Component 1 Section C
BRITISH FILM SINCE 1995 - TWO FILM STUDY
Overview:
- New mood in British film in mid 1990's
- Lack of funding for British film during Thatcher's time in office (1971-91)
- 1990's new initiatives on financial front contribute to output from different directors
- Work varied reflecting social and cultural contexts of Britain
- Work of Gurindha Chadha - marks contribution of Asian-British film production - ethnic diversity from gender perspective)
1990's onwards - continuing to offer what British films and cinema does best in terms of social realism but also new directions across genres: sci-fi, comedy, horror, urban - Danny Boyle, 28 Days later, Shaun of The Dead, Attack the Block, Under the Skin.
Social Realism continues to respond to new social issues.
NEW WAVE CINEMA 1960'S
- Rebelled against social hierarchies - making working class people (ordinary people) and their issues being visible and important.
- British film post 1960's reflects push to visualise diverse representations across, race, gender and ethnicity.
- Work of Andrea Arnold focuses on working class lives but also from a gender perspective.
- Mike Leigh continues to show his interest in ordinary people but he stays grounded to social and political developments.
IN OUR TWO FILM STUDY WE EXAMINE:
- Narrative structure and theory
- We focus on the difference between "plot" and story
- Examine narrative devices and techniques
- Engage with ideological critical approaches
- Explore key elements of film form and their contribution to the films narrative development
Main Theories
Todorov's stages of narrative based on 'cause' and 'effect'
- distinction between the 'Plot' and the 'story'
- plot - summing up the 'action' / events
- story- the plot is fleshed out with characters, emotions and context, this same plot can be constructed into a narrative in a number of ways, using narrative devices and techniques
- story unfold as 'cause and affect' - from the first equilibrium to the last - the final equilibrium is not the same as the beginning
- identifies 5 key stages;
- Equilibrium
- something happens - sets the narrative in motion
- a realisation that something has happened
- trying to put things right
- new equilibrium at the end
Vladimir Propp - archetypal characters
- archetypal characters
- argues that all stories need a specific set of archetypes
- the characters themselves are not important - focus is on their role of function as a type
- hero, villain, victim, helper and messenger, anti-hero
- folk tales - emphasis
- Social anthropologist who studied primitive societies who communicated with sign / paintings / drawings / visually.
- Not spoken or written.
- Primitive drawing on a cave - you would recognise ideas around conflict. - opposites or binaries. Develops this to argue that intrinsic to most cultures is an understanding of the world through conflict and opposites. = meaning.
- Thin Man Films
- City 2000
- Channel Four Films
- Leigh writes the screenplay
- Cynthia
- Maurice - Cynthia's Brother
- Monica - Maurice's wife
- Hortense - Cynthia's daughter given up for adoption
- Roxanne - Cynthia's daughter
- Paul - Cynthia's boyfriend
- Contemporary London
- Maurice - photographer in North London; middle class now
- Cynthia - single mother - lives in South London with Roxanne - conflict
- Hortense - looks up biological mum after he parents die
- Social class intrinsic to story - tension between Maurice and Cynthia
- Family past - secrets
- Stillness - long takes
- Every day realism.
- Sibling rivalry / tensions - around money, status
- Maurice took inheritance from father's death - moved to NL and built his business
- Cynthia - rents in SL, single mother (juggled two jobs when Roxanne was younger), Roxanne "works for the council"
- She takes Maurice's money when he visits; she marvels at the space and luxury of his new house, tells Monica resentfully that she spent all the inheritance.
- She is pleased for Hortense - her job, going to uni, driving her own car.
- Cynthia as a young women - hushed up when she was pregnant
- She lies to Roxanne / never shares the truth
- Cynthia's life: hardship, loneliness, shame, emotional damage, relationship with Roxanne
- Roxanne: her response to mum's secret - hurt, shocked
- The narrative is precipitated by events which Cynthia experiences and endures
- There is no diegetic music, increases tension, there is already pre-existing conflicts. Contributes to the realism of the sequence.
- Its revealed at the dinner table.
- Shot reverse shots between all characters, individual facial expressions. They are either awkward or taking small looks at Hortense, making it obvious what everyone is thinking.
- Long takes
- Quick cuts - family coming apart
- Jean and Paul - their uncomfort
- Hortense is the only one wearing black; enhance the idea of race and separation
- All around the table - Hortense at the top (she is subject of conversation/controversy
- Awkward silences.
- When Hortense knocks on door, Monica opens it and says she has the wrong house; Monica is wary of her.
- Dress code and composition of the sequence
- Secrets and lies theme
- Judgements? Inter-racial relationships
- 1960's historical context
- Positive perspectives - Hortense has educated herself, home owner, professional, financial independent.
- Linear, moving forward chronologically, however their is a line moving backwards too.
Excellent highly detailed notes which encompass issues, themes, narrative theory and also contexts.
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