Over the last few weeks I have been using Adobe Premiere Pro to edit my film sequence together, I have found myself experimenting with several different effects that I did not initially intend to use when I first set about planning it all out. The experimentation has definitely proved to be beneficial, as it has given me many new ideas as to how I should portray the character and the events shown.
With the various interior/exterior house shots I have filmed, I have experimented with colour tints mainly. More specifically, I have been using blue and red tints. The Media and Film technician was helping me out with the editing as I wanted to create a thunder effect with flashing blue tints, which was achieved by going onto Project > new > colour matte. The user can then adjust the colour and shade of the clip, and drag it on top of a clip in the workspace, and adjust its transparency to give the existing shot a different colour tint. This is effective, as the use of this weather is a pathetic fallacy, with a storm reflecting a dark, frightened mood. The colour red was also a good choice as it connotes danger and blood. I later decided that I could use the same feature to enchance my music video.
Monday, 28 January 2013
Monday, 14 January 2013
Monday, 7 January 2013
Feminist film theory
It is possible to apply Feminist film theory to my film due to its main protagonist being a female. Feminist film theory centres on the way that females are portrayed in mainstream cinema, particularly in comparison to male characters.
Initial theories arose in the early 70s and were based on sociological theory and focusing on women characters' functions in particular genres and narrative structures, as well as the use of stereotypes to represent the way women are viewed in society. Feminist film theorists such as Marjorie Rosen and Molly Haskell look at how women are portrayed in relation to a broader context, such as the stereotypes used, the amount of screen time they are given, and the extent to which the women are shown as active or passive.
One significant theorist that we can look at is Laura Mulvey. She identifies and criticises three distinctive perspectives in film that operate to exploit and sexually objectify women:
1. Perspective of male character on-screen and their perception of the female character.
2. Perspective of the spectator as they watch the female character on-screen.
3. Joining of the above; the male spectator's perspective of the male character on-screen, allowing the male spectators to use the female character as his personal sex object as he is able to relate himself through looking to the male character on-screen.
How this applies to / goes against my film:
My film's main protagonist is female and therefore gets a high amount of screen time. She is not seen to be objectified or exploited, and carries a confident, determined personality, and is presented as the last one standing after the disappearances of all her friends, suggesting she is much more cautious. She is also represented as a leader, a role that is usually assigned to males. However, this may be criticised by some feminists as she is perhaps conforming to male traits to be more accepted in the society at large.
I personally do not see any major female characterists in my character. However, at the same time, her appearance does not completely suggest she is trying to break away from female conventions, which is shown in her long blonde hair. My film is targeted to both genders and it is therefore good that my character displays no bias to either gender.
Initial theories arose in the early 70s and were based on sociological theory and focusing on women characters' functions in particular genres and narrative structures, as well as the use of stereotypes to represent the way women are viewed in society. Feminist film theorists such as Marjorie Rosen and Molly Haskell look at how women are portrayed in relation to a broader context, such as the stereotypes used, the amount of screen time they are given, and the extent to which the women are shown as active or passive.
One significant theorist that we can look at is Laura Mulvey. She identifies and criticises three distinctive perspectives in film that operate to exploit and sexually objectify women:
1. Perspective of male character on-screen and their perception of the female character.
2. Perspective of the spectator as they watch the female character on-screen.
3. Joining of the above; the male spectator's perspective of the male character on-screen, allowing the male spectators to use the female character as his personal sex object as he is able to relate himself through looking to the male character on-screen.
How this applies to / goes against my film:
My film's main protagonist is female and therefore gets a high amount of screen time. She is not seen to be objectified or exploited, and carries a confident, determined personality, and is presented as the last one standing after the disappearances of all her friends, suggesting she is much more cautious. She is also represented as a leader, a role that is usually assigned to males. However, this may be criticised by some feminists as she is perhaps conforming to male traits to be more accepted in the society at large.
I personally do not see any major female characterists in my character. However, at the same time, her appearance does not completely suggest she is trying to break away from female conventions, which is shown in her long blonde hair. My film is targeted to both genders and it is therefore good that my character displays no bias to either gender.
Friday, 4 January 2013
Chosen music
For my sequence, I have decided to use the first 3 and a half minutes of the song "Octavarium" by Dream Theater. I have decided on this piece of music as it has a very eerie and dark sound, and features quirky sound effects which suggests that a strange presence is nearby.
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