filmmaking cinematography and editing lighting

Assignment

The 1987 film The Princess Bride has become part of the public consciousness, and has what can be considered a cult following. While on the surface it seems like a frivolous romantic film, what makes The Princess Bride enduring is that it manages to be satirical without being cynical. The quirky dialogue of the film has given the popular culture catchphrases like “As you wish,” “inconceivable,” and Mandy Patankin’s line “My name is Inigo Montoya. You killed my father. Prepare to die.” I believe The Princess Bride is popular for many reasons, including the fact that it satirizes fairy tale romance while still uplifting the audience and helping the audience to believe that the concept of true love is still alive.

Likewise, on a personal level, this film affects me every time I watch it. It is a fun film to watch, because it is lighthearted and humorous. The film’s tone is what sets it apart from other movies. Because it is satirical, it never seems like a syrupy romantic comedy. The frame narrative is also what sets apart The Princess Bride. Because the entire story is actually the content of a book that a grandfather is reading to his grandson, who is too young to be interested in romantic love and thinks kissing is gross, it adds an extra dimension of fantasy to the entire film.

The cast of characters is also diverse and enjoyable, with figures like Andre the Giant. Also, The Princess Bride is truly for all ages. It is a whimsical children’s story but geared for adults, helping all audience members enjoy feeling the innocence of childhood again. While the Princess Bride does not touch upon deeper social or political issues, it does ask the audience to question beliefs about chivalric, romantic love. Essentially, The Princess Bride is a postmodern fairy tale, one that is self-conscious about what fairy tales are and how they should be appreciated but taken lightly.

References

Goodykoontz, B., & Jacobs, C. P. (2014). Film: From watching to seeing (2nd ed.) [Electronic version]. Retrieved from https://content.ashford.edu/

Reiner, R. (Director). (1987). The Princess Bride. [Feature Film]. Act III Communications.

Assignment 2

Editing

One of the best examples of film editing in the history of cinema is the Baptism/murder scene in The Godfather. In this scene, Coppola juxtaposes heaven and hell, good and evil, right and wrong by cutting between the innocence of a baby’s baptism and the brutality of a series of mob murders. Music plays a major role, as the editor uses the same intense organ music even while shifting between cuts. The scene captures some of the main themes that flow throughout the entire move, and also underscore the ways that the protagonist, Michael Corleone, has changed. The editor shows Michael stating calmly before God and Church that he renounces sin, cutting intermittently to the murders that he initiated.

Cinematography

In “the long take,” from Goodfellas, Scorsese and his Steadycam operator Larry McConkey showcase their cinematographic talents, particularly in the use of a long, continuous shot with no cuts. The scene, also known as the “Copa shot” because it takes place in the Copacabana bar, is “one of film’s most famed tracking shots,” (Mulcahey, 2015, p. 1). McConkey starts with the close up of the hands offering the keys to the valet, and then pulls away to follow Henry and Karen as they enter the club. The camera follows the couple from behind, too, making the audience feel as if we are also following Henry and Karen inside and down the stairs. Karen also enters first, and does not notice Henry handing the doorman a tip—but the audience is privy to this information because of the way the scene is shot. Even when the camera moves away from Henry and Karen and follows the men setting up their special table, it remains one long take.

Lighting

Lighting is crucial to an effective filmmaking (“Why is Lighting Important for Television and Video?” n.d.). In the scene when Bob and Charlotte meet in Lost in Translation, the bar is dimply lit, allowing the flashing lights of the cityscape beyond to be visible in the background, and also permitting the flame from the lighter to seem that much more important in highlighting Charlotte. The dim lighting also captures the mood of the moment, as Bob and Charlotte share an awkward conversation. The foreground is comparatively illuminated, showing that Charlotte reaches for her cigarettes and Bob to his whiskey.

References

Mulcahey, M. (2015). Steadicam operator Larry McConkey on filming the Goodfellas Copacabana tracking shot and the early days of steadicam. Filmmaker Magazine. April 23, 2015. https://filmmakermagazine.com/93916-steadicam-operator-larry-mcconkey-on-filming-the-goodfellas-copacabana-tracking-shot-and-the-early-days-of-steadicam/#.WsvTRtPwYWo

“Why is Lighting Important for Television and Video?” (n.d.). http://booksite.elsevier.com/samplechapters/9780240812274/02~Chapter_1.pdf

Assignment 3

The Wizard of Oz is a 1939 film with a directorial team led by Victor Fleming and starring Judy Garland as Dorothy. Based on a children’s book by L. Frank Baum, The Wizard of Oz is about a farm girl named Dorothy who lives with her aunt and uncle in Kansas. A tornado knocks Dorothy unconscious, sending her into a dream state. In her dream state, Dorothy is on a classic hero’s quest. She meets three allies, the Scarecrow, the Tin Man, and the Lion, and together they seek the Wizard who lives in the Emerald City. Their efforts are hindered by the machinations of the Wicked Witch, who they must conquer in order to reach their goals. The plot unfolds chronologically, but The Wizard of Oz also shifts between the “real” world of Kansas and the dream state. Doing this shows that the dream state is actually where individuals like Dorothy work out their problems psychologically. Therefore, the plot is mainly about Dorothy and her friends seeking the Wizard in order that she may return to Kansas, but the story is about much grander themes related to issues like identity, coming of age, and conflict resolution.