11.The Ultimate Boon – Receiving the medal, the thing that he has been looking for.

12.Refusal of the Return – Ralph notices Vanellope on the game box, he decides to save her.

Return

13.The Magic Flight – Ralph faces King Candy and the Cy-Bugs

14.Rescue from Without – Ralph is rescued by the cola mountain.

15.The Crossing of the Return Threshold – Ralph crosses back into his own game.

16.Master of Two Worlds – He invites other characters to join his games bonus level.

17.Freedom to Live – He is happier knowing that Vanellope doesn’t think he’s a bad guy.

Bibliography

Bray, C (2013) http://www.film4.com/reviews/2012/wreck-it-ralph (Accessed 26/09/15)

Keyes, D (2014) http://cinemaphile2010.blogspot.co.uk/2014/08/wreck-it-ralph-12-2012.html (Accessed 26/09/15)

Illustration list

Moore, R (2012) Figure 1. Wreck It Ralph Poster http://www.impawards.com/2012/posters/wreckit_ralph_ver6_xlg.jpg (Accessed 26/09/15)

Moore, R (2012) Figure 2. Ralph still http://www.apnatimepass.com/wreck-it-ralph-movie-poster-5.jpg (Accessed 26/09/15)

Moore, R (2012) Figure 3. Ralph and Vanellope http://media1.onsugar.com/files/2012/11/44/4/192/1922283/9db91366bfc47fc7_wreck-it-ralph.preview.jpg (Accessed 26/09/15)

Steven Spielberg's Jurassic park (1993)

Figure 1. Jurassic Park Poster 

Jurassic Park is a great example of a film with a story you can get invested in. In his article Richards talks about the story “It takes something that couldn’t otherwise be realised (a dinosaur park), fills it full of characters with wit and depth” (Richards, 2013). Richards is saying here that the characters as well as the fiction of the story is why this film is successful. Spielberg creates the image of family with these characters which helps the audience relate to them and feel for them.

Figure 2. Close Up

We are not only manipulated by the brilliance of the characters themselves but also by the way in which the camera is used. It feels like Spielberg has crafted every single shot to perfection. As Ferguson mentions in his review “only the most Scrooge-like viewer will fail to be transfixed by the thrilling action and the sheer scale of the director's vision.” (Ferguson, 2013). Ferguson is impressed with how big the film vision is and this suggests that Spielberg carried out his shots well. Spielberg uses extreme close up throughout the film to manipulate his audience and his layout of shots is particularly impressive in the scene with the electric fence. Is this scene the audience is forced to watch as the power is being turned on as a character is still climbing over the electric fence, this makes the audience feel anxious for this character.

Figure 3. T-Rex 

The films talents lie in the good mix of CGI and animatronics. Dunks talks about this success in his review  “Spielberg was wise to not rely entirely on computer images, rather blending the new technology with old-fashioned practical designs and the result is a film that looks far better than any modern tentpole blockbuster” (Dunks, 2014).  Dunks thinks that this film can be considered stronger than modern day films because it’s not completely relying on only CGI. The CGI being used in small chunks makes the film more believable.

Jurassic Park is a clever film that many people will have no trouble loving.

Bibliography

Dunks, G (2014) http://blog.quickflix.com.au/2014/09/23/play-it-again-jurassic-park/ (Accessed 19/04/15) 

Ferguson, J (2013) http://www.radiotimes.com/film/8psc/jurassic-park (Accessed 19/04/15) 

Richards, O (2013) http://www.empireonline.com/reviews/reviewcomplete.asp?FID=138260 (Accessed 19/04/15) 

Illustration List

Spielberg, S (1993) Figure 1. Jurassic Park Poster http://ak-hdl.buzzfed.com/static/2014-08/12/12/enhanced/webdr10/enhanced-14020-1407861668-13.jpg (Accessed 19/04/15) 

Spielberg, S (1993) Figure 2. Close Up http://see-aych.com/wp-content/uploads/2012/12/jurassic-park-3d-picture3.jpg (Accessed 19/04/15) 

Spielberg, S (1993) Figure 3. T-Rex http://www.filmhdwallpapers.com/file/4068/600x338/16:9/jurassic-park-hd-stills-wallpapers_1943510436.jpg (Accessed 19/04/15) 

Steven Spielberg's Duel (1971)

 Figure 1. Duel Poster

Made in 1971 Steven Spielberg’s Duel was originally made for TV. The film was later shown in cinemas due to its success. Milne says that Duel was “made for TV but booking its own place on the big screen” (Milne, 2006). It’s clear that Milne thinks the film is of cinema quality which is impressive due to it being Spielberg’s first film and also a film with a low budget.

Figure 2. Cars Still 

The plot of the film is extremely simple. David Mann, a salesman, is followed by a driver in a large truck who appears to be trying kill him. It can be argued however that the story is much deeper and actually this is a contest of masculinity. Maslin picks up on this in his review “Mann himself is shown to be a henpecked husband who regains his masculinity only through the contest on the road.” (Maslin, 1983). Maslin is saying that Mann’s Masculinity is questioned by his wife and Mann feels as if he needs to prove himself masculine hence why this contest is fought on the road. We can tell that Mann’s masculinity is being undermined in the scene in which Mann phones his wife. What’s interesting about this scene is we view the conversation with his wife through the window of a washing machine an appliance often associated with women. The washing machine door could suggest that Mann feels emasculated by his wife. The cars in the film could also be symbols of the drivers masculinity. As shown in figure 2 Manns car is smaller, cleaner and less masculine looking in comparison to the large, gritty truck which is shadowing him on the road.

Figure 3. Close up

Though Duel is simple it is thrilling to watch. Gore talks about this in his article “The film is terrifying because, as Weaver is attempting to get folks in the desert to believe that he is being terrorized by a mysterious truck driver, he finds no support.” (Gore, 2008).  Gore here is mentioning that the fear found in this film is relatable. As we are watching we fear more and more for Mann’s life as his lack of support grows. This connection with the character is cleverly achieved through the way in which the camera is used, as shown in figure 3 we are shown close ups of Mann and this helps the audience to feel emotion towards Mann.

Duel is a film which shows that big budgets aren't needed to create a thrilling film.

Bibliography

Gore, L (2008) http://www.esplatter.com/reviews.php?id=754 (accessed 27/04/15)

Maslin, J (1983) http://www.nytimes.com/movie/review? res=9804EFD81138F936A25757C0A965948260&partner=Rotten%2520Tomatoes (accessed 27/04/15)

Milne, T (2006) http://www.timeout.com/london/film/duel (accessed 27/04/15)

Illustration List

Spielberg, S (1971) Figure 1. Duel Poster http://cdn.traileraddict.com/content/universal-pictures/duel.jpg (accessed 27/04/15)

Spielberg, S (1971) Figure 2. Cars Still  https://moviefilmreviews.files.wordpress.com/2012/02/carandtruck.jpg (accessed 27/04/15)

Spielberg, S (1971) Figure 3. Close up https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkzs58xZCGrPaJXUglD4jkXIaXHUqvsGcQPxwo2yNM18aX9HMh2vM7qSPkycatQFH-pfCImVvxcQOEcsoDJvd6Rpzc7YC6hzDaO36Voba1FEc4p9XvmdMt-FbseifDn8sDB5_dz5BnKlM/s1600/Duel-Dennis-Weaver.jpg (accessed 27/04/15) 

Alfred Hitchcock's Psycho (1960)

 Figure 1. Psycho Poster

Psycho has an impressive yet misleading story. As Carr says in his review “The brilliance begins with the story, which was adapted upon and improved over Robert Bloch’s original novel. It’s a very simple story that still holds up today with some of the more twisted realities of people’s psychoses.” (Carr, S.D). The story starts with Marion stealing a large sum of money and driving away in her car, various things happen along the way until she reaches the Bates Motel. This is where the story takes a turn and really gets interesting.

Psycho is an extremely manipulative film, every part of is purposeful and pieced together marvellously. As Gibron says in his review “the director laid the fear right at your own front door - in the most private and vulnerable of places within said home.” (Gibron, 2010), as Gibron mentions Hitchcock cleverly creates suspense in a place which otherwise should be inviting and free of harm. When we are first introduced to Norman Bates we are shown a kind and considerate man who runs the Motel but it’s not until later on that we start to discover that he is not what he seems. The suspicion of course starts when the real tension arrives in the shower scene when someone brutally murders Marion in the shower stabbing her with a knife. It’s then that we realise that the Motel and the house are not safe places for the characters to be and immediately worry for their wellbeing. This is shown excellently in a later scene in which Marions sister approaches the house to speak with Normans mother. The scene is comprised of shots of the sister walking to the house from the front and from the behind, this composition of shots makes the audience wait a little bit longer and ultimately feel tense.

Figure 2. Shower still

As mentioned earlier the shower scene is a heavily important part of the film. Kermode mentions in his review that “Dispute still rages as to the provenance and power of Psycho's notorious shower sequence, which has become perhaps the most iconic murder scene in the history of cinema.” (Kermode, 2010). This scene can mostly be called iconic because of the modern way in which it was made, even today over 50 years later the scene still feels heavily modern. The scene is a montage of various shots implying that Marion is being stabbed, this however works amazingly in Hitchcocks favour, not showing every detail and using a moderate amount of violence means that an audience can elaborate in their head how bad the murder is which can be a lot scarier. It’s also an unexpected turn of events as Marion was a lead character most of the way through, this clever decision for her to meet a grizzly end shocks the audience massively.

Figure 3. Norman Bates

Norman Bates is an extremely interesting character within the film. It’s clear from the start that he has a strong attachment to his mother and Vasquez Jr mentions this in his review saying that “There are many Freudian themes present within Bates, who has a bit of an Oedipus complex and longing for his mother he aches to stay loyal to, but doesn’t dare leave her side.” (Vasquez Jr, 2013). When you look at the film you can see little hints of Bates possessing motherlike qualities in his attempt to stay close with his dead mother even when he’s not pretending to be her. As shown in figure 3 when Marion arrives at the Motel he brings her food and water and begins caring for her almost like a mother would. This could suggest that Bates in his attempt to feel close to his mother has picked up her mannerisms in his own personality. Also later in the film we see another sign that Bates is holding onto the past. As Marions sister is exploring the house there's a room full of old toys, this could symbolise Bate’s desperation to be his Mothers child again.

Psycho is a film that was ahead of it’s time, extremely modern and manipulative with impressive camera work it’s a gorgeous film that can quite easily be enjoyed by even todays audience.

Bibliography

Carr, K (S.D) http://www.7mpictures.com/psycho-50th-anniversary-edition-blu-ray-review/ (Accessed on 23/01/15)

Gibron, B (2010) http://www.popmatters.com/post/132282-psycho-and-the-scene-that-changed-modern-horror-forever/ (Accessed on 23/01/15)

Kermode, M (2010) http://www.theguardian.com/film/2010/oct/22/psycho-horror-hitchcock (Accessed on 23/01/15)

Vasquez Jr. F (2013) http://cinema-crazed.com/blog/2013/10/23/psycho-1960/ (Accessed on 23/01/15)

Illustration list

Hitchcock, A (1960) Figure 1. Psycho Poster https://johneaves.files.wordpress.com/2013/03/psycho-theatrical-release-poster-1960.jpg (Accessed on 23/01/15)

Hitchcock, A (1960)  Figure 2. Shower still http://www.filmcaptures.com/wp-content/uploads/2013/05/Psycho_26.jpg (Accessed on 23/01/15)

Hitchcock, A (1960) Figure 3. Norman Bates http://application.denofgeek.com/pics/film/psycho/02.jpg (Accessed on 23/01/15)

Stanley Kubrick's The Shining (1980)

Figure 1. The Shining Poster 

The Shining is a thriller of a film in which Jack slowly descends into madness. Jack looks after the overlook hotel with his family however with little contact with anyone other than his family Jack starts to see things that aren’t actually there which convince him to kill his family.

The set plays well into the film first seeming like a huge place to explore and look through it seems innocent enough later on, when Jack is going crazy, It becomes a place of nightmares which is hard to navigate and escape from. “Instead of the cramped darkness and panicky quick editing of the standard-issue scary movie, Kubrick gives us the eerie, colossal, brilliantly lit spaces of the Overlook Hotel” (Bradshaw. 2012). By making the hotel seem innocent at first it makes the audience tense as to when the real horror actually starts.

Figure 2. The Overlook 

Some places in the hotel are also scarier than others.  We’re made to feel tense about room 237 in particular, paired with steady cam and a film that leaves out normal horror conventions this has Kubrick’s name plastered all over it. Larson mentions in his review “Why is Room 237 the only room the movie enters? Because it’s the only one we fear. Just about everything that’s scary about The Shining depends on where we are.” (Larson, S.D). It’s this tension that makes the film uneasy to watch, it’s an excellent way of doing horror.

Figure 3. Chopping down the door 

In the film however it is clear that there’s already something off about Jack and his relationship. As Clark notices “Kubrick presents a despairing view of American married life, where the lack of love and intimacy is accentuated by the claustrophobic surroundings.” (Clark, 2012). This could show that Jack could have been somewhat crazy from the start but the Overlook helped bring this madness out.

The Shining is an unconventional horror which uses a different kind of set to leave you on the edge of your seat.

Bibliography

Bradshaw, P (2012) http://www.theguardian.com/film/2012/nov/01/the-shining-review (accessed on 11/12/14)

Clark, A (2012) http://www.littlewhitelies.co.uk/theatrical-reviews/the-shining-22374 (accessed on 11/12/14)

Larson, J (S.D) http://www.larsenonfilm.com/the-shining (accessed on 11/12/14)

Illustration list

Kubrick, S (1980) Figure 1. The Shining Poster https://m1.behance.net/rendition/modules/63162429/disp/582ccc71a712ad247c535b89bba14410.jpg   (accessed on 11/12/14)

Kubrick, S (1980) Figure 2. The Overlook https://c1.staticflickr.com/3/2261/2172893762_af0c07b8e6.jpg (accessed on 11/12/14)

Kubrick, S (1980) Figure 3. Chopping down the door http://www.hwdyk.com/q/quizimage/shining.jpg (accessed on 11/12/14)

Roman Polanski's Repulsion (1965)

Figure 1. Repulsion poster 

Repulsion is a film about Carol, a women who is clearly not well. The film takes us inside her mind and shows us her repulsion towards men and her sexual anxiety. Kendrick describes this film as “an intensely experiential film, bringing literal physicality to mental and emotional fissures.” (Kendrick, s.d). There aren’t many films like it so it can be indeed called experimental.

Figure 2. Closeup

Set in the Sixties this film is clearly challenging the notion of the sixties being a period in which people were sexually active. Canavese states in his article “Polanski mocks the sunny archetype of the free-spirited girl of the swingin' sixties by proffering a microscopic and intensely scary look at humanity gone wrong” (Canavese, s.d). This could possibly show that many sexual advances at the time were not always wanted, and could also show that those not joining in with society are seen as strange.

This film helps us feel the tension Carol is feeling by putting the camera close to her face so we can see her emotions. There is also symobilism in the film such as the rotten carcass which could symbolise the rotting of her brain.

 Figure 3. Wall of hands

The set is a big part of showing Carol’s anxiety.  Nashawaty mentions this in his review “Left alone for a week, she slowly 
 unravels—haunted by strange noises, hallucinations, and walls of grasping hands pawing at her” (Nashawaty, 2009). As her anxiety gets worse the apartment does too. Cracks begin to show in the walls and the apartment becomes skewed and neverending. Towards the end of the film one of the corridors becomes infested with hands. This clearly shows us Carols fear of intimacy.

Repulsion is a great way of showing how someone with a mental illness may be feeling, it is truly using it’s set to its full effect.

Bibliography

Canavese, P (S.D) http://www.grouchoreviews.com/reviews/3489 (accessed on 10/11/12)

Kendrick, J (S.d) http://www.qnetwork.com/index.php?page=review&id=2252 (accessed on 10/11/12)

Nashawaty, C (2009) http://www.ew.com/ew/article/0,,20293064,00.html  (accessed on 10/11/12)

Illustration List

Polanski, R (1965) Figure 1. Repulsion poster https://www.movieposter.com/posters/archive/main/61/MPW-30800 (accessed on 10/11/12)

Polanski, R (1965) Figure 2. Closeup http://filmgrab.files.wordpress.com/2014/07/4934.jpg?w=1017 (accessed on 10/11/12)

Polanski, R (1965) Figure 3. Wall of hands http://projectdeadpost.com/wp-content/uploads/2013/07/Repulsion-2.jpg (accessed on 10/11/12)

Dario Argento's Suspiria (1977)

Figure 1. Suspiria Poster

Suspiria is a highly stylised film. Set in a ballet school, lots of strange things begin to happen. These strange things include perfectly made murders of some of the schools students.

Figure 2. Death Still

These murders within the film are shown in a stylised way as opposed to a realistic way. This makes the murders much more memorable. Brayton describes the film as “artistic in its violence, even by the standards of Italian genre filmmaking in the 1970.” (Brayton, 2012).

Figure 3. Lighting Still

The set only adds to the strangeness with the colours of the sets being extremely pushed. As Smith says about the film “there's Argento's masterful use of deep primary colours — the sets are bathed in garish red and green light (he acquired 1950s Technicolor stock to get the effect) giving the whole film a hallucinatory intensity.” (Smith, 2010). The film indeed is somewhat hallucinatory with the bright colours playing into the weird goings on within the film. It’s an interesting way to use colour, especially in such a dark film.

Figure 4. Set Still

The set of Suspiria is an elegant one, which is obviously odd for a horror film. Kermode interestingly says that “This is horror shot with dazzling energy yet with the visual depth and acuity of a Renaissance painting.” (Kermode, 2008). Comparing this film to a renaissance painting shows just how visually breath-taking this film is. As you can see in figure 4 the set is gorgeous and highly detailed and completely fits with the characters in this scene.

Suspiria is an excellent way of showing how using stylised methods can make a visually pleasing film.

Bibliography

Brayton, T (2012) http://antagonie.blogspot.co.uk/2012/10/italian-horror-first-mother.html (Accessed on 10/12/14)

Kermode, J (2008) http://www.eyeforfilm.co.uk/review/suspiria-film-review-by-jennie-kermode

(Accessed on 10/12/14)

Smith, A (2010) http://www.empireonline.com/reviews/reviewcomplete.asp?FID=132659 (Accessed on 10/12/14)

Illustration List

Argento, D (1977) Figure 1. Suspiria Poster http://wrongsideoftheart.com/wp-content/gallery/posters-s/suspiria_poster_08.jpg (Accessed on 10/12/14)

Argento, D (1977) Figure 2. Death Still https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifIjTv-CnG0GvqAGvEq2zzusaRh0PI_GfxBAkYs5zGq33oUCwc01RUSA6HM8SWMUZbg8HL1y9iVfsiv383qfjyMtzN3Xn70MRRP1QFfTlXG-FPiPI1rKCWRzJY91S9ZzjMHHY2ZyFwE90/s640/suspiria+03.jpg  (Accessed on 10/12/14)

Argento, D (1977) Figure 3. Lighting Still https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtDA5q2jmeukrJEYfEMEEIn2NcMewjTLWiPC02x2KbyKwBNPvP4-k1KDQErCk3fhY3M9R6CiIp8DnAnLMr6xr2HG-22Xz95mxuKGj12daKicaKch7mQENaA6WRevTnsm9VRzHZV_3HE_s/s1600/suspiria7.jpg  (Accessed on 10/12/14)

Argento, D (1977) Figure 4. Set Still http://deeperintomovies.net/journal/image09/suspiria5.jpg (Accessed on 10/12/14)

Nicolas Winding Refn's Only God Forgives (2013)

Figure 1. Only God Forgives poster 

Only God Forgives is a film in which Julian (Ryan Gosling) and his extremely domineering mother Crystal seek revenge for his brothers’ death. Extremely violent and grotesque Only God Forgives shows a cycle of revenge in the grimmest way possible.  

Figure 2. Julian looks at his hands

Julien is shown to be struggling with his masculinity within the film. As Sexton mentions in his review “Only God Forgives subverts all our expectations, making him the opposite of what audiences want him to be as an action hero (not only does he not get his shirt off, by the way, he dons a formal three-piece suit halfway through the film and then gets so battered he looks grotesque).” (Sexton, 2013). What Sexton is saying is true, the portrayal of Julian by Gosling is very different to his previous characters who are often very manly. This makes a very interesting casting choice. Julian is perceived as weak and not masculine enough for his mother, his mother stating that he was jealous of his older brother. She tells him how his brother was more of a man and often questions his choices this obviously undermines his masculinity.

Figure 3. Open Hands & Figure 4. Clenched Hands 

Hands are also very present in this film. Harkness speaks about hands saying that “Idle hands are the devil’s tools, the film seems to be saying, and in this neon-lit circle of hell such direct and uncompromising action is a symbol of the moral absolutism required to counter the craziness.” (Harkness, 2013). The hands in the film are often a symbol of morality and early in the film someone has their hand chopped off in relation to their morality. Julian also keeps looking at his hands during the film as shown in figure 2. As he looks at them he often clenches them like in figure 4. During the film his seems unable to touch women and this clenching of his hands into fists shows this repression.

 

Figure 5. Lighting on Crystal

What really stands out in this film is the lighting and the colours of the set. Sélavy mentions this in his article “With its rich colours and intricate patterns, its sensual, oppressive light and oblique storytelling, and at its centre, a laconic, supernaturally powerful, sword-wielding protagonist, Only God Forgives feels like a very Asian movie” (Sélavy, s.d). The colours of the film are indeed oriental, using reds and yellows which are often associated with Asia but these colours also connote meanings of danger and warning. Red is used very often and could also connote blood in this very violent film. As seen in figure 5 the lighting can also be very dark but the colour shines through in some areas.

Only God Forgives is a hard film to follow with its show rather than tell nature, it is however visually exciting and this nature provokes the thought of the audience.

Bibliography

Harkness, A (2013) http://www.scotsman.com/what-s-on/film/film-review-only-god-forgives-18-1-3028388# (Accessed on 9/12/14)

Sélavy, V (s.d) http://www.electricsheepmagazine.co.uk/reviews/2013/08/02/only-god-forgives/  (Accessed on 9/12/14)

Sexton, D (2013) http://www.standard.co.uk/goingout/film/only-god-forgives--film-review-8743172.html (Accessed on 9/12/14)

Illustration List

Refn, N (2013) Figure 1. Only God Forgives poster http://upload.wikimedia.org/wikipedia/en/c/ce/Only_God_Forgives_poster.jpg (Accessed on 9/12/14)

Refn, N (2013) Figure 2. Julian looks at his hands http://www.highlycontrasting.com/wp-content/uploads/2013/08/only-god-forgives07.jpg  (Accessed on 9/12/14)

Refn, N (2013) Figure 3. Open Hands https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju9VSZhg6oWw2BW8MAWunMCGZc1HnnQo6nvF2LW0ag5J8riqbPPcE0jDoUStD_en6Zu52etsL_0-dHFTirCBxqACso1gKIuX0LKJT6Rnpk21wY7wSaTJwJGw-Qe8ajTypp5HSRDHhk8FJv/s1600/vlcsnap-2013-07-20-20h33m06s138.png  (Accessed on 9/12/14)

 Refn, N (2013) Figure 4. Clenched Hands http://static.rogerebert.com/uploads/blog_post/primary_image/balder-and-dash/refn-violence-and-me/primary_Screen_Shot_2013-07-23_at_8.52.55_PM.png (Accessed on 9/12/14)

Refn, N (2013) Figure 5. Lighting on Crystal https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhjY0h3KuOoimWxSWX5qF6mRVX5jVXXWWAcg6sLrNTbm5A1j9SzcC5WRrns3YAfMzMsfet6Dyvr3Va3lIY4OCA_ePeLEsrncioqIui7AcPgSZmCEkSfJpKAjViKLaAZi5hfRLOqpUoxqyY/s1600/9UBUq6u.png (Accessed on 9/12/14)