Friday, 27 November 2015

Filming Tyrannosaur Swede

Wednesdays shoot of tyrannosaur 



We change the traditional WARP from into a working title film by making the main actors posh and snobby dressing them in suits and dresses and drinking champagne.

Our first screen was to imagine a man shouting while walking out of a bookies , he then proceeds to walk down an alley and kill his dog. We copied this by having Will ( William ) walk out of a door near the gym that had an alley type pathway running down the side , we showed him walking out then talking to his butler and then kicking his dog killing it. 

The second shoot was the funeral of the dog. We filmed this on the front lawn of our school by an ache of willow that looked appropriate for the situation. We had 2 rows of 3 actors with will and his butler ( Thomas ) and a girl to his left and the priest was in front of him. As the priest said his peach will laughed which contrast with the real film as he was crying. 

The third scene showed will running into an app stores and diving under the table , the girl ( Niamh ) tries to help him and convinces him to come up from under the table , he then invited her out for dinner and she accepts his offer. 

When we first shot the scenes we had difficulties with filming because the areas we choose had limited lighting and it was noisy making the audio hard to hear. We solved these problems in the second attempt by making all the scenes in open out side areas that wouldn't be too loud.

We had three scene in which each group member had part to play and a role to fill while we filmed , we had 2 cinematographers , a director , a producer and actors. Before we started filming we all helped out to create call sheets , screenplays and sorry boards to help the process pf filming easier and quicker.  

I was responsible for the screenplays for all scenes , i also helped with filming and directing , i also acted in it as i was the blonde girl ( Niamh ). I then edited my own final cut . 

Tuesday, 17 November 2015

Production Script 

Scaife Studios and Brightness Studios 

Bradford, Ilkley
Tel: 07825241194
Email: scaifestudios@gmail.com
Brightnessstudios@gmail.com

Opening: Ident - production Company and titles



Starts with extreme long shot of new house - sign outside "sold" introducing the new girl (protagonist).

(Moves inside house)

Extreme close ups of the females getting ready - don't see all detail E.g Faces

(Showing the contrasting between stereotypical and counter typical females at a high school)
Throughout we are showing the title through props E.g makeup on the mirror - lipstick and cereal.

Film girls walking around the house and out the front door - learns they are neighbours - long shot can see their full body - comparison



Male walks past shouting "hey" at the stereotypical female, the counter typical then thinks he's waving at her - disheartened 

Monday, 9 November 2015

Opening ideas , pretty in pink opening analysis

Pretty in pink opening scene. 



Opening Weekend ; $6,065,870 (USA) (2 march 1986) (827 Screens)
Production Dates : 1985 
Filming Dates: 22 june 1985 - 12 october 1985


After the paramount ident we are the first title " paramount pictures presents " , the white sans serif font on the black background signifies a documentary style film. It is smart and sophisticated which could convey the type of it is soon to be.

The opening shot shows an extreme long shot of a wagon driving down the street of a run down dark not very well maintained neighbourhood. This is an automatic signifier to the type of lifestyle that the protaganist may live. 


After we are shown then wagon the camera pans around the area that the opening is set in. We are shown a rail way line that seems to be abandoned and unused and an uncared for 'field' which really just looks like concrete with occasional patches pf grass. The contrast between the title " pretty in pink " and the background image contrast immensely. The background id not pretty and is not pink , "pretty in pink " also makes you think of very proper upper class ladies that live in big houses in wealthy neighbourghoods , but the background could not be any more far from that. 



                           

After we are introduced to the protagonist through a sequence of extreme and close up shots . The shots show her getting ready for example getting dressed , putting jewellery on and putting makeup on. After around 15 extreme close up shots of her getting ready we are finally introduced to her along with the first dialogue in the opening scene. 






This shot is a medium shot showing our protagonist from the waist up. She is typically wearing all pink which links to the title " pretty in pink" . As she walks out of her bedroom she shouts " Dad its seven thirty". The act of her shouting her dad to get up and not the parent shows that she is responsible and that maybe she looks after her dad more than he looks after her. The use of dad and not parents also signifies that she only loves worth her dafd and that the mum is not present at this time in the film.






WE are shown the girl making coffee and the proceeding to here farther room where she wakes him up and begins tho talk to him. we see shot reverse shot of them engaging in conversation which is broken up by a long shot of the bedroom. The bedroom is also a signifier to the sort of person and the lifestyle that the protagonist lives. The bare coloured walls and chairs with clothes on shows a lack of money, and as we watch we learn that the daughter us persuading her farther to go take a full time job in contrast to the past time job her currently has. 

Tuesday, 3 November 2015

Top 10 Feminists films

A Question of Silence (1982)
A Question of Silence (1982)
The criteria for the films in this list are that they are fictional, made by women and feature female protagonists. Finally, all are made in the spirit of liberation. There are many notable films that provide stark and uncompromising images of women living under patriarchal law and male order, among them Barbara Loden’s Wanda (USA 1971) and Chantal Akerman’s Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles (1975). I wanted, however, to focus on films that provide images of celebration rather than endurance. Films directed by men, in spite of there being some key titles, have been excluded as female filmmakers are too often absent from this type of list.
Availability for feminist classics is scarce. Feminist films are frequently ‘disappeared’ from film culture. Where, for example, are the films of Stephanie Rothman? Why can’t we get Julie Dash’s Daughters of the Dust (1991) on DVD?
Other filmmakers that should be mentioned in the context of feminist filmmaking are the Hollywood directors, who in the late 1970s and early 1980s were part of a new wave of feminist film, among them Joan Micklin Silver (Between the Lines, 1977), Claudia Weill(Girlfriends, 1978) and Susan Seidelman (Smithereens, 1982 and Desperately Seeking Susan, 1985).
The directors working in Britain today must also be acknowledged. Their films provide examples of interesting and often inspirational female characters. Filmmakers like Gurinder ChadhaAndrea Arnold and Carol Morley are in their own ways keeping the tradition alive.

The Seashell and the Clergyman (1928)

Director Germaine Dulac
The Seashell and the Clergyman (1928)
The Seashell and the Clergyman (1928)
It is a generally unrecognised fact that women played a significant role in the development of filmmaking. Like the Suffragettes, whose marches are recorded on early 20th century newsreel, women were activists behind the camera as well.
Germaine Dulac was involved in the avant garde in Paris in the 1920s. Both The Smiling Madame Beudet (1922) and The Seashell and the Clergyman are important early examples of radical experimental feminist filmmaking, and provide an antidote to the art made by the surrealist brotherhood. The latter film, an interpretation of Anton Artaud’s book of the same name, is a visually imaginative critique of patriarchy – state and church – and of male sexuality. On its premiere, the surrealists greeted it with noisy derision, calling Dulac “une vache”.
The film features a central female character, who is deeply subversive and resists the power of the king and the desire of the priest. In one memorable sequence she holds aloft a burning bra – prefiguring a much later activism! The film was banned by the British Board of Film Censors in 1927, who wrote: “this film is so cryptic as to be almost meaningless. If there is a meaning, it is doubtless objectionable.”

Marianne and Juliane (1981)

Director Margarethe von Trotta
Marianne and Juliane (1981)
Marianne and Juliane (1981)
Margarethe von Trotta started making films as part of the New German Cinema wave in the 1970s, that typically dealt with the repression of the state. Her early films explored the psychology of relationships between women, often sisters or very close friends. In Marianne and Juliane (aka The German Sisters) von Trotta explores the twin themes of state repression and family guilt.
The film is loosely based on real-life sisters Christiane and Gudrun Ensslin – the latter a key member of the Red Army Faction. The film documents in a series of flashbacks the childhood and the changing bond between the two women, one a journalist, the other a street fighter. Von Trotta’s film provides a unique female perspective on a violent period in West Germany’s postwar history, as well as representing the contribution of female militancy.

A Question of Silence (1982)

Director Marleen Gorris
A Question of Silence (1982)
A Question of Silence (1982)
The premise of this Dutch radical feminist film is that men and women inhabit different universes. It is a female conspiracy film built around a central incident in which three women, a mute housewife, a garrulous cafe worker and a business secretary, unite to batter a male shop assistant to death.
While the women await trial, a female psychiatrist is employed to assess their sanity. The film charts the psychiatrist’s gradual journey from complete incomprehension to knowing identification with the three defendants. In the film’s denouement, which takes place in court, the psychiatrist, the female witnesses and the defendants themselves, spontaneously join together in hysterical laughter, which results in them being ordered out of the courtroom. As they are led out of court still laughing manically, representatives of the male judiciary look on bewildered. At the time of its release, audiences were similarly divided along gender lines: women understood it, men hated it!

Born in Flames (1983)

Director Lizzie Borden
Born in Flames (1983)
Born in Flames (1983)
Made on a shoestring budget, Lizzie Borden’s film weaves a loose and freewheeling narrative that incorporates home movies of local demos and pickets, video reconstruction and TV newsreels, to provide a heady flavour of activism in a futurist New York City. This patchwork of low budget footage, matched with the pumping soundtrack coming from women’s pirate radio stations, and the fact that the cast are mostly non-actors, gives the film a raw edge, as we follow a diverse range of female characters all struggling to survive.
When Adelaide Norris, a black lesbian feminist and trade unionist, dies in police custody, the women, individually and in groups, get together to fight back against state oppression. Their organisations and the creativity of their militancy is at the heart of the film’s concerns, as it pays tribute to the pivotal contribution of women of colour in the political struggle: “Black women, be ready. White women, get ready. Red women, stay ready.”

The Gold Diggers (1983)

Director Sally Potter
The Gold Diggers (1983)
The Gold Diggers (1983)
Sally Potter’s film mixes a range of genres including the avant-garde, arthouse and agitprop in a rigorous look at the power of patriarchy and the relationship between capitalist economics and women as icons and exchange objects. The film is also concerned with the power of the image, mediated through an examination of cinema itself – its history and its ideological power.
The film was shot in stunning high contrast black and white and filmed on location in Iceland. Its stark images reference moments from early cinema, such as the silent shorts of D.W. Griffiths and the Hollywood musical Gold Diggers of 1933, from which it derives its name. Additionally the film incorporates aspects of feminist film theory, including notions of the male gaze. The relationship between the two female protagonists, one black and the other white, highlights the complex relationship between gender and race, which in turn throws into relief the relationship between capitalism and colonialism.
The film is notable for its all-female crew. The three screenwriters, Sally PotterRose English and Lindsay Cooper, were also responsible for the artistic elements – dance, art design and music, respectively.

Vagabond (1985)

Director Agnès Varda
Vagabond (1985)
Vagabond (1985)
The frozen body of a young woman is discovered in a ditch in the middle of the French countryside. This opening enigma introduces an investigative narrative that presents a series of vignettes – flashbacks of people during their encounters with the young woman, Mona (Sandrine Bonnaire), in the last few weeks of her life. Shot in a sparse rural landscape, the film explores people’s attitudes towards a vagrant who is female. From most of the men she experiences sexism, whereas the women are generally more sympathetic. Some characters actually envy her freedom.
Varda’s films always feature strong women, but in creating a female character who chooses to live outside society, she has produced her most revolutionary character. Mona’s role actually represents gender trespass, because the kind of freedom she claims is only ever the province of the male. In this radical reversal, the traditional image of the female is liberated from the patriarchal order.

The Company of Strangers (1990)

Director Cynthia Scott
The Company of Strangers (1990)
The Company of Strangers (1990)
This film uses the true-life stories of its all-female cast to construct its narrative, which revolves around a group of senior citizens thrown together for a coach trip. When their coach breaks down in the middle of the Quebec countryside, they are forced to get to know one another and work together in order to survive. The women are all over 70, apart from the younger black coach driver, and come from an assortment of cultures and backgrounds, including a Native American woman, a middle-class widow, an out lesbian and a nun. Discussions between them, many of which are improvised and based on the actors’ own experiences, deal with issues such as ageing, racism, celibacy, love and marriage.
The spirit of the women, who endure exhaustion, extreme heat and hunger, is truly inspirational. This is a feel-good movie that focuses on a female group sorely neglected in cinema – namely, older women.

The Watermelon Woman (1996)

Director Cheryl Dunye
The Watermelon Woman (1996)
The Watermelon Woman (1996)
Like Cheryl Dunye’s previous shorts, The Watermelon Woman is a combination of real-life and fictional recreation, with some of the characters, like Cheryl and her mother, playing themselves and others acting. Her term for this original genre is ‘Dunyementary’.
The narrative typically revolves around Cheryl, the filmmaker, who is on a quest to find the mythical black female character she has seen in films made in the 1930s, (the so-called Watermelon Woman). Cheryl gradually uncovers the presence of a number of African American Hollywood actors, hidden from history (some of whom the film constructs, some of whom are authentic).
The film is both personal, about Cheryl, and political, about the lives and contribution of black people to cinema. The merging of the real and the imagined, the mixing of persona and performance, the combination of genuine archival material and recreated archival footage all function to throw into relief the philosophical problem of representing the real, and the political importance of reconstructing a history that has been neglected.

The Day I Became a Woman (2000)

Director Marzieh Meshkini
The Day I Became a Woman (2000)
The Day I Became a Woman (2000)
Marzieh Meshkini is one of a number of women directors working in contemporary Iranian cinema. The film is structured in three episodes and each segment tells the story of a female at a different stage of her life. First, Hava, who is approaching her ninth birthday – traditionally the moment she must leave childhood behind and stop playing with boys. The second, Ahoo, is a young wife who is a contestant in a woman’s bicycle race, against her family’s wishes. Finally, Hoora is an old woman who goes on the ultimate shopping spree to buy all the things she has never had. Each vignette shows the disappointment and thwarted desire that women experience.
The setting of Kish, an island in the Persian Gulf, with its vast stretches of sand, provides the film with its visual impact. The imagery in the second and third episodes becomes surreal. The young woman on a bicycle, one among hundreds of women clad from head to toe in black, speeding along the coastal road in an empty countryside, with her husband’s family galloping after her on horseback, is unforgettable, as is the image of the old woman with her purchases – the entire contents of a new home, floating on a raft out to sea.

The Headless Woman (2008)

Director Lucrecia Martel
The Headless Woman (2008)
The Headless Woman (2008)
On one level this is the story of a middle-aged, middle-class woman, who has a car accident, suffers concussion, and later worries that she has hit, maybe even killed a young boy. On another level it is a political parable, dealing with the question of the ‘disappeared’: the thousands of trade unionists, activists and left-wing students who went missing under Argentina’s 1970s dictatorship.
The film is structured so that the audience shares the confusion and frustration of the central character, Vero (María Onetto). Her husband, realising that she may be responsible for the death of an indigenous boy, covers up the evidence, leaving her in the dark. The film links the disempowered position of women within the family to that of racism within the society.
Much of the action is filmed through glass, or in the rain, or slightly out of frame, keeping the audience, like Vero, in the dark. The film systematically withholds evidence – the audience, like the central character, never finally knows for sure what has happened. As with the disappearance of evidence in the case of those murdered during the dictatorship, truth can only be grasped by piecing together what remains in the form of traces and half-truths. This is all Vero is left with, but in the process of trying to uncover what she has done, she finally comes to an understanding of the mechanisms of power and control in the world.







Social realistic film openings

Fish tank is about s girl who is on the verge of being kicked out of school . She is neglected by her mother and her younger sister hangs around with much older people. she meets a boy that persuades her to pursue and career in dance. 
Released in  2009 on the 11th of September 
Directer was Andrea Arnold 
The opening is here.

Social realistic films


Better than any other genre, social realism has shown us to ourselves, pushing the boundaries in the effort to put the experiences of real Britons on the screen, and shaping our ideas of what British cinema can be. While our cinema has experienced all the fluctuations in fortune of Hollywood's first export territory, realism has been Britain's richest gift to world cinema.
As in France, where the 'actualités' of cinema pioneers the Lumière Brothersseemed to descend from the provincial realism of Gustave Flaubert, early British cinema picked up on the revelation of everyday social interaction to be found in Dickens and Thomas Hardy. In Rescued by Rover (1905), Cecil Hepworth caught Edwardian England at a particular moment. James Williamson's A Reservist before the War, and After the War (1902) offered a portrait of the Boer War serviceman returning to unemployment, and was one of the first films to emphasise realism's value as social protest.
In the years following World War I, it was widely felt that the key to a national cinema lay in 'realism and restraint'. Such a view reflected the tastes of a mainly south-eastern middle-class audience. Meanwhile, working-class audiences, it was said, favoured Hollywood genre movies. So realism carried patrician connotations of education and high seriousness. These social and aesthetic distinctions have become running themes in a cinema for which social realism is now associated with the arthouse auteur, while 'entertainment' plays at the multiplex.
Britain's contribution to cinema in the 1930s lay in a state-sponsored documentary tradition that would feed into the 1940s mainstream. Producer Michael Balcon revived the social/aesthetic distinction when he referred to the British industry's longstanding rivalry with Hollywood in terms of 'realism and tinsel'. Balcon, in his position as head of Ealing Studios, would become a key figure in the emergence of a national cinema characterised by stoicism and verisimilitude. Combining the objective temper and aesthetics of the documentary movement with the stars and resources of studio filmmaking, 1940s British cinema made a stirring appeal to a mass audience.
The 'quality film' mirrored a transforming wartime society. Women now worked in munitions factories and the services, mixing with men and challenging pre-assigned gender roles. Rationing, air raids and unprecedented state intervention in the life of the individual encouraged a 'one nation, one goal' philosophy. Target for Tonight (1941), In Which We Serve (1942), Millions Like Us (1943) and This Happy Breed (1944) smoothed away the tensions of a class-bound society in the depiction of factory life, the suburban street, the forces' mess. Historian Roger Manvellwrote: "As the cinemas [closed initially because of the fear of air raids] reopened, the public flooded in, searching for relief from hard work, companionship, release from tension, emotional indulgence and, where they could find them, some reaffirmation of the values of humanity."
In the postwar period, tensions between the camaraderie of the war years and the individualism of a burgeoning consumer society were characterised by what author Michael Frayn has called the 'Herbivore' instinct found in the traditional communities of Balcon's Ealing studio comedy, as opposed to the new 'Carnivore' instinct of postwar private enterprise. Films like Passport to Pimlico (1949) and The Titfield Thunderbolt (1952) reiterated gentler patrician values in the face of growing corporatisation and 'Americanisation'. To see Ealing's The Blue Lamp (1949) alongside a contemporary Hollywood film noir is to witness the growing cracks in the postwar consensus.
Documentarist Humphrey Jennings had been responsible for consensus-building works like Listen to Britain (1942) and Spare Time (1939), which, looking at the British at play, forged a 'new iconography', influencing the 1950s Free Cinema documentary movement and the 1960s British New Wave. One of the strongest images of postwar British cinema is that of factory worker Arthur Seaton downing a pint in one at the end of another week in Saturday Night and Sunday Morning (1960). Related to, though independent of, the commercial mainstream, the New Wave was fed by the 'Angry Young Men' of 1950s theatre, the verisimilitude of Italian Neo-realism and the youth appeal of the French New Wave. Amid the smokestacks and terraces of regional life, Room at the Top (1958), The Loneliness of the Long Distance Runner (1962), and A Kind of Loving (1962) brought wide shots and plain speaking to stories of ordinary Britons negotiating the social structures of postwar Britain.
Thanks to the relaxation of censorship, characters had sex lives, money worries, social problems. British 'auteurs' like Karel ReiszTony Richardsonand John Schlesinger dealt with prostitution, abortion, homosexuality, alienation and relationship problems. Here were factory workers, office underlings, dissatisfied wives, pregnant girlfriends, runaways, the marginalised, poor and depressed.
The New Wave was symptomatic of a worldwide emergence of art cinemas challenging mainstream aesthetics and attitudes. Identified with their directors rather than with the industry, the New Wave films tended to address issues around masculinity that would become common in British social realism. The New Wave protagonist was usually a working-class male without bearings in a society in which traditional industries and the cultures that went with them were in decline. Directors from Ken Loach to Patrick Keiller, and films from Mike Leigh's High Hopes (1988) to The Full Monty(1997) have addressed the erosion of regional and class identities amid a landscape rendered increasingly uniform by consumerism.
Descendants of the realist flowering at the BBC in the 1960s, Ken Loach and Mike Leigh assessed the impact of the consumer society on family life, charting the erosion of the welfare state and the consensus that built it. Looking back, Loach's work seems to reflect the shift from the collectivist mood of the war years to the individualism of the postwar decades in its very form. Loach's films went from the improvised long-take naturalism of Poor Cow and Kes (both 1969) to the 'social melodrama' of Raining Stones(1993) and Ladybird Ladybird (1994), wider social issues now explored via emotional and dramatic individual stories. The breakdown of the collective consensus in postwar Britain seems to be captured in the tragicomic exchanges of Mike Leigh's Life is Sweet (1990), Naked (1993) and Secrets and Lies (1996). In these films, Leigh examined the fractures in domestic and social life wrought by divisive Thatcherite policies in an increasingly fragmented and multicultural Britain. If the New Wave short-sightedly blamed women for the blighting of British manhood, women in Loach and Leigh are often complex and powerful individuals.
In the 1980s, publisher-broadcaster Channel 4 attempted to cultivate a cinema audience for realism. Responding to the moralistic entrepreneurialism of the Thatcher years, 'Films on Four' My Beautiful Laundrette and Letter to Brezhnev (both 1985) followed characters from the margins as they attempted to stake a claim in the new order. As the funding environment grew more precarious, by the 1990s a formulaic 'triumph-over-adversity' narrative combining the streets and cityscapes of traditional British realism with the feel-good vibe of Hollywood individualism answered the challenge of reiterating a national cinema amid spreading multiplexes. Championed by the incoming post-welfare New Labour, The Full Monty(1997) came to epitomise a new and entertaining conception of British social realism. Meanwhile, more lethal and complex representations of men and women appeared in Gary Oldman's autobiographical Nil by MouthAntonia Bird's Face (both 1997), Shane MeadowsA Room for Romeo Brass(1999) and Carine Adler's Under the Skin (1997), adding shade to our best hope for a truly national cinema. Touted in the British press as yet another banner year for British filmmaking, 2002 saw important new films from Loach - Sweet Sixteen - Leigh - All or Nothing - and Lynne Ramsay - Morvern Callar, suggesting a national cinema with a genuine and vital commitment to the way we live.