Script Was a Democratic Process Term Paper

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Female character answers the door.

Shots of the conversation between the main character and the female character discussing the parcel.

Shot of the female character showing she has the parcel.

Close up of the parcel with the film title.

Master shot/establishing shot of the murder-taking place.

Two shots used for the murder scene as well as an introduction to the conversation between the main male and female characters.

Close up shot / reverse shot between main character and female character while in conversation.

Close up shots of the main character as introductory shot to show the star of the film.

Cut away shots were used in the murder or of the conversation dialogue between the main character and female character.

Sound effects of a voiceover, conversation with the extra diegetic music/sound.

Narrative disruption/event:

Showing the parcel at the end of the sequence although the audience does not see what is in the parcel, left at a cliff-hanger.


Indoor shots of the murder, with outdoor shots of the setting, and the city in that the film is set within.


Main protagonist male character (ex-criminal/ex-con)

Female character (femme fatale, strong, independent and mysterious)

Murder victim character

Murder character


Voiceover is heard throughout the shots of the murder explaining his dilemma.

Conversation between the main and female character discussing the parcel, such as:

Main Character: "Do you have it?"

Female Character: "Have what?"

Main Character: "The Package."

Female Character: "I might have."

Main Character: "Have you opened it?"

Female Character: " Not yet. Why? What's in it?"

Main Character: "The truth."

Music: Guitar/rock music

Shot List:

Phase 2 - Shotlist

Pre-title sequence of a contemporary noir movie

Film title: "Package of Innocence"

Shot detail/Sound:

Shot of the text of the production company e.g. Universal Pictures

Panoramic shot of the busy London city, buildings, cars in traffic, and people rushing (up to down pan shot)

Two-shot from a distance of the flashback: with the murderer grabbing the victim, causing a struggle between them (dramatic narrative significance)

Another panoramic shot of the busy London city (left to right pan shot)

Continuing the two-shot (from shot 2) from a distance of the flashback: with the victim being murdered

Zoom in shot from the busy London city street into a window of where we can see the back of the main character from a distance

Over the shoulder shot of the main character turning the radio off (not seeing the face) from the voiceover of the news reporting the murder just witnessed

Torso shot of the main character putting his coat on and then opening the door to leave the house

Full shot of the main character walking down a crowded street hiding his face with a person walking past in the opposite direction

Zoom into a torso shot of the person who walked past, turning around, taking a glance at the main character as if they have recognized him

Over the shoulder shot of the main character knocking on the door of a house

Torso shot of the female character answering the door of the house

Close up of main character saying "Do you have it?"

Shot reverse; close up shot of the female character saying "Have what?"

Shot reverse; close up of the main character saying "The package."

Shot reverse; close up shot of the female saying "I might have."

Shot reverse; close up shot of main character saying "Have you opened it?"

Shot reverse; close up shot of the female character saying "Not yet. Why?

What's in it?"

Shot reverse; close up shot of the main character saying "The truth."

Torso shot of a female character showing she has the parcel

Zoom into an extreme close up shot of the parcel

Ending with the opening title of the film appearing over the parcel in the background.

Course Reading Assignment

8.David Bordwell and Extract from Film Art Continuity Editing) (New York: Kristin Thompson McGraw-Hill, 2001, 6t Edition)

9 V.I. Pudovkin 'Asynchronism as a Principle of Sound Film' Film

Sound. Theory and Practice (New York: Columbia University Press, 1985)

10. Mike Wayne 'Theorising Video Practice' (London: Lawrence & (Wishart, 1997, pp. 76-109)

8. David Bordwell and Extract from Film Art Continuity Editing) (New

York: Kristin Thompson McGraw-Hill, 2001, 6t Edition)

CHAPTER EIGHT: The Relation of Shot to Shot: Editing

Thompson (McGraw-Hill, 2001,6 th edition)

Around 1900-1910, as filmmakers started to use editing, they sought to arrange their shots so as to tell a story coherently and clearly. Thus editing, supported by specific strategies of cinematography and mise-en-scene, was used to ensure narrative continuity. So powerful is this style that, even today, anyone working in narrative filmmaking around the world is expected to be thoroughly familiar with it.

The basic purpose of the continuity system is to create a smooth flow from shot to shot. All of the possibilities of editing we have already examined are turned to this end. First, graphic qualities are usually kept roughly continuous from shot to shot. The figures are balanced and symmetrically deployed in the frame; the overall lighting tonality remains constant; the action occupies the central zone of the screen.

Second, the rhythm of the cutting is usually made dependent on the camera distance of the shot. Long shots are left on the screen longer than medium shots, and medium shots are left on longer than close-ups. The assumption is that the spectator needs more time to take in the shots containing more details. In scenes of physical action like the fire in The Birds, accelerated editing rhythms may be present, but the shorter shots will tend to be closer views. Since the continuity style seeks to present a story, however, it is chiefly through the handling of space and time that editing furthers narrative continuity.

Theorising Video Practice by Mike Wayne (Lawrence & Wishart, 1997, pp. 76-109)

Chapter Four

The Image

West, E. And Belton, J. (ads.)

Film Sound. Theory and Practice (1985) New York: Columbia University Press Asynchronism.

Principle of Sound Film V. l. PUDOVKIN '.

The course of man's perceptions is like editing, the arrangement of which can make corresponding variations in speed, with sound just as with image. It is possible. therefore for sound film to be made correspondent to the objective world and man's perception of it together. The image may retain the tempo of the world, while the sound strip follows the changing rhythm of the course of man's perceptions, or vice versa. This is a simple and obvious form for counterpoint of sound and image. 'Consider now the question of straightforward dialogue in sound film. In all the films I have seen, persons speaking have been represented in one of two ways. Either the director was thinking entirely in terms of theater, shooting his whole speaking group through in one shot with a moving camera, using thus the screen only as a primitive means of recording a natural phenomenon, exactly as it was used in early silent films before the discovery of the technical possibilities of the cinema had made it an art form. Or else, on the other hand, the director had tried to use the experience of silent film, the art of montage in fact, composing the dialogue from separate shots that he was free to edit. But in this latter case the effect he gained was just as limited as that of the single shots taken with a moving camera, because he simply gave a. series of close-ups of a man speaking, allowed him to finish the given phrase on his image,' and then followed that shot with one of the man!

A answering. In doing so the director made of montage and editing no more than a cold verbatim report, and switched the spectator's attention…[continue]

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