Hotel Babylon Clip Analysis

The uniform of the police officers show authority and that they are high up in society and the hierarchy, this also indicates to the viewer that something important is happening as the police are there. The non-diegetic sound starts from the beginning with a fast; up beat tempo that helps add to the scene of the feeling of something serious is happening. The over the shoulder shot makes the viewer fee part of the scene/conversation, which helps entice the audience and encourage them to keep watching them.

People who work in the lobby are all dressed smartly and their surroundings are also nice, modern and clean which consists of high key lighting; this highlights that certain ethnical groups get treated better than others. Even though there is a Afro Caribbean man working in the lobby he is still not miss treated or has a worse of job, this signifies that perhaps it is not to do with the race of an individual, however it is to do with the ethnicity and whether they are an immigrant or not. The non-diegetic sound carries on playing in the background, adding to the tempo of the scene. When the man in the black jacket starts to speak the up-tempo music stops and eerie sound appears indicating that what the man is saying is an important part of understanding the clip. The use of eye continuity shot, which is a cut from the woman to what the woman is looking at, indicates why the woman’s face is shocked from her point of view.

Whilst the man is running too see the woman to tell her immigration is there, he runs past two people speaking a different language who are dressed in old clothes that look a little like prisoners clothes; this shows that the ethnicity groups are lower down in the hierarchy as they don’t wear as classy clothes as other workers. It also indicated that their job is not as important as those who are from the UK. The lighting is also low-key which has connotations of the mood changing and something bad is going to happen. Also this is where the immigrants tend to work, bellow the ground floor, this again shows that where they work is more dull and cold looking than where the others work. The non-diegetic sound starts again which is up-tempo, this symbolized that the workers caring for the immigrants have some sort of mission to accomplish. This makes the audience feel sympathetic as the immigrants and workers are going to be put under a lot of stress and pressure; it also keeps the audience encaged on the clip and interested. The straight cuts also highlight the worry and panic on the staffs face, as they are under pressure to make sure they don’t get caught buy immigration.

The scene in the kitchen has a lot of people in front of the camera whilst it is showing the woman shouting and running across the kitchen. The kitchen is a very loud and stressful atmosphere, this connotates the characters feelings and emotions. There is a lot of diegetic sound in this scene, with people screaming and shouting; the woman shouts in other language which symbolizes that thee are a lot of people working at the hotel who are from other parts of the world. This implies to the audience that the workers don’t understand English very well, and can add to the viewer feeling sympathetic towards them.

The room is really small and cramped which again indicates that the immigrant workers del locked up; the room relates to their life in the meaning that they are being hidden away all the time from society. It is also very low-key lighting to represent the mood of the workers which is tense and worried, again the fact that they are locked up in this small room signifies that they are treated unfairly and like prisoners in society. The non-diegetic sound of the buzzing noise mixed with the diegetic sound of workers panicking adds to the tension in the atmosphere, this encourages the viewer to not want them to get caught and be supporting the immigrants; this is unusual as immigrants are portrayed as un wanted people in society. The high angel shot on the woman fainting again reminds the viewer that others look down upon the immigrants in society. The CU shots of the workers also highlights their emotions and emphasises that they are worried; the straight cuts helps the scene catch every or most of the workers expressions, this portrays to the viewer that they are under stress. The illustration of the workers being stressed shows the power the non-immigrants have over the immigrant workers.

When the lift opens and the cleaner sees the immigration officers it zooms in on the cleaners face to show the shock and horror in his expression. When he gets caught it makes the viewer sympathies for him as he is going to get taken away. The low angle shot of the cleaner getting taken away signifies that the three men taking him away has power and authority over the immigrants.

The scene when they are in the locker rooms again highlights the miss treatment that different ethnicity groups receive, as the room is very dirty and old. It is also has low-key lighting which indicates how dull the room is; this room is also the only room that belongs only to the workers and it isn’t nice at all. The non-diegetic sound is very slow tempo, which is depressive and sad; this symbolizes the mood of the characters. It also shows that even though none of the workers in the room got caught, they are still sad that their fellow friend has been caught, this signals that they are all close with each other and care for each other; like families. The ECU shot of the woman locking the lockers signifies to the viewer that the workers feel locked up. It goes back to the point that they feel imprisoned; this makes the audience feel emotional and sad for the immigrant workers. The straight cuts are very slow which fits in with the mood of the scene as very sad, it also allows the workers faces to be in the picture so we can see their emotions.

Finally, in the last scene the canteen looks very old and dull which highlights that they don’t get the same treatment as perhaps the other staff in suits would get. The tracking of the different ethnicity groups in the canteen shows that each group sticks together and they are like family. The straight cuts to both of the people praying emphasises the emotion on their faces and how they are missing their friend who has been taken away that day. This makes the audience feel sorry for them, as they have lost someone who is portrayed to the viewer as someone who was close to them.

What movies are Coming Out next year?

Firstly next year there are many super hero movies coming out which includes, superman, wolverine, and iron man. All these movies have a genre that is growing in popularity, action; there is a lot of money being spent on these movies from$100 million to $200 million. The technology for these movies will be really effective, as there will be a lot of special affects due to the un-realism of the movies. there are very big named actors in these movies, Robert Downey, Jr (iron man), Henry Cavill (superman), Hugh Jackman (wolverine).

There is also a vast amount of movies coming out that are sequels, such as: Despicable me 2, The Smurfs 2, Hangover 3, Grown-ups 2, Kick ass 2 and more. All these movies are comedies, which were a very big hit when the first movie came out.

There are a lot of war movies, which are action movies, such as: All You Need Is Kill, world war Z, Elysium and more. All these movies are related to war, which again signifies that the public are enjoying their war/action movies a lot more than they used to. The budget for these movies are again around $100 million to $200 million, which is a lot of money in comparison to movies being made in the UK.

there are also a lot of animated movies coming out, like turbo, despicable me 2, The Smurfs 2, Monsters university and more. turbo has some very big names in it such as Snoop Dog, Robert Siegel and Samuel L. Jackson. Due to it being an animation, sets and studios don't have to be used for these movies; this allows producers to spend more on the cast as they have some extra money.

BFI's 5 Year Plan

BFI Five Year Plan Prioritises Education, Filmmaker & Industry Support and Heritage

Home » Features » BFI Five Year Plan Prioritises Education, Filmmaker & Industry Support and Heritage

The BFI today announced their long-awaited five year plan for the UK film industry, which will see a total of £500 million being invested over that time. Entitled Film Forever: Supporting UK Film, it is the result of what BFI CEO Amanda Nevill described as “a long national conversation over 18 months.”

As a result of the extensive consultation process with industry bodies and the general public, which took in the views of over 1000 people, Nevill explained that the BFI is going to be “investing where we think we can most make a different, where we see potential for creative excellence and where can be a supportive catalyst for change, innovation, business growth and jobs.”

“With film industry growth currently outstripping the economy as a whole, we want to invest to ensure continued success,” said BFI Chair Greg Dyke. “This is a real moment for film and a bold long term vision for the sector, and I look forward to us from today turning all the discussion into action.”

In distributing the increased funds, raised through a combination of Grant In Aid, the BFI’s earned income and National Lottery Funding, the BFI plans to focus on three key strategic priorities: education and audiences, British film and filmmaking and film heritage. These priorities will be “intelligently linked”, said Nevill, with funds and initiatives working together to create a coherent strategy for the future of UK film.

Priority One: Education and Audiences
(Annual Investment of £44.2 million)

The BFI’s dedication to improving education and learning opportunities, as well as expanding audience choice, is a crucial part of their five year plan.

It will be actively working to get more film education for 5 to 19 year olds into schools across the UK, while the country’s existing film schools will be supported by a one-off £5 million in capital funding by 2017.

The new BFI Film Skills Fund, in partnership with Creative Skillset and BIS2, will be committed to growing skills training. A Youth Film Academy network for 16 to 19 year olds is also planned in partnership with Pinewood and BAFTA, to draw new talent from across the UK, and new animation development labs in partnership with Aardman are also on the agenda.

The education and development of audiences is also a priority, with a key initiative being the creation of audience development hubs throughout the country. Led by local organisations, such as cinemas, archives and broadcast networks, these will put an emphasis on getting a wider variety of films shown in local cinemas, town halls and other community locations. “We want to regenerate opportunities for audiences to access films at local level,” explained Nevill, “so giving more people the opportunity to view a wider variety of film, particularly outside London.”

Film festivals will also be catered for, with £1 million per annum being set aside for events of both international and local importance.

Priority Two: British Film and Filmmaking
(Annual Investment of £32.3 million)

Another priority for the BFI is the increased support of British filmmakers, and of the UK as a filmmaking destination.

There will be more investment in UK production, rising annually to £24 million by 2017, with new opportunities for filmmakers working in documentary and animation. There is to be a greater emphasis on development of projects, and the existing Prints and Advertising Fund will be remodelled to become the Distribution Fund, responding to the changing demands of the industry and exploring new ways of getting films to audiences.

To bolster these plans, producers and distributors will be encouraged to work more closely together, further closing the gap between films and their audiences.

The new BFI Business Development Fund, in partnership with Creative England, will provide seed funding to new businesses, and a new International Fund will include increased funding for the British Film Commission, which Nevill says will continue to be “a leading voice at the table.”

Nevill described the BFI’s new international strategy as ‘joined-up’, pulling together both inward investment and export, with the BFI also aiming to provide leadership from a policy perspective on the international stage. Nevill went on to explain that, having done extensive research into territories outside Europe and the USA, the BFI will be placing particular focus on Brazil and China as it moves forward.

Incentivising international co-production in the UK will also be on the agenda, with BFI Director of Film Fund Ben Roberts explaining that such awards will be flexible and able to respond to changing demands. The fund’s money will be spread across development and production, depending on where it is most needed year on year.

In choosing what films they will support, Roberts asserted that the BFI is committed to working with “strong filmmakers with original ideas”, and that he does not believe that “commercial and critical appeal cannot co-exist”.  The BFI Film Fund will be “open and transparent” about how it operates, meaning that filmmakers will be clear about exactly what they need to do in order to work with the BFI.

And, with 150 development awards and just 20 production awards to distribute each year, projects will have to reapply for funding at production stage, even if they have received development funding. That way, there will be constant analysis of BFI-supported projects at every step in a film’s journey to screen.

Priority Three: Film Heritage
(Annual Investment of £9.9 million)

Finally, the BFI plans to unlock the country’s vast film archive for a wider audience to enjoy, by digitising 10,000 films over the next five years; the first wave of which is to be decided by public vote.

They are also investigating the different ways that the public can interact with film content in this digital age, and are developing apps to view content online and through smart TVs; leading to the planned launch of the dedicated BFI player in 2013. “Broadcast is changing, but there will be massive access to film through Internet TV [in the future],” explained Dyke. “We are just trying to make sure that the BFI is there and branded.”

In presenting its five year plan, the BFI made it clear that these new initiatives will radiate out across all regions of the UK, with more money than ever before being spent outside of London to encourage increased filmmaking and audience activity across the country.

“A central part of Film Forever is to reach and nurture business growth and cultural vibrancy across the whole of the UK, with a particular emphasis outside London,” said Dyke. “We are no longer the London Film Institute. We are the British Film Institute.”

Sound

Is the sound source in the film (diegetic) e.g. characters dialogue, music on a car radio?

Is the sound added on to the sound track outside of narrative (non-diegetic) e.g. music, voiceover narration (VO)?

What kind of music is it?

What information does the sound give?

What sort of mood/atmosphere is created?

Vocabulary:

•           Diegetic sound
•           Non-diegetic sound
•           Synchronous sound
•          Asynchronous sound
•        Sound effects
•        Sound motif
•        Sound bridge
•        Dialogue
•        Voiceover
•        Mode of address
•        Mode of direct address
•        Sound mixing
•        Sound perspective

http://www.youtube.com/watch?v=R1Gumxj21Fw

At the beginning of the scene there was just the two people talking at a normal volume, with a ringing noise in the background to signify to the viewer that something is going to happen. Then suddenly the boy shoots and there is a loud gunshot sound; this is diegetic sound. The loud gunshot dramatically allows the audience to be enticed towards the clip, as it is a sharp and piercing sound that portrays a sense of seriousness. As soon as the gun is shot occurs some more whinny, ringing music enters the clip and slowly gets louder. This is used to build up tension as there is a girl behind the boy trying to sneak up behind him; this is also synchronous sound as it fights in with the part in the scene and what’s happening. The audience feels worried that the girl will get caught and the editor adds to the tension with an effective piece of music to keep the audience enticed and keep them questioning what is going to happen next.  Whilst the music is going on in the background the girl starts shouting and screaming, this is non-diegetic sound that portrays to the viewer that the girl is frightened and scared as her life is at risk.

Once the woman comes into the room and sees Maxine on the floor with a wound, slow, depressive music starts which again fits in with the scene as the two woman leaning over Maxine are crying and sad. The non-diegetic sound helps add to the dramatic scene of the girl dying and symbolizes the emotions of the characters. 

Editing

How do shots change?

•        Straight cut
•        Fade
•        Dissolve
•        Wipe
•        Iris

How is timed managed?

•        Is dead or redundant time cut out
•     Is  time slowed down e.g. slow motion

How is film space created?

•        Does the camera move uninterrupted through a room

        OR

•        Is there cutting to different shots of part of it?

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http://www.youtube.com/watch?v=R1Gumxj21Fw

Editing is a main factor in TV dramas as it helps portray characters emotions and expressions on their faces. The type of scene it is (relaxed, tense, aggressive) depends on how the scene is edited.

In this scene a boy is portrayed as a character that has mental issues and comes across as someone who is dangerous. The clip is very tense; the immediate cuts to each characters face emphasises the stress the girls are feeling and helps the audience connect with them a sympathies with them as they are in a horrible position. When the girls try to take the gun away from the boy the editor produces really quick, choppy shots which helps portray mayhem. The many shots of them trying to get the gun also gives the audience time to question if they will be able to get the gun of the boy.

Most of the shots are CU shots which help symbolize the emotion on the characters face, and this really helps the audience see the tears on the peoples face. The ECU of the boy after he shoots Maxine highlights the boy’s confusion on what he has done; this shot also helps add to the thought of the boy being mentally ill.

Film Industry Factors

media, P/Pp/D/E on Prezi

Exhibition

Exhibitors are the companies that house the films. These are companies such as Cineworld, art houses such as Cambridge picture house, Odeon and empire. Art houses are usually distributed inside towns and cities in smaller more ‘cultured’ areas. Larger companies such as Cineworld are found on industrial areas and usually grouped with fast food restaurants. They are more commercial and usually charge a lot more for tickets. At the Cambridge picture house you can be expected to pay £5.20 but at a more commercial screening you can pay anything between £6.00 and £6.50. The films shown differ as well, not only are new releases shown in an art house theatre but also foreign language films, or films from amateur film makers. The experience is also greatly different. In a commercial Cineworld there is commercial food and drink on offer. Whereas at the art house, you will find a area that sales small food and drinks. The screening area is smaller and more intimate rather than the cooped up seating arrangements of an Odeon.   

Distribution

This is how a movie usually gets from the first step of making the film to the cinema:

•      Someone has an idea for a movie.

•      They create an outline and use it to promote interest in the idea.

•      A studio or independent investor decides to purchase rights to the film.

•      People are brought together to make the film (screenwriter, producer, director, cast, crew).

•      The film is completed and sent to the studio.

•      The studio makes a licensing agreement with a distribution company.

•      The distribution company determines how many copies (prints) of the film to make.

•      The distribution company shows the movie (screening) to prospective buyers representing the theaters.

•      The buyers negotiate with the distribution company on which movies they wish to lease and the terms of the lease agreement.

•      The prints are sent to the theaters a few days before the opening day.

•      The theater shows the movie for a specified number of weeks (engagement).

•      You buy a ticket and watch the movie.

•      At the end of the engagement, the theater sends the print back to the distribution company and makes payment on the lease agreement.

Production

Production involves the actual shooting, which, on average, takes eight weeks. The director and actors rehearse on the set. The director chooses the camera angles to be used for each shot. The director of photography works with the “gaffer,” or chief lighting person, to select and position lighting instruments, which “grips” help to rig. The location sound mixer operates the audio recording machine and works with a boom operator. The boom operator positions the microphone close to the actors while being careful to keep the microphone out of the picture.

Usually, a shot is filmed more than once to improve on either a technical element or the performance. For each shot, the script supervisor notes the lens that is used, details of the camera and actor movement, time length of the take, and comments. He or she also indicates which takes will be printed at the film laboratory. Once an acceptable take is made, the crew sets up and rehearses the next shot. Even a simple scene might be covered in four different angles, allowing for creative choices in the editing process.

Green Screening

Independent Research 8

Ben Affleck's Argo and a roundup of the London Film Festival 2012, review - Telegraph

Think of the London Film Festival as a trampoline, strategically placed in the gap between Cannes, Venice and Toronto and the New Year’s award ceremony season. A prestigious slot at London has become a key stop on a film’s journey from the summer festivals to the Oscar and Bafta ballot papers, and The Artist, The King’s Speech and Slumdog Millionaire are just three recent winners to have benefitted from the Leicester Square Bounce.

The springiest of this year’s crop was surely Ben Affleck’s Argo (* * * *), a smart, sinewy thriller based on a stranger-than-fiction CIA hostage extraction during the 1979 diplomatic crisis in Iran.

Affleck’s last picture, a prime cut of Bostonian pulp called The Town, was a love letter to the broad-shouldered Hollywood thrillers of the 1970s, but Argo goes one better, channelling the hardboiled realism of Sidney Lumet and Martin Scorsese to mesmeric effect. It also boasts an irresistible comic twist: the hostages’ cover story, dreamed up by Affleck’s hirsute CIA agent, is that they are working on a non-existent science fiction film shooting in Tehran and the surrounding desert.

Back in Hollywood, an aging producer (Alan Arkin) and a monster make-up specialist (John Goodman) flesh out the cover story: “If I’m gonna make a fake movie, it’s gonna be a fake hit,” snorts Arkin, while flicking through potential scripts. Film festivals can be so focused on artistry that attendees often forget to have fun: Affleck’s meticulously paced, breath-catching thriller provides oodles of both.

Before the Oscars and Baftas there are the London Film Festival’s own awards to get through, including a prize for the best film screened in competition and the Grierson Award for best documentary.

The winners will be announced tomorrow, but my vote for the former would go to In the House (* * * *), François Ozon’s follow-up to his rib-nudging comedy Potiche. Fabrice Luchini’s high school teacher encourages a promising pupil to write about his friendship with a classmate’s family, and as his stories become increasingly juicy, they begin to alter the lives of all concerned. The result is something of a French Rear Window: it’s a fizzingly clever comic drama that turns us all into curtain twitchers.

In the documentary strand, the best I saw was the ferociously compelling West of Memphis (* * * *). This encyclopedic recap of the campaign to free three Arkansas men wrongly imprisoned for a gruesome triple murder crackles with righteous fury.

In the festival’s 56th year, aging and mortality emerged as the major theme, and received both tragic and comic treatments. Michael Haneke’s Amour and Paul Andrew Williams’s Song for Marion both dealt with elderly husbands caring for their wives, although the two films could hardly be more different. (Song for Marion screens tonight as one of the last evening galas.)

An early audience favourite was Quartet (* * *), a great big snuggly Labrador of a film set in a retirement home for classical musicians. Dustin Hoffman, making his directorial debut at 75, remains behind the camera, although with a grand old cast including Maggie Smith and Billy Connolly in front of it, there was little need for him to emerge.

But I was more amused and, yes, moved by Robot & Frank (* * * *), a deliciously inventive, surprisingly tender comedy about a retired cat burglar (Frank Langella) and his robotic home help. The best thing I saw was Abbas Kiarostami’s Like Someone in Love (* * * * *), a luxuriant, purring poem of intertwined lives with a mischievously curtailed third act. Kiarostami’s film bows out leaving us desperate for more. In its new streamlined, 12 day format, so did London.

Hotel Babylon clip

Race/Class

• Other races: audience empathises for the, as they are discriminated against
• White people are clearly the dominant race
• High angle: looks down upon immigrants shows authority/superior person
• Eye level: the audience sees eye to eye with the white people
• All of the immigrants are put into one very small room like they are insignificant

Sound

• Non-diegetic sound builds tension
• Music throughout the whole clio
• Diegetic: the shouting of the workers highlights their worry
• Knock on door then a long pause- creates tension for the audience
• Music is much slower at the end of the clip to portray emotion: sadness because a family member has been lost
• Music throughout reflects how you are supposed to be feeling

Mise-en-Scene

• Where the immigration workers lockers are situated looks very dirty/scruffy as if they arent looked after.
• Immigrants costumes contrast with those of a higher class
High class: suits, royal blues, very smart etc.
Immigrants: Ratty overalls
• Owner/manager of hotel is wearing a very smart/posh suit to emphasise her role
• Those working for the immigration patrol were wearing blazers to emphasise their higher role and higher class
• Police uniform: well known, authority, looked up too

Camera

• Panning shots
• Low angle when woman is on the floor for sympathy
• Pan up from hoover
• Tracking Shots
• Zoom into receptionist, we know the focus is on her

Editing

• Sharp, short cuts from each cut
•  Constant change of angle

Analysing Re-made clip

This is a video analysis of the re-made clip of waterloo road. I commented on the camera, editing, sound and mice en scene; it highlights some of the key factors of the clip and how it has enticed the audience to carry on watching.

Analysing Original Video

This is a video analysis of the original clip of waterloo road. I commented on the camera, editing, sound and mice en scene; it highlights some of the key factors of the clip and how it has enticed the audience to carry on watching.

Is the UK's Film Industry good or bad?

                     Is the UK's Film Industry good or bad?

Britain’s film industry has mixed opinions by certain people, some believe that Britain’s film industry is good at producing great movies and money; however some people believe it is not producing enough movies and the quality of the movies that are being produced are not to a high standard compared to the Hollywood movies for example.

                  Firstly, some people believe that Britain’s film industry is failing as there is strikingly low budgets, the production spend has gone down by 22% to £176m. In the film industry to produce great movies you have to spend a lot of money, compared to Hollywood movies that spent $258m on Spiderman 3. In the UK there were 46 films with budgets of more than £500,000 in production: 20 domestic features, nine inward investment films, and 17 co-productions – the lowest figure since the BFI began taking records in 2003. Another reason why people believe that the UK’s film industry is failing is simply on the amount of films that are being produced. The amount of films being produced in Britain has been the lowest since at least 2003; the number of films made was down from 87 in 2009 to 79 in 2010. Total films made in Britain, including Hollywood productions and co-productions, fell from 150 to 128 last year. The surprising thing about this is that the British watch more films across more platforms than ever before, with record receipts of £988m at the box office. So the fact that we are not making that many movies means that the supply for British movies is not meeting its demand.

                  On the other hand some people see the British film industry as a great boost to the economy and believe that when they want they can produce the best movies. The British film industry contributes £4billion to Britain’s GDP, which is a large sum of money. The British film industry not only helps the economy out with money, however supports over 35,000 jobs. Also in respond to the people who say Britain does not produce enough movies, last year independent British films took their largest market share in a decade, which illustrates that Britain does encourage people to produce/make movies. The box office it self also made over £1 billion for the first time, even though Britain doesn’t produce as many films as America, we still contribute to watching them and financially helping the market. Britain also has the highest amount of cinemas in comparison to Europe, this also proves that we have a lot of people in the country that enjoy and contribute to the film industry. The British film industry has also invested £160 million in movies and grossed £800 million, in other words every £1 we have invested we have got £5 in return. The films produced in Britain have won over 300 awards worldwide and have also won some of the most prestigious awards. This emphasises the fact that Britain have been clearly doing something correct if they have won all theses awards.

                  In conclusion I believe that the British film industry is at a better standard than the critics think. I believe it helps out the economy extremely, with the financial side and also the employment side. Overall I think that Britain’s film industry is good but far from perfect.