Film Language Overview:
Film language can all help to create and understanding of characters and why the film is being shown a certain way.
It's split up into four sections:
- Camera
- Sound
- Editing
- Mise en scene
Camera:
- Frame - extreme close up all the way to extreme long shot.
- Angle - Levels, high and low and Birdseye and worms eye.
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Movement - Pan left and right, tilt up and down, zoom in and out, tracking shot on the move.
Sound:
- Music - feelings from it
- Contrapuntal - music/lyrics does not go with the genre
- Diegetic - sound the actors can hear, non diegetic are sounds edited
- Off screen/on screen - sound from frame and out of frame
- Voice-over
- Emotion
- Dialogue - (age, tone, level, accent)
Editing:
- Transition - Straight act, dissolve, wipes
- Order of Narrative - beginning, middle, end. (flashbacks, dreams and time)
- Pace - how quick you cut time
Mise en scene:
- Costume
- Lighting
- Actors
- Makeup
- Props
- Setting
Using this knowledge, I applied these factors to two movie openings.
Boyz n the Hood Opening:
Overview:
Boyz n the Hood is a crime drama written and directed by John Singleton in 1991. It stars, Cuba Gooding Jr. (also known as Ice Cube), and Lawrence Fishburne. It's a saga about a group of children growing up in a ghetto in Los Angeles. It was nominated for 2 Oscars.
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| Indication: Signs are the main use of iconography in the film's opening. |
Camera:
There's then a use of iconography through a stop sign (notice that the stop sign is also at the centre of the shot and the camera zooms into the sign, this makes the audience focus on it and understand it's importance).
Next, there's a camera shot moving, following the children walking along the street. The camera goes from a long shot to a mid shot of the children.
Later on, the camera moves from a sign reading 'ONE WAY', to a street which the children are walking up, a sign next to the street can be seen, it reads 'WRONG WAY'. This is deliberate iconography used by Singleton to express the fact that there is danger or something negative ahead.
Sound:
At the beginning of the opening, there is some off-screen dialogue which sets the tone of the film. The use of off-screen sound is very effective as it suggests that the drive-by shooting was done in mysterious circumstances and the culprits were unseen. The dialogue gives the narrative of a drive-by shooting in an American neighbourhood, we can understand this by the colloquial accent used. The type of voice used sets the scene of a poor Afro-American neighbourhood.
Editing:
There's then a fact put up on screen reading "One out of every twenty-one Black American males will be murdered in their lifetime. Most will die at the hands of another Black male."
Mise en Scene:
There's then a use of iconography through a stop sign (notice that the stop sign is also at the centre of the shot, this makes the audience focus on it and understand it's importance). Also, an aeroplane is flying overhead, this shows that this is a 'regular' place and it happens on a regular basis in this area of America. This is the director's way of spreading a message to try and prevent needless bloodshed.
Then, there is a scene focusing on a street covered in discarded matter and two stray dogs run past. This gives a very strong impression that the neighbourhood is poor. This is then backed-up by the sight of several more dogs eating out of discarded rubbish bags on the edge of the side-walk. However, this isn't the main focus of the scene, contrasting this is a group of Afro-American children walking along the pavement, they're wearing quite casual clothes but are carrying books and rucksack.s are on some of their backs. This gives an indication that they're of a relatively young age as they still go to school.
When one of the boy's in the group announces that he's going to show the group 'something', he looks relatively at ease and unphased by what he's about to show the rest of his friends. This sharply contrasts with the expressions written on the other children's faces. The other boy turns back to look at the girls which suggests that he's feeling uneasy and is wanting reassurance from the two girls behind him. The two girls look at each other in a knowing way, one which suggests that they are wary of the situation.
Up, (Married Life, Carl & Ellie):
Overview:
Up is an animated Pixar adventure drama written and directed by Pete Docter and Bob Peterson in 2009. It stars, Edward Asner, Jordan Nagai and John Ratzenberger.
It's a story about 78-year-old Carl fulfilling his lifelong dream to see the wilderness of South America along with young Russell, at 70 years younger, inadvertently joining Carl (as a stowaway) and helping him achieve his dream. He achieves this by tying thousands of balloons to his home. It won 2 Oscars.
This particular four-minute montage, entitled 'Married Life, Carl & Ellie, includes a few issues rarely raised in a movie aimed at families; including a miscarriage, the failing health of the elderly, and even death and bereavement.
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| Acclaimed: The four-minute montage reminiscences upon the story of the life of Carl Fredricksen and his wife. |
Immediately, the scene begins with a close-up shot of the flash of a camera bulb. This is a metaphor for the whole scene, suggesting that the scene is a snapshot of Carl's life. After the sound of the picture being taken, upbeat, happy music related to marriage is played. Then the camera focuses on a somewhat dazed Carl, the shot pans to the left and zooms out slightly to bring his wife into shot, they're dressed in marital attire. They kiss, and then the camera turns into a long shot of the newly wed couple, you can hear people clapping and cheering. Then the shot changes to the view of the whole room and there's a whole assortment of people jumping up and down, with happy expressions on one side, clearly the wife's side. Conversely, on the other side of the room member's of Carl's family clapping but in a withdrawn way, this expresses how the couple are different.
Then, the scene cuts to a shot of a somewhat run-down house with a sign outside of it reading 'SOLD'. Clearly this is now the Fredricksen household. In the background of the house there are many trees and the garden seems overgrown. Carl is seen carrying his wife into the house.
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Working Together: They are both on the same level as each other in the shot,
(Carl is on a stool, Ellie with her back slightly arched),
this portrays that they have a mutual respect and love for each other. |
The scene then cuts again and the couple, still wearing their wedding clothes, are beginning to build their house. It begins with a close-up shot showing Ellie sawing a plank of wood. Then the camera switches to a shot showing Ellie sawing and Carl hammering a doorway. This shows that she's helping Carl and they have a relationship in which they both contribute to.
The next scene shows the couple pushing a duo of arm chairs across a newly furnished room. Ellie's armchair is deep pink which connotes gentleness and unconditional love. Whereas Carl's armchair is beige which is a relatively dull and boring colour however it has leaf patterns on it which shows his love for nature and perhaps how Ellie influences him. The armchairs promote each of their personalities. Then once the armchairs are in place, Ellie places her hands on her hips and turns to smile at Carl, this shows pride and teamwork, he smiles back. Later on in the montage, Carl is sat in the pink armchair and Ellie is sat in the beige one. This suggests that they may have selected the chairs for each other.
The scene afterwards begins with a close-up shot of a letterbox with the hand-painted inscription 'Carl & Ellie' courtesy of Ellie's artistry (we know this as she is the person holding the paintbrush, with Carl looking down lovingly at her). The camera zooms out and when all of Carl's head is in shot, he removes his hand looking surprised and slightly upset that he's left a purple hand print on the letterbox. Ellie smiles and puts her paint-covered hand onto the box next to Carl's print and looks up reassuringly. This scene is a great summary of the perfect relationship which the couple shares.
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Symbolic: The letterbox's iconographic
use portrays Carl & Ellie's
relationship perfectly. |
The next scene begins with a close up of a scrap of paper with a child's crayon drawing of a multi-coloured house similar to the house which Carl and Ellie now inhabit. This suggests that it's an illustration of what either Carl and Ellie envisaged themselves living in when they grew up. This then therefore suggests that their current situation is a living childhood dream. The scrap of paper is then removed and goes out of focus, the camera then focuses upon the house completed in all it's imagined glory, confirming what was implied.
Next scene, a long-shot of a hillside view. Ellie at the top of the hill, Carl not far behind but stops to catch his breath. This signifies that age is catching up on him and she is still feeling somewhat youthful still.
The camera then cuts to a birds-eye-view of Ellie and Carl laying on a patchwork blanket which has been spread out on the grass, there's a picnic hamper beside it and a camera on it. Carl looks peaceful and whereas Ellie is pointing, wide-eyed and pointing. The posture and facial expression of Ellie is very similar to a newborn baby experiencing the world for the first time, she's in awe. She then begins to point out the shapes which clouds make, the camera cuts to show what she can see (a turtle/tortoise). This again helps give the impression that Ellie is still youthful. The camera then cuts again to a panning shot featuring Ellie making gestures with her hands explaining to Carl what she can see, he just lays there nonchalantly.
The next scene begins with the camera tilting from an entrance sign reading 'ZOO'. The camera moves through the entrance and cuts to Carl dressed up standing beside a brightly coloured stand reading 'BALLOONS', tied to it are a huge bunch of balloons beside a gas canister. This suggests that he works in a Zoo and it's his job to sell balloons to people. Ellie walks into shot with a tropical bird on her arm. she seems to be very proud of the bird. Carl is momentarily distracted by Ellie and the balloon stand begins to rise. Ellie finds this funny, this shows how she loves his personality.
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Iconography: The rising balloons, safari attire and tropical bird
foreshadow what is to come in the movie.
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Next scene shows Carla and Ellie sat in their armchairs holding hands, showing equilibrium, everything is fine.
Back to laying on the grass, this time there's no picnic basket but the camera still remains. This time both of them are pointing out shapes in the clouds. Carl points out a baby-shaped cloud. The camera focuses on Ellie's expression when he says this and she readily agrees. And then says that every cloud looks like a baby. This metaphorically and symbolically implies that Ellie wants children. Carl looks shocked and looks to Ellie for reassurance, she smiles and he seems to like the idea.
The scene then cuts to a shot of a bright room, stylistically organised to cater for the needs of a baby. The wall features a painting created by Ellie. She can be seen atop a step-ladder working on her artwork while Carl fixes some coloured Zeppelins to the ceiling. The camera then pans to the right, going into a dark room, sharply contrasting with the first. There's a doorway where a doctor can be seen informing Carl and Ellie of some news. The news is clearly bad as Ellie has her head in her hands and is crying. Carl is standing behind her, head bowed, with his hands on her shoulders for reassurance (notice how now Carl is the one doing the reassuring, the roles have been reversed). There's a diagram of a pregnant woman in the background of the room. This suggests that Ellie has been told that she cannot have children.
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Heartbroken: The room is bright, implying a key moment and the main focus of the scene.
However, everything outside of the room contrasts, it's dark, foreshadowing a miserable or dim future for Ellie. |
The scene cuts to a shot of Carl looking glumly out of a window at home. The camera cuts to a shot just behind Carl's head, it shows that he was looking at Ellie, who is sat on a wooden chair in the garden with her hair down. This is key as this is the first time we see her with her hair down. This implies that she's lost her motivation and work ethic in life.
The scene cuts to a mid-shot of Ellie sitting straight. Her eyes are closed. Carl walks over to her and kneels down, placing his hand on her. She lowers her head slightly and looks at him, she is clearly not happy. He smiles up at her in an attempt to reassure her that everything is okay. She smiles a half-smile. The camera shot switches to a birds-eye-view of Carl placing a book entitled 'MY ADVENTURE BOOK' on Ellie's lap. She looks pleasantly surprised, and turns to Carl somewhat cheerier.
The next scene cuts to Ellie painting a picture of a house atop a waterfall. Her hair is tied back once more signifying that equilibrium has been restored. The camera zooms out from the picture to a shot of the room. The painting is in the centre of the shot, this suggests that it's now the main focus.
The scene then cuts to a close up of a jar titled 'Paradise Falls', the furniture in the background is out of focus. This suggests that the jar is the main focus of the shot. Carl places some coins into the jar. The scene then switches to Ellie doing a 'cross my heart' gesture. Carl then does the same. This signifies that Ellie's youthful aspects have also returned. Then, the scene cuts back to the jar, the camera slowly zooms out while the lighting changes from dark to light, showing the passing of time (day and night). The jar slowly fills up with coins, again, this shows a passing of time.
The scene then switches to a mid-shot of Ellie and Carl riding in a car. The camera tilts downwards and the tyre gets a puncture. They couple are forced to break the jar with a hammer to pay for the repair of the tyre, (note that the hammer was once used to build the house, creating opportunity is now being used to hinder opportunity, this is a use of iconography).
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Back to Square One: Carl and Ellie are forced to smash the jar.
The jar is between them, centralised (it's the main focus).
This signifies that it's the only thing preventing them going to Paradise Falls. |
The scene then changes and shows Ellie on one side of the jar, Carl on the other. She shrugs and smiles, Carl then smashes the jar with a hammer. The picture of Paradise Falls is in the background, this suggests that other things are getting in the way of going there. The jar is smashed and then the scene changes. Carl can be seen kneeling beside a brand new car wheel. The scene then changes again and Carl is in a hospital bed with a cast on his leg. Ellie is looking down at him, humoured by the situation. Again, another close-up, and the jar is smashed by the hammer. The scene then changes again, it's a shot of their house. In noticeably bad weather, a tree falls onto the roof, breaking it. Yet again, the jar is broken with the hammer. Not only does this show that they're having to break the jar each time, it signifies the passing of time.
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Carl's Assortment of Ties: Pixar successfully use his costume changes
to signify that time is passing. |
Another scene change, this time it is of Ellie fixing a tie on for Carl multiple times. This again is another method used by Pixar to show that time is passing. The ties are at the centre of the shot to imply that they're the main focus of the shot. Notice the final tie, it's a black bow-tie. This is an indication that Carl is now old, withdrawn and wants to keep himself dignified at an old age.
Once old age has been reached, the black bow-tie, the camera zooms out to show the couple. Carl smiles at Ellie, the camera switches to a shot of her face and she gives him a nod of approval. They turn together and the camera pans right to a view over Carl's shoulder to them looking at themselves embracing in the reflection of the mirror.
The scene then changes, and it's back to the zoo. This helps give the montage continuity. Carl can be seen giving a balloon to a child, Ellie takes a picture. This time instead of jumping to catch the balloon stand, Carl casually leans back. This shows character development. Carl has some confidence- finally!
Finally, the scene changes. Carl and Ellie can be seen in a mid-shot dancing together, the camera pans slowly to the right, following their dance. They then dance out of shot. The camera stops panning and zooms in to focus on the 'Paradise Falls' jar on a shelf, tucked in behind some books. This suggests that they've forgotten all about the idea of going to Paradise Falls. Carl and Ellie have been so busy that they've forgotten their original dream.
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