Subtitling

As our film is in Swedish, it will contain English subtitles throughout, so I thought it be rather essential to do a bit of research into this process.

The process of subtitling can be divided into three phases. In the first phase, the original language script is split into scenes. In the second phase, the text is extracted and translated. The third phase comprises the substantive part of the process: professionals attempt to time the translated part to the film.

After subtitling the film, it can either be fixed - the movie is broadcast in such a way that the subtitle cannot be turned off; or optional — in the case of digital TVs, the viewer can choose to watch with subtitles on or off (and, in the first case, choose the language of the subtitle).

POSITIVES
Subtitles have in fact, been proven to have a positive effect on the audience of the film. The audience are more likely to improve their reading skills, faster and more accurately. Furthermore, the film being in a different language does not forbid anyone of any other race to be discriminated.
NEGATIVES
Subtitles can also be considered a negative, as reading and interpreting them may seen at the same time easily becomes annoying, regardless of the type of movie. Some argue that it may "take away the movie experience".

This information I found covered a well-balanced view of subtitles, considering all the elements that may both educate and irritate the audience. One thing I keep in mind after reading this article is that: "They must be well-times, tell all it should but still, it must be read in the time provided".

Banned Films - EXPLICIT OR IMPLIED?

For the written section of Media, we have to create various Case studies on films. I have now researched into two films - Crash and A Clockwork Orange - to find that both films suffered public scrutiny and caused major controversy for the directors. 

A Clockwork Orange caused an uproar due to its portrayal of "ultra-violence", despite it not being pornographic or violently explicit - it initially earned itself a X-Rating. However, after being re-submitted to the BBFC, it became an 18 certificate. Whilst the film Crash seemed to fit the criteria of moral corruption because of the pure subject matter.This made me think about our opening and what our film would be like if we had the chance to create the entire thing. 

My first thoughts on this would be that our film would be implied -- this allows deeper layers of meaning to evolve throughout the film, where the audience would be forced to question and interpret the films for themselves. If we intended to create our opening/film with severe explicit nature - where it included scenes of domestic abuse, rape or aggressive behaviour, the story behind Annika's life would be too obvious. This too, would create great conflict in the public eye, particularly to people who disagree that such specific detail should be shown. The film classification may also appeal to a wider audience if our opening/film is implied, as the age certification would therefore be lower.

Font

Having watched Se7en and thoroughly analysed it, even the opening font of it's credits build up the suspence and tension of the entire film. I did a little research and came to realise, that Richard Francis-Bruce (who is responsible for se7en's editting)used photoshop filters to create the decayed text. Our group want to incorporate this sort of style into our opening, attempting to find something similar to download and use for our own!

Friday 26nd - Successes for Creative Filmmaking

After reading over and highlighting Mark Ramey's booklet on the 'five key ingredients for really good short film-making', it really did kick in that organisation is essential. It more than frequently increases the generation of creative ideas, as that equals structure. Having all read this, we are currently completely are storyboard. Oh, and we even named our characters for the time-being - Lilly May being Lina, Millie being stuck with Helga.. 


she forced us to change her name first thing Monday morning - she is now Annika.

The SnorriCam

In our lesson today, we were shown this brilliant intervention used when wanting a camera devise to face the actor, therefore, allowing the actor's surroundings to move - fantastic portrayal of the actor's perceptive. 

The SnorriCam literally straps onto the front panel of the torso, using various poles and instruments attached to an overall harness. Sounds rather tech.. but our class is now on a mission to create one! We are unsure on how exactly we are going to make it, although we have found various tutorials. Our DIY Snorricam must be hardwearing especially as it will have to hold our camera, yet, it cannot be too heavy, as we will of course have to carry it around everywhere with us. 

Black & White Photography

Cigarette Shot -
captures the motion of the smoke,
we will perhaps have to slow down the
speed when editting

Bed Shot -
We have discussed having a bed shot where
our Swedish girl has time to collect her thoughts.
This image I found represents exactly how I
imagined to it to look on screen




Goosebumps Shot -
A perfect way to present the fear and
vulnerability of the girl. 
We intend on showing these Goosebumps
 perferrably on either her arm or legs

 

Flashback Research

Our film will contain flashbacks, this I am hoping will work perfectly within the black and white tone of our film. Whilst browsing on YouTube, I found a video that I thought could have some influence in certain shots. I love the speed, lightening and melancholy captured in this five minute video. Constant repetitive flashing images of a light bulb, a car, lighter and a forest are shown. I was especially moved by 4:00, this is the last part of the video where an underneath shot is used to film the fast-moving motion of the sky. It brings about a sense of sadness and has a rather hypnotising element to it, which would be essential to incorporate in our own film. 

An article by The Guardian

http://www.guardian.co.uk/film/2010/sep/23/bass-opening-credits


Anne Billson has superbly written about the 'History of Cinema's Opening Credits', justifying exactly why they play such a significance within the film. She describes how with time, trends of film openings have rapidly changed - "the usual method was to present names and titles on cards, or against an unmoving backdrop...", Billson goes on further how Otto Preminger changed all of this.

Filmmaking Techniques

After watching this around three times, I have learnt about the variety of camera shots, compositions, camera movements, camera angles, conversation shots, focus techniques, animations and editing experiments available to use when producing a video. It will certainly help me when writing up my Shot by Shot analysis of Forrest Gump later.