FILM STUDIES

 COMPONENT 2 SECTION A - Moving away from more conventional, familiar and dominant strands of filmmaking.  - Examination of how film and cinema is shaped outside of mainstream.  - Influence of time, place, spaces, culture, tradition.  - Film and cinema from Europe and beyond offer narratives and stories which are a window on to other worlds.  IDA (PAWLIKOWSKI, 2013)  Influence of European tradition in terms of style and film movements: Italian Neo-Realism, French New Wave - the "new" wave in Polish context, with traces of film noir as a genre - the lighting and use of monochrome At the same time the narrative emanates from European history (dark history) and specifically from the perspective of Poland and the Jewish Community A narrative which has re-located the past at a time when the movement towards an integrated Europe has tried to heal the painful individual and collected memories of the recent past.  CITY OF GOD (LUND & MIREILLES, 2002) Outsi...

SEQUENCE 3 - Younger Amy - after parents divorce Demonstrates Longinotto’s ideas as the clip is compiled of home videos of Amy Winehouse as well as narration about her childhood from Amy Winehouse herself. Home videos really meets Longinotto’s theory as the director doesn’t have any interjection in the video at all as they’re filmed previously. They let you see the raw personality of Amy Winehouse as a child without others giving their opinions on what they thought she was like. By using Amy Winehouse her self for the voice over, you get the truth about what she was like rather than hearing how other people perceived her. This completely links with Longinotto’s ideology as you’re getting the story straight from the main subject. Longinotto's approach would be to unravel the narrative by giving "space" to the parents' point of view - which is what Kapadia does by keeping the footage  However, Kapadia was not conducting the interview used as the voiceover so who’s to sa...

  Second hand footage - fly on the wall filmmaking.  Filmmakers theory on documentary - Broomfield vs Longinotto  RECORDING BACK TO BLACK: Switches from diegetic to non-diegetic and back sound to emphasise the importance of the Back to black album. Uses footage to show Amy has an awareness of how sad the song is - also uses VoiceOver to show that despite the potential tumultuous attitude Amy has she is still fairly professional able to work cohesively and with a purpose.  WINNING THE AWARD: Showing a mixture of footage of her winning the award and performing on stage and contrasting it with Juliette's interview in which Amy had said "This is so boring without drugs" both highlights and understanding of how deeply her addiction affects Amy and also plays with diegetic and non-diegetic sound to give us a sense of how contrasting the reality is from what's being played out on camera.  AMY'S FUNERAL: This sequence shows raw footage - at first with her friend and bod...

  COMPONENT 2    SECTION B: DOCUMENTARY    -         Modes of documentary  -         Filmmakers’ theories -         Case study  Amy   (Kapadia: 2016)     Documentary as a genre   o     Documentary as a style of filmmaking endeavours to document rather than fictionalise o     Documentary is enmeshed with ideas of representation and the “real” o     Reality and realism o     To create the idea of “the real” (art – Realism VS Impressionism)    Re-presentation    o     What is presented on the screen is never “a window on reality” or a transparent reflection of reality.  o     Reality on the screen is mediated by the production processes: camera techniques, editing, lighting, locations o     All the above ...

 Sweet Sixteen (Ken loach 2002)  Performance: - Improvised acting - Natural performances - Real people / real lives SWEET SIXTEEN AND SWEARING:  Given an 18 certificate by the BBFC for foul language  Loach and Lavery attacked at the decision in the press, accusing the BBFC of class censorship and of pandering to middle class prejudices The films language reflects the dialect of the community, but the rating denied those being represented from seeing the film Inverclyde council (where it is set) overturned the BBFC's rating to show the film at a 15 rating in local cinemas Realism = Relatable  = accurate representation  English actors undermine the truth of the characters reality  He's passing Scullion some money  That means they are bound to get a delivery. Deary me. Golly gosh, this is a fabulous opportunity. I know where they keep the drugs. We could retrieve it in no time.  Pardon me,  Do you mind repeating  The cocaine....

  KEY THEMES: Visualises diversity on the British screen A consistent push from kitchen sink drama, the new waves of the 60's where working class realism was visible to the visibility around diversity; class, race and ethnicity Good to compare this film with the film adaptation of Monica Ali's Brick Lane Other films to compare with: Bhaji on the Beach, Bend it like Beckham, My Beautiful Laundrette Raises interesting questions similar to Secrets and Lies about the relationship between an artist/director and the subject matter they tackle Invisibility of individuals - whose contribution is vital, but undervalued Identity and belonging Outsiders Key elements of film form - use of lighting

  Character traits most important characters in secrets and lies Cynthia  Hortense Maurice  Monica  Roxanne Cynthia, Maurice, Hortense, Monica, Roxanne  Vladimir Propp's character tropes recognised easy categories (binary opposition)   1928 said that all stories follow a clear narrative structure which repeats across fairy tales  identified characters which are apparent in most narratives  villain; struggles against the hero  the dispatcher; the character who sends the hero on their mission  the helper; helps the hero in their quest  the princess; the hero seems the most deserving of her and the villain tries to prevent this, the journey often ends with the hero marrying the princess  the donor; prepares the hero for their 'quest' giving the hero a magical object  the hero; seeks something throughout the story, reacting to the donor false hero; disrupts the hero's progress by taking credit for the hero's actions or tr...