Cutting Edge Film Programme: Gravity (2013)

Figure 1: Movie Poster [Still Image]

Gravity (2013) is a British-American film that has been categorised under the science fiction and thriller genre. It was directed, co-written, co-produced and co-edited by Alfonso Cuarón.

The film revolves around a biomedical engineer, Dr Ryan Stone and Matt Kowalsky, a veteran astronaut, who were left stranded in space when their space shuttle, Explorer, was terribly damage by the debris caused from a Russian missile that has been used to attack a dysfunctional satellite. The disastrous strike left Stone tumbling in space, as she was detached from the space shuttle. As she drifts further and further apart, she panics and Kowalsky had to calm her down so that he could get her exact location and come to her rescue. In order to go back to Earth, they used their thruster pack and made their way to the International Space Station where a space shuttle awaits. When they finally reached their destination, another set of debris made its uninvited visit. It was after this that Ryan realized that she was on her own.

Figure 2: Debris Caused By The Russian Missile [Still Image]

Unlike the title to this film, nothing was rooted which includes the camera. By doing so, Cuarón has successfully allowed his audience experience what it is like to be in space. A film critic, David Sexton, reiterates this point when he states “The camera moves around constantly without any grounding, no up, no down, no weight, no fixed points. It’s both disorienting and engulfing, not so much a picture of what it is like to be out there in space as the very experience of it.” (Sexton, 2013)

Not only did this film makes the audience feel like they are physically in space but the emotional depth has been touched upon successfully and are relatable. What this means is that the theme of despair, loneliness and salvation are seen through Stone’s character as she faces multiple challenges throughout the film.

This three themes are present in a particular scene where she sits in the space shuttle’s cockpit, losing all her faith when she is not able to get it running to travel to the Chinese Base. She sits there, crying (despair) and turns off the lights and the radio when the Chinese counterpart did not understand her (loneliness). As she drifts herself to sleep, her subconscious mind had her think of Kowalsky who encourages her to be strong and she has to have the will to survive(salvation). Geoffrey Macnab, a film critic, summarises this point accurately when he mentions “It was simply to tell a story about human beings dealing with adversity.” (Macnab, 2013)

Figure 3: Dr Stone Crying [Still Image]

Figure 4: Dr Stone Hallucinating [Still Image]

Like the captivating visuals, the sounds played an important role in making it very believable. Kate Erbland summarises the masterpiece precisely when she says ”An absolute technical marvel in every way possible – from cinematography to special effects to sound design to score, all of Gravity’s technical parts work together in perfect harmony for maximum effectiveness when it comes to both the look and the feel of the film.” (Erbland, 2013)

List of Illustrations:

Figure 1 Gravity (2013) [Poster] at http://www.myreviews.it/wp-content/uploads/2013/09/100x140-drift.jpg (Accessed on 16 April 2014)

Figure 2 Debris Caused By The Russian Missile (2013) [Still Image] at https://s3-eu-west-1.amazonaws.com/front-media/assets/18/e8/94/f3/Gravity_472_16.jpg (Accessed on 16 April 2014)

Figure 3 Dr Stone Crying (2013) [Still Image] at http://img2.timeinc.net/ew/i/2013/10/14/Gravity.jpg (Accessed on 16 April 2014)

Figure 4 Dr Stone Hallucinating (2013) [Still Image] at http://i1.ytimg.com/vi/f46GwvQHmOs/0.jpg (Accessed on 16 April 2014)

List of Bibliography:

Erbland, Kate (2013) Gravity Review At: http://filmschoolrejects.com/reviews/gravity-review.php (Accessed on 16 April 2014)

Macnab, Geoffrey (2013) Gravity Review At: http://www.independent.co.uk/arts-entertainment/films/reviews/gravity-review-sandra-bullock-space-epic-makes-other-blockbusters-look-leaden-8927020.html (Accessed on 16 April 2014)

Sexton, David (2013) Gravity Film Review At: http://www.standard.co.uk/goingout/film/gravity-starring-george-clooney-and-sandra-bullock--film-review-8928399.html (Accessed on 16 April 2014)

Cutting Edge Film Programme: The Poseidon Adventure (1972)

Figure 1: Movie Poster [Still Image]

The Poseidon Adventure (1972) is an American action- adventure film co-directed by Ronald Neame and Irwin Allen. It is a film based on a novel by Paul Gallico bearing the same name.

The plot revolves around a luxurious ocean liner, SS Poseidon, on its last route of travel, which is from New York City to Athens before making its way to retirement. As the ship was behind schedule, company representative Linarcos ordered the ship’s captain, Captain Harrison, to go on a full speed ahead despite the captain’s persistent objection as he knew that is not a wise decision to make.

Just after everyone on board who are gathered in the huge ballroom to welcome the new year, the ship is hit by a tsunamis that was caused by an underwater earthquake. She is overturned and the lives of most of the ship’s crew, including Captain Harrison and Linarcos, who were on the bridge were lost.

Passengers and remaining crew that survived the overturn are trapped inside and a preacher, Revenant Scott, who believes that God will help those who help themselves, attempts to convince everyone to follow him in search of safety. However, he only managed to convince a small group of survivors. The survivors include Susan Shelby and her younger brother, Robin whose interest lies in how the ship works and paid multiple visits to the engine room during his time on board, retired hardware store owner Manny Rosen and his wife Belle, an introvert, conscious about his health bachelor,James Martin, the singer’s ship Nonnie Parry, Detective Liuetenant Mike Rogo and his ex prostitute wife, Linda.

Figure 2: The Survivors [Still Image]

Survivors such as Detective Rogo and Revenant Scott possesses the dominant role and whereas Nonnie, the singer, represents the weaker link. Mrs Rosen and Linda Rogo are characters who possesses the dominant role in their relationship as in it can be seen in their screenplay. An example that Mrs Rosen has been taking the dominant role would be at one point when Mr Rosen told her “For the past 20 years, I’ve been listening to you. Now, it’s time for you to listen to me.” An example of Linda taking on the dominant role in her relationship with Detective Rogo would be when she said “You son of a bitch. Go help him” and he calmly replies to her  “Okay, Okay”. The characteristics that each survivor possess are relatable to the audience because in every community, there are always people of that sort. A film critic Robert Siegel supports this statement because in his review, he highlights "If audiences achieve empathy with our protagonists, the perils they experience will be more deeply felt, will be more real." (Siegel, 2012)

As this film was made prior to the introduction of Computer Generated Imagery (CGI), everything in this film was built physically and the sets were extensively elaborated. With no advance technology present at the time this film was made, removing safety cables from stunt actors as they plunge to their death in the ballroom scene was impossible but in terms of art directors, the stunt directors wanted to achieve the utmost realism so they improvised. In his review, Richard Luck explains how this was done. He states “Allen’s stunt directors demanded as much realism as possible. So when you see the ballroom roll over, what you’re looking at is a combination of an elaborate set, intricate model work coupled with death-defying stunt performances. The air of authenticity is further accentuated by Allen’s insistence on shooting in sequence and allowing the principals to perform all but the most dangerous feats themselves. “ (Luck, 2014) 

Figure 3: Production Sketches [Still Image]

In conclusion, this is an example of a film that has a solid narrative and does not need CGI to make it believable. The overall look of this film was convincing and not only that made it one of the most successful disaster film of that era but even to date. In an interview carried out by Los Angeles Time, Lynley, who played the role of the ship’s singer, Nonnie, said "The movie has a life of its own. It just gets to people and the fact that it has lived as long as it's lived is extraordinary." (Susan King, 2012)

List of Illustrations:

Figure 1 The Poseidon Adventure (1972) [Poster] at http://www.impawards.com/1972/posters/poseidon_adventure_ver2_xlg.jpg (Accessed on 2 April 2014)

Figure 2 The Survivors (1972) [Still Image] at http://31.media.tumblr.com/fa66cff3f96ce4b5ba4188bfe1102063/tumblr_msrihnumK91se34hmo1_1280.jpg (Accessed on 2 April 2014)

Figure 3 Production Sketches (1972) [Still Image] at http://www.blu-ray.com/news/?id=8479 (Accessed on 2 April 2014)

List of Bibliography:

King, Susan (2012) A Return To 'The Poseidon Adventure' At: http://articles.latimes.com/2012/dec/24/entertainment/la-et-mn-poseidon-adventure-classic-hollywood-20121224 (Accessed on 2 April 2014)

Luck, Richard (2014) The Making Of The Poseidon Adventure At:

http://sabotagetimes.com/reportage/the-making-of-the-poseidon-adventure/#_ (Accessed on 2 April 2014)

Siegel, Robert (2012) Hell Upside Down: The Making of The Poseidon Adventure http://www.blu-ray.com/news/?id=8479 (Accessed on 2 April 2014)

Cutting Edge Film Programme: The Usual Suspects (1995)

Figure 1: Movie Poster  [Still Image]

The Usual Suspects (1995) is an American crime- thriller film directed by Bryan Singer. The story unfolds and is pieced together with the use of narrations and flashbacks. It is a film that revolves around five criminals who are brought together into the New York police station because of a crime that happened on board a ship at San Pedro Bay. They are Dean Keaton, a corrupted, former member from the task force, the professional tag team of thieves- Michael McManus and Fred Fenster, Todd Hockney, a hijacker and lastly Roger “Verbal” Kint, a con artist.

Unhappy that they have been accused for a crime that neither of them committed, they came to an agreement to seek revenge against the New York’s Police Department. Their first crime is to hijack a New York Taxi Service. It is a service run by corrupted officers who escorts smugglers to their destinations around the city. It was a success. Following that successful crime, Keaton wanted to come clean and be disassociated with all criminal activities as he dreams of starting anew only finds himself deeper into the crime world. This is when he and the rest met with Kobayashi, a man who works for the mysterious, influential boss from the underworld known as Keyser Söze. None of them had a clue that a crime they had previously committed had an association with Keyser Söze. They had crossed his path at the wrong time and now, they have been commissioned by him to redeem themselves.

Figure 2: Hijack Scene [Still Image]

The interesting storyline is a contributing factor to the success of the film but the great sound and cinematography helps piece everything together. An example of great use of sound and imagery together would be when the camera pans across following the airplane. The sound used in this shot, which was fast and has an increasing tempo evokes a feeling of danger and trouble. The back shot of the plane seems to look like a shark and as sharks are usually associated with danger, this is an example of how it has successfully portrays danger with the usage of great sound and visuals. It also follows through on to the next scene because it was the arrival of a smuggler who was escorted by the corrupted officers from the New York Police Department. This was possible because of the film’s talented editor, John Ottman. Ian Nathan credits and highlights the work of John accurately when he states “Plaudits aplenty must also go to editor/composer John Ottman for his skillful manipulation of image and sound.” (Nathan, 2006)

Figure 3: Back View Of Plane Landing [Still Image]

Figure 4: Back View Of A Shark [Still Image]

In addition to the perfect synchronization of the sound and the visuals, Singer used various camera angles to emphasise a point in a scene. The use of close ups to see the bottom of the coffee mug and various elements from the bulletin board in Sergeant Jeffrey office was important to help understand and piece the information from Verbal’s testimony. Mitchell reiterates this point when he says “He uses skilful camera movement and editing to make us see what’s going on in Kujan’s mind and thus to identify with him as he realizes how he's been fooled.” (Mitchell, 2000)

Figure 5: Close Up Of The Coffee Mug [ Still Image]

Figure 6: Close Up Shots Of Kajun [Still Image]

In conclusion, the exceptional performance by the cast completes the package of it being a great, successful film. Berardinelli is accurate when he states “The Usual Suspects is an accomplished synthesis of noir elements and, as such, is an entertaining entry to the genre.”(Berardinelli, 1995). The famous quote from the film, which was “The greatest trick the Devil ever pulled was convincing the world he didn’t exist.”(Verbal, 1995) concluded the third act beautifully because like the devil, the story that Verbal told Kujan has successfully convinced him and the audience for half the film that he was truly innocent and that Keaton was the puppeteer; pulling the strings and taking advantage of the other criminals.

List of Illustrations:

Figure 1 The Usual Suspects (1995) [Poster] at http://www.boettcherproductions.com/MySingleEntry/Library/Images/287.jpg (Accessed on 25 March 2014)

Figure 2 Hijack Scene (1995) [Still Image] at http://static.rogerebert.com/redactor_assets/pictures/far-flung-correspondents/too-much-frosting-not-enough-cake/Usual_20Suspects_203.jpg (Accessed on 25 March 2014)

Figure 3 Back View Of Plane Landing (1995) [Still Image] at http://www.byrneholics.com/wp-content/uploads/2011/11/usual-suspects-screencap-79-crop.jpg (Accessed on 25 March 2014)

Figure 4 Back View Of A Shark [Still Image] at http://www.seaquestdivecenter.net/wp-content/uploads/2012/11/Thresher_shark_Seaquest_Philippines-c.jpg (Accessed on 25 March 2014)

Figure 5 Close Up Of The Coffee Mug (1995) [Still Image] at http://staticmass.net/wp-content/uploads/2012/06/usual_4.jpg (Accessed on 25 March 2014)

Figure 6 Close Up Shots Of Kajun (1995) [Still Image] at http://staticmass.net/wp-content/uploads/2012/06/usual_4.jpg (Accessed on 25 March 2014)

List of Bibliography:

Berardinelli, James (1995) The Usual Suspects (1995) At http://www.killermovies.com/u/theusualsuspects/reviews/2bl.html (Accessed on 25 March 14)

Mitchell, David (2000) Sound Lies - Achieving Closure In The Usual Suspects At: http://www.zenoshrdlu.com/zenosusp.htm (Accessed on 25 March 14)

Nathan, Ian (2006) The Usual Suspects (1995) At: http://www.empireonline.com/reviews/reviewcomplete.asp?FID=132353 (Accessed on 25 March 14)

IMDB Quotes(1995) The Usual Suspects (1995) At: http://www.imdb.com/title/tt0114814/quotes (Accessed on 25 March 2014)

Cutting Edge Film Programme: The Sixth Sense (1999)

Figure 1: Movie Poster  [Still Image]

The Sixth Sense (1999) is an American supernatural thriller film written and directed by M. Night Shyamalan. The film tells the story of a child psychologist, Malcolm Crowe, who was confronted by his very unhappy former patient, Vincent Gray, the night he received an award for his excellent work in the field. Vincent was a patient he has failed to help. In the confrontation, Vincent shoots Malcolm in the stomach before turning the gun on himself.

After this incident, Malcolm is determined to help cure Cole Sear, a young boy who experiences the same psychiatric symptoms as Vincent. Cole is too young to comprehend the purpose of his paranormal powers and is afraid to tell anyone about his suffering except to his doctor. Malcolm sees this as a chance to make amends for not being able to help Vincent, but doubts his ability to reach the boy, particularly when Cole claims to see ghosts who don't know they are already dead.

The interesting visuals has helped extensively in this character driven film. Tak Fujimoto, the cinematographer, captures the mood excellently by shooting with different camera angles and shot sizes. There are a few examples to support this statement. One of this would be where Cole is lying on his bed. It is shot at high angle, giving the audience some sort of authoritativeness. This is because the character is being looked down upon. It also helps to establish the character’s age and how he positions himself while sleeping. As for the colour used in this scene, it symbolizes several things such as blood, horror, anger and love. It enables the audience to link it with the narrative as colours helps to emphasize on a specific kind of emotion that the character is going through.

Figure 2: Cole Sleeping [Still Image]

Another scene that had a great camera angle to express and emphasize the character’s feeling would be the use of close up as seen in Figure 3. With the lighting from underneath and the shot taken from a distance invading the personal space, it has successfully instill the uneasiness in the scene, just as how the character could possibly feel. Vikileaks is able to second this point when they state “Shyamalan’s careful use of specific production techniques lends maximum impact to his own finely crafted story, wrenching out every fright for all they are worth." (Vikileaks, 2012) 

Figure 3: Cole In His Tent [Still Image]

Like many other great films, the sound played an important role and contributes to piece this film brilliantly. An example of this would be in the opening scene where, Anna, Malcolm’s wife, goes to the basement to get a bottle of wine. She hears nothing but she gets the chills, which shows there is some sort of supernatural presence. The second example would be after Cole takes a wee, we hear the beat of the music increasing, building the tension. It keeps the audience at the edge of their seat as they waits for something to appear. Nathan agrees with the excellent usage of sound in this film because in his review, he states “Shyamalan expertly utilises sound to enhance the discomforting feeling of something indefinable being present (allowing the audience its own "sixth sense")." (Ian Nathan, 2012 ) 

Figure 4: Anna In The Basement [Still Image]

Figure 5: Cole In The Bathroom [Still Image]

In summary, the unexpected third act of this film is definitely another contributing factor for its great success. Total Film emphasises on this when they state “Shyamalan changes gear with a wonderfully conceived final act that rewards patience. Intense and genuinely haunting, this is compulsory viewing for anyone who loves to be spooked.” (Total Film, 1999) 

List of Illustrations:

Figure 1 The Sixth Sense (1999) [Poster] at http://images.moviepostershop.com/the-sixth-sense-movie-poster-1999-1020196111.jpg (Accessed on 18 March 2014)

Figure 2 Cole Sleeping (1999) [Still Image] at http://www.sensesofcinema.com/wp-content/uploads/images/08/46/sixth-sense.jpg (Accessed on 18 March 2014)

Figure 3 Cole In His Tent (1999) [Still Image] at http://www.radiotimes.com/namedimage/The_Sixth_Sense.jpg?quality=85&mode=crop&width=580&height=327&404=film&url=/remote/static.radiotimes.com.edgesuite.net/pa/98/65/webANXsixthsense.jpg (Accessed on 18 March 2014)

Figure 4 Anna In The Basement (1999) [Still Image] at https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1jAWZSVUS61G5bGy2CyOhn1eml-iK2gVqsCKC_dAZxkbyC2uYcpJkx4ck27fMV8QnFF-wzqKH1aSJT0YAm6eaarxv65zvUEoNrI1_wNV-JHwcmI7oPXX7cLdZsI2IZaT3j0M4JsulccM/s1600/1.png (Accessed on 18 March 2014)

Figure 5 Cole In The Bathroom (1999) [Still Image] at http://25.media.tumblr.com/tumblr_lffzl6yhNp1qc4hyeo1_500.gif (Accessed on 18 March 2014)

List of Bibliography:

Nathan, Ian (2012) Empire Essay: The Sixth Sense At: http://www.empireonline.com/reviews/review.asp?FID=132711  (Accessed 18 March 2014)

Total Film (1999) The Sixth Sense (1999) At: http://www.totalfilm.com/reviews/cinema/the-sixth-sense (Accessed 18 March 2014)

Vikileaks (2012). The Sixth Sense: A Key Scene Analysis At: http://vikileak.wordpress.com/2012/03/11/the-sixth-sense-a-key-scene-analysis/ (Accessed 18 March 2014)

Cutting Edge Film Programme: The Wicker Man (1973)

Figure 1: Movie Poster [Still Image]

The Wicker Man (1973) is a British horror film directed by Robin Hardy, written by Anthony Shaffer and soundtrack composed by Paul Giovanni..  It is a film that has now been considered as a cult classic. The story centres on the arrival of Sergeant Neil Howie on a Scottish island looking for a missing teenager girl, Rowan Morrison, of whom the locals claim never existed. The place belongs to Lord Summerisle and is famous because of their plantation of apples and other fruits.

Sergeant Howie, a devout Christian is shocked to find that the inhabitants of the island are pagans, practicing old rituals, and Rowan is probably alive and being prepared to be sacrificed. As highlighted by writer Mikita Brottman, "Howie is the representative of a puritanical Scottish protestantism-a religion that has lost its vital spirit, and has become as stale and dried up as Summerisle's (the island) apples." (Brottman in Bandy and Monda, 2003:142). The way these islanders think and live their lives very much differ from Howie and hence, he finds it hard to comprehend their unusual and sexually related rituals.

Figure 2: Young Naked Girls Performing A Ritual [Still Image]

He is also disturbed at how sexually open the teachers are with the students. An example of this would be the connection between the phallic symbolism and the maypole. As Jeremiah Kipp states in his review “There's also a charged eroticism that perhaps comes hand in hand with his deeply religious suppression of carnal desire.” (Kipp, 2001). Additionally, the attraction between Howie and the landlord's daughter, Willow, can be clearly seen because she sings with the intention to seduce him while she is nude. The lyrical ties found within these songs are beyond witty, telling the viewer as much about the story as the visuals.

Figure 3: Willow Singing To Seduce Howie [Still Image]

As Adam Covell states in his review "The Wicker Man can be seen as the signpost of a dying generation of thought. It’s more than just a cult film. It’s the poster-boy of an entire catalogue of film, television and literature, providing a set number of criteria that, though not always followed by the films before and after it, came to represent a whole innovative, unnerving and intelligent sub-genre." (Covell, 2013) What Covell is saying is that this film did not only influence the horror genre during that period of time but also portrayed what the era was representing. It was an era where many cult groups were on the rise. In addition to that point, Total Film helps to summarise it accurately when they state “The staging of several merrie pagan songs – and of course the chilling climax – is truly memorable. (Total Film, 2007)

Figure 4: Lord Summerisle And The Town Singing To Howie's Death [Still Image]

In summary, this film is just like Howie himself. It meanders along a circuitous route of mounting tension to the ghastly climactic twist and stark finale. In the end, as unsympathetic as Howie has been, the film gives him this much dignity, that in extremis, after all appeals, threats and pleading have failed, he clings to his faith and his God.

Figure 5: Howie Saying His Prayers [Still Image]

List of Illustrations:

Figure 1 The Wicker Man (1973) [Poster] athttp://wrongsideoftheart.com/wp-content/gallery/posters-w/wicker_man_poster_01.jpg (Accessed on 13 March 2014)

Figure 2 Young Naked Girls Performing A Ritual (1973) [Still Image] at http://25.media.tumblr.com/tumblr_m24vfzSAtU1rrzuwfo1_500.jpg (Accessed on 13 March 2014)

Figure 3 Willow Sings To Seduce Howie (1973) [Still Image] at http://ferdyonfilms.com/Wicker%202.jpg (Accessed on 13 March 2014)

Figure 4 Lord Summerisle And The Town Singing To Howie's Death (1973) [Still Image] at http://static.guim.co.uk/sys-images/Music/Pix/pictures/2010/6/11/1276258500816/The-Wicker-Man-006.jpg (Accessed on 13 March 2014)

Figure 5 Howie Saying His Prayers (1973) [Still Image] at http://www.offscreen.com/images/wicker_burn.jpg (Accessed on 13 March 2014)

List of Bibliography:

Bandy, Mary L. and Monda, Antonio. (2003). The Hidden God: Film and Faith. New York: The Museum of Modern Art

Covell, Adam (2013) The Wicker Man (1973) – Defining Of The Folk Horror At: http://celluloidwickerman.com/2013/09/16/the-wicker-man-1973-defining-of-the-folk-horror/ (Accessed 13 March 2014)

Kipp, Jeremiah. (2001). The Wicker Man (1973) At: http://www.filmcritic.com/reviews/1973/the-wicker-man/ (Accessed 13 March 2014)

Total Film (2007) The Wicker Man (1973) At: http://www.totalfilm.com/reviews/cinema/the-wicker-man-1 (Accessed 13 March 2014)

Cutting Edge Film Programme: Memento (2000)

Figure 1: Movie Poster [Still Image]

Memento (2000) is a psychological thriller and neo-noir film directed and written by Christopher Nolan. The film was inspired by his brother’s short story Memento Mori. The film revolves around the life of Leonard Shelby, an insurance investigator who struggles to overcome amnesia through the chaos of memory loss following a head injury he sustained after intervening on his wife's murder. This affected his standard way of living. To compensate his disability, he takes pictures of things with a Polaroid camera, annotating them and tattooing important facts on his body to constantly remind himself. Unfortunately, these notes still don't mean anything after he falls asleep.

Figure 2: Tattoo on Shelby's Body [Still Image]

He experiences flashbacks that help to reveal each little bit of the puzzle as his search to avenge his wife’s death continues. These flashbacks make the audience feel just as confused as he is. As numerous characters explain, there may be little point in seeking revenge as he would not remember it in order to provide closure for him. The narrative closely follows a phone call Shelby has in which he talks about Jankis, a former client of his, who he believed had the same condition. The film takes an unexpected twist as the two characters have a lot more in common than is initially put across. The essence of the concept questions the philosophical statement which was “Time heals all wounds” because in this film, Shelby has no sense of time. Despite this questionable concept, Nolan was able to heighten the suspense by keeping the story sharp and pacy, and is not afraid to layer in a little ultra-black humour. A review written by Total Film emphasise this point when they state “It's the masterful execution of an almost-too-clever-for-its-own-good concept which really makes this the most delicious kind of food for the mind.” (Total Film, 2000)

Figure 2: Shelby Looking At His Chart [Still Image]

In addition to that, the unique non-linear narrative structure synchronizes perfectly to the character of Leonard Shelby. Shelby remembers things in short increments of time but still maintains his investigation of his wife’s murderer. The film is made so that the audience will be able to experience what Shelby is facing and how he see life- fragmented and out of order. However, through multiple story plots, restrictive narration, and many close-ups shots, the audience would be able to get the full story. This point is further stressed on when Perry highlights in his review “The structure of Christopher Nolan's fascinatingly original second film is determinedly non-linear. The same sequences are seen from different viewpoints, alternatively clarifying and muddling perceptions. It is edited like a random pile of mosaic tiles, but when the last one has snaps into place, a surprise sets the whole intrigue in motion again.” (Perry, 2000)

As the film revolves around Leonard’s unique memory condition, his character must constantly take notice of small details and noting them down. The cinematography is essential to the story development, story unity, and establishing settings. Hence, important story elements are emphasized with the use of extreme close-ups shots. A key component that helps to drive the story forward is the Polaroids that Shelby constantly takes that consist of people, places, and things to help him remember. He will write small notes on the Polaroids with new information he gets to know of. Several Polaroids are more important to the story as a whole. This is mainly because of the notes he has on them, and when he added the note. A polaroid of Teddy Gammell is relatively more important than the rest as close-ups of Shelby adding three notes to the photo at three different parts of the story, demonstrates how significant that information is to the story. The distinctive use of depth of field close ups contributes to the psychological ride the audience take through Shelby and his quest for vengeance. 

Figure 4: Shelby Writing A Note On Teddy's Polaroid [Still Image]

Scott concludes the brilliant work of Nolan accurately when he states “Mr. Nolan demonstrates a supercharged cinematic intelligence. He's clearly excited by the way the medium can manipulate time and information, folding straightforward events and simple motives into möbius strips of paradox and indeterminacy." (Scott, 2001)

List of Illustrations:

Figure 1 Memento (2000) [Poster] at http://www.kinocinema.net/gimage/13d60b1925f413337824ed6278bcc93c.jpg(Accessed on 4 March 2014)

Figure 2 Tattoo on Shelby's Body (2000) [Still Image] at http://cdn.inkedmag.com/wp-content/uploads/2013/09/d4e8971593a6b426318bd5e0051dc673.jpg (Accessed on 4 March 2014)

Figure 3 Shelby Looking At His Chart (2000) [Still Image] at http://dinamico2.unibg.it/fa/imgs/mp-09.jpg (Accessed on 4 March 2014)

Figure 4 Shelby Writing A Note On Teddy's Polaroid (2000) [Still Image] at https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZJcVGDgAWeo4vzVJN92J0mGkRaWw4R-rp3QtVgu1bB5CZth_VLogH8vGAAqNB22_LqkgRghN0F8G46q4-v1SH5GORHeGKfHOu9xj-kY45V_-r1UOeKdvPF160_TvTxkXb_0hGb-ELIa6y/s1600-h/writing+the+killer+caption.JPG (Accessed on 4 March 2014)

List of Bibliography:

Perry, George (2000) Memento (2000) At: http://www.bbc.co.uk/films/2000/10/16/memento_2000_review.shtml (Accessed on 4 March 2014)

Scott, A.O (2001) Memento (2000) At: http://www.nytimes.com/movie/review?res=9E06E5DC173DF935A25750C0A9679C8B63 (Accessed on 4 March  2014)

Total Film (2000) Memento At: http://www.totalfilm.com/reviews/cinema/memento (Accessed on 4 March 2014)

Cutting Edge Film Programme: The Blair Witch Project (1999)

Figure 1: Movie Poster [Still Image]

The Blair Witch Project (1999) is an American horror film written and directed by Eduardo Sánchez and Daniel Myrick. The film revolves around a story of three student filmmakers (Heather Donahue, Joshua Leonard, and Michael Williams) who disappeared on October 1994 in the woods near Burkittsville, Maryland. They had gone into the woods to film a documentary about the fabled Blair Witch. The viewers are told the three were never seen or heard from again, and the film you are about to see is from their recovered equipment, found in the woods a year later by the police. The entire movie documents their adventures leading up to their final minutes.

The film has a strong emphasis on foreshadowing throughout the film. An example of this would be when they find a cemetery with 7 Cairns in it. Each one of these Cairns represents one of the dead children. Josh accidentally knocks over one of these Cairns and it proves to be fatal action that foreshadows subsequent events. Their tents were attacked during the night and what they discovered in the morning was puzzling. Only Josh’s items have been covered in blue slime when no one else’s had. It was evident that Josh had been marked by the Witch because he is the first one to go missing and has been presumed to be dead.

Figure 2: Rock Pile [Still Image]

Another example of foreshadowing would be when Heather and Mike land themselves at a house in the woods. The large stick figures seen foreshadow the death of anyone who enters it. When Heather enters the house, a hangman’s noose is seen next to the doorway.  It also represents the Rustin Parrs house where the child killer was hanged claiming to be possessed by the Blair Witch.

Figure 3: Hanging Noose [Still Image]

Apart from that, what makes this film a success is the very effective connection it produces with the audience as a hand held camera is being used throughout. Due to the fact that this film seems very real, it was able to extend the mounting anxieties experienced by the characters to the audience.In a review by Total Film, they highlighted this point when they state,  “It cranks up the "realism", enhanced by the shaky hand-held nature of the footage shot by the three campers who genuinely do appear to be scared out of their wits.” (Total Film, 1999).

Figure 4: Heather Crying [Still Image]

Unlike other horror films that depict gore, blood and demons, the audience never gets to actually see anything in The Blair Witch Project. The horror lies in how the film is made, and the way the actors show their fear. It is more a psychological horror than an obvious scary monster.  Maslin is summarizes this point accurately when she states, ''The Blair Witch Project'' is a nifty example of how to make something out of nothing. Nothing but imagination.” (Maslin, 1999) This imagination leads to the insecurity that the trio felt that was brilliantly captured because within everyone, there is the creepy fear about being lost in the woods.

In conclusion, the timeless features, namely the use of hand held camera in this film has unfold and brought a fresh new approach to the horror genre of cinema as it never gets old and boring to scare the audience from all around the world. This can be supported with a statement from Collins review when he highlights “Scary without being explicit, it's a 1990s cinematic landmark.” (Collins, 1999)

List of Illustrations:

Figure 1 The Blair Witch Project (1999) [Poster] at http://www.nerdspan.com/wp-content/uploads/2013/10/the-blair-witch-project-poster.jpg (Accessed on 18 February 2014)

Figure 2 Rock pile (1999) [Still Image] at http://www.castleofspirits.com/rockpile.jpg (Accessed on 18 February 2014)

Figure 3 Hanging Noose By The Doorway (1999) [Still Image] at http://www.angelfire.com/md/blairwitch/images/noose.gif (Accessed on 18 February 2014)

Figure 4 Heather Crying (1999) [Still Image] at http://media.portable.tv/wp-content/uploads/2011/10/blair-witch-project-portable.gif (Accessed on 18 February 2014)

List of Bibliography:

Collins, Andrew (1999) The Blair Witch Project At: http://www.radiotimes.com/film/nbcc9/the-blair-witch-project (Accessed on 18 February 2014)

Maslin, Janet (1999) The Blair Witch Project (1999) At: http://www.nytimes.com/movie/review?res=9C02E6D91E3CF937A25754C0A96F958260 (Accessed on 18 February 2014)

Total Film (1999) The Blair Witch Project At: http://www.totalfilm.com/reviews/cinema/the-blair-witch-project (Accessed on 18 February 2014)

Cutting Edge Film Programme: Reservoir Dogs (1992)

Figure 1: Movie Poster [Still Image]

Reservoir Dogs (1992) is an American crime film that involves six strangers who were assembled to pull off the perfect crime by mob boss Joe Cabot. They were given fake names with the intention that it would not be personal amongst each other and their main concentration lies at completing the job instead. The six strangers are Mr. White, a professional criminal; Mr. Orange, a young newcomer; Mr. Blonde, a trigger-happy killer; Mr. Pink, a paranoid neurotic; Mr. Brown; and Mr. Blue. The robbery that they were so sure would be a success went terribly wrong when the police ambush the site of the robbery. As panic spreads amongst the group members, Mr Brown was killed in the subsequent shootout and Mr Orange was seriously injured. When the remaining people assemble at the premeditated rendezvous point, a diamond warehouse, they begin to suspect that one of them is an undercover cop.

Reservoir Dogs cuts back and forth between pre- and post-robbery events, occasionally putting the narrative on hold to let the characters discuss topics such as the relative importance of tipping in the opening scene. The opening scene exists to clearly establish every fact that the audience needs to know about each character. Haflidason supports this discussion and is accurate when points out “Abandoning the conventional format of natural chronological storytelling, Tarantino creates a tapestry of flashbacks that cleverly build to a conclusion. This allows separate scenes to be showcased as individual vignettes that the cast exploit to the full.” (Haflidason, 2000)

Figure 2: Mr. Pink Refuses To Tip [Still Image]

In addition to the unconventional storytelling, Tarantino have also used various simplistic yet very effective camera tricks in this opening scene. It starts off with a discussion about Madonna's Like A Virgin with no visuals. It then quickly progresses into a drifting camera shot which pans around the participants at the table. This shot can be considered brilliant as it is not just about the energy but also the way it stays tightly framed. This draws the attention to a certain aspect of the shot, keeping the audience from seeing the whole table at once. As the camera moves behind the backs of people at the table at times causing the screen to turn black, it makes the audience to be more attentive as the dialogue becomes the main emphasis of the shot. The use of the dialogues has been an influence for violent movies made after this film because the dialogues contribute to increase the tension of a situation rather than diminish it. Puddicombe emphasizes this point when he states “Its use of foul mouthed, small-talking gangsters has set the tone for standard gangster film dialogue since, and its visceral violence, instinctively chosen music and sheer coolness has set the mark that contemporary directors of crime films have since strived to match." (Puddicombe, 2013)

Figure 3: Restaurant Scene [Still Image]

One of the contexts that can be derived from this film is the homoerotic nature of Mr. Orange and Mr. White’s relationship. This film is briefly dedicated to white heterosexual masculinity. It can be seen from the way they carry themselves by wearing the sharp black suits, carrying the guns, portraying the violence and act of racism. However, the main focus still lies on masculinity. On the other hand, Mr. Orange and Mr White embodies the most stereotypically feminine traits of their colleagues. Mr. White is the nurturer, and Mr. Orange the child, pleading for Mr. White to “hold” him and take care of him. They both share same kind of vulnerability. An example would be in one of the final scenes where Joe, Eddie and Mr. White are in a triangular stand-off. This shot in itself provides an interesting interpretation on traditional masculinity. It is the threat to prove who is the most dominant one. Eddie is protecting his “Daddy,” Joe is protecting his patriarchal business and Mr. White is protecting Mr. Orange. Mr. White is the most empathetic and kind, and he wins that battle.

Figure 4: Warehouse Scene [Still Image]

Dawson concludes this masterpiece by Tarantino very precisely when he says “Seminal, in terms of its discursive dialogue, bursts of ultra-violence and unsettling machismo, Reservoir Dogs still seems groundbreaking.” (Dawson, 2008)

List of Illustrations:

Figure 1 Resevoir Dogs (1992) [Poster] at http://www.impawards.com/1992/posters/reservoir_dogs_ver4.jpg (Accessed on 12 February 2014)

Figure 2 Mr Pink Refuses To Tip (1992) [Still Image] at http://www.fairfaxunderground.com/forum/file.php?2,file=117734,filename=i-dont-tip1.jpg(Accessed on 12 February 2014)

Figure 3 Restaurant Scene 91992) [Still Image] at http://news.bbcimg.co.uk/media/images/68182000/jpg/_68182342_resevoirdogs464rex.jpg (Accessed on 12 February 2014)

Figure 4 Warehouse Scene(1992) [Still Image] at http://stream1.gifsoup.com/webroot/animatedgifs/130078_o.gif (Accessed on 12 February 2014)

List of Bibliography:

Dawson, Jeff (2008) Reservoir Dogs At: http://www.empireonline.com/reviews/reviewcomplete.asp?DVDID=6455 (Accessed on 12 February 2014)

Haflidason, Almar (2000) Reservoir Dogs (1992) At: http://www.bbc.co.uk/films/2000/11/21/reservoir_dogs_1992_review.shtml (Accessed on 12 February 2014)

Puddicombe, Stephen (2013) Reservoir Dogs At: http://theyorker.co.uk/arts/film/york-city-screen:-special-screenings-/13700-review-reservoir-dogs
(Accessed on 12 February 2014)