Screen Arts - Week 11

22/04/2019

I have a feeling that I have got the techniques used part that I have typed up today wrong because from a closer reading of the course outline, I'm meant to demonstrate how the intentions made by Tarantino are done through technical aspects like sound, lighting, and dialogue. In its current condition, I just did some audiovisual analysis that almost have no relevant to the points of the Tarantino's intentions from previously.

I decided to have a break from this after having this realisation because my eyes needed a break from the computer screen and a rest. However, I will print off a copy of what I have done already to review properly because I tend to read and edit text properly if it is printed rather than on a digital screen.

Perhaps the new things I have noted in this proposal from the analysing the scene further today could be rearranged to support the director's intentions that I came up with yesterday.

After having a rest from doing coursework like this, I had another mental block, so I didn't make any additional progress, but overall, I believe that I achieved a decent amount of progress and felt a great deal of motivation early today after starting to write the proposal last night.

Techniques used

Tarantino applies the style and trademarks that is yet again mentioned, in which it the first camera
angle you see in this film that he consistently uses in his film are table two-shot. Table two shot is
used to focus on the two characters having a discussion and that the same time, it tells you a portion
of where they are located at and in case, it is an urban diner.

The close up of the waitress’ face asking for their orders gives you an uncomfortable feeling.

I believe Tarantino did not intend make the audience uncomfortable, but instead to express the
feeling that she is interrupting the conservation between the two characters that are dominant in
this scene.

The logic of robbing this diner in the dialogue of this scene, as well as discussing other potential
places to rob is not presented in such an extent in the opening scene or in an scene without cutaways,
when it comes to the crime genre.

In terms of sound applied in this scene, it gives the impression of a diner in a mundane setting
and environment, which I believe was Tarantino’s intention in setting up the scene.

We hear the clattering of silverware and plates, other people in the diner talking and done so
subtly, we hear a truck go past the dinner. In terms of continuity with the rest of the film, if you
listen closely into the scene about two minutes and 56 seconds in, you can hear Jules, one of
the hit men talking. This will make sense later because the two characters in this scene will be
interacting with Jules in this setting towards the end of the film.

Low-key lighting is almost implemented as the two characters are only lit from the natural light
coming from the window next to them and they have no bounce or fill light for the other side of
their faces. Tarantino’s intention with this point about the scenes lighting could because he was
going for a neo-noir look that he was wanting to apply into the overall artistic tone of this film.

23/04/2019

It's been another rough morning trying to get my mind on track. I started by reading what I had printed yesterday to proof read and spell check. I made notes on how to refining the structure after realising I may had gotten it wrong and I felt a temporary spark of motivation and enthusiasm. It was short-lived however because I suddenly got lost in my words and was uncertain whether director's intention I had typed for the first section of the proposal made sense with the techniques used section of the proposal.

When I returned to completing the proposal, I decided to just not to worry about how it connects because I could be overthinking it and I could be wrong about this as well. If someone you proof reads thinks it necessary, then I'll do, but I just want to spend time on other assessments that need to be completed.

I referred to the assignment guidelines in the enrollment guide booklet that I got months ago and made sure my proposal were consistent with those guidelines. From there, I put together a table of contents page in the proposal as requested in the course descriptor.

26/04/2019

I've had my scene analysis and proposal exported from Google Docs into a Word document. From there, I made sure thing like the margins were correct and I sent a copy to my dad through email because he is only one I trust to proof read my work and is someone that is not too preoccupied with their own work. I sent it to him a couple of days, but he hasn't read it. 
I decided to send a copy to Studiosity for their people to look over it and it was the first time I used this online tool. They will get back to me with their feedback in another day or so.

27/04/2019

Studiosity feedback
I received my feedback from Studiosity this morning. They were generally pleased with my progress, but found it a bit wordy. Bring a bit 'wordy' isn't news to me because how I write and sometimes how I write things end up sounding a bit complex. As a result from this feedback, I'm leaving it as is.

Hamsher, J., Murphy, D., Townsend, C., Vossler, R., & Stone, O. (1994). Natural born killers [Motion picture]. United States: Warner Brothers.


Strange, angular cinematography

What's the purpose of switching between black and white and colour in this scene? However, it would be good to note for my research paper

Despite the fact Tarantino disowned the film because others had extensively rewrote his script, you definitely see the over-the-top violence from his work, but this was not directed by Tarantino. In similar way to From Dusk Until Dawn.

Use of rear projection in the opening credits sequence was badly used and inconsistent, but I think it was done on purpose.

Looks like it didn't stop Oliver Stone from giving a story credit to Tarantino

Homage to 50's sitcom. It uses black and white to tell the scene in a different tone.

Mickey's delivering beef makes me think of Harrleson's appearance in Cheers.

In my opinion at this stage, it is not much of an Oliver Stone film and not completely consistent with the style in the rest of his films. He's more known for films on conspiracy theories, capitalism, and American history.

I must say that the film tells you a lot in the first 15 minutes as you would see in an entire feature film, but in a good way.

I believe that only half of the use of black and white in film has purpose.

I would believe that this film to be more stylistically more Tarantino than Stone.

There seem to be (dated) consumer and popular culture references, especially transitioning to some scenes are like switching channels on an analogue TV. In this example, it's potentially done to be consistent with the 50's sitcom homage.

I like the VHS shots. The framing is close and intimate, and the camera movement is handheld. I guess it's purpose is to be like a wedding video (or Super 8 because of the clicking sound - reminiscent of a projector).

It's weird hearing Robert Downey Jr doing an Australian accent. It's not as convincing compared to his Oscar-nominated performance in Chaplin, but I wouldn't call it over-the-top.

I like the stock footage and such in the window like it's rear projection, but it works a bit better. My guess would be that they used green screen against the window.

Interesting and creative use of a lens that's at least 85 mm.

Words projected on rather than superimposed later in post-production. Something that Lars Von Trier would possibly approve of.

Themes - violence, popular culture, and the media

The use of rear projection make sense with expressing the main characters under the influence of drugs.

This film uses the word 'bitch' a lot, almost like how Scorsese uses f-bombs in his films.

I should definitely research this film for my research paper.

The main characters get caught and beaten by the authorities half way through the film, which was conventionally much more sooner than I thought.

Extreme use of colour to potentially symbolise either anger, drug use, or the effects of venom / poison.

In the prison scene, the use of black and white is done like it's meant to replicate archival footage with a lot of film grain.

Idea for screenwriting project: 'You mind calling you, Jack?'
Nickname - what his relatives called him

From this scene alone, Robert Downey Jr's performance developed his character into trying to be David Frost, but is really just being Tony Stark pretending to be Australian.

28/04/2019

Natural Born Killers (continued)

Tommy Lee Jones' performance is the least serious role and was almost over the top in the film to a point where he is the film's comic relief. He pretty much generates his performance as Two-Face in Batman Forever, but if that character was a prison warden.

Colour TV in black and white setting makes the TV stand out in the shot.

It's intriguing how lighting and colouring change in these shots.

Movie title almost stated in dialogue.

I'm familiar with (or rather seen) some of Stone's films like Wall Street, World Trade Center, and Snowden.

I like that psychological build-up in Robert Downey Jr's performance in the TV interview to make it plausible that his character would lose his mind in the prison riot and kill some cops..

A lot of handheld camera movement to potentially express the violence and chaos in the prison riot scene. The first shot below has the lens choice and perspective you would get from a dolly shot.

Flames looks amateur and superimposed in this shot.

One room (where the anti-heroes are holding themselves up) is green lighting / colouring, just like when they were arrested earlier in the film. Whereas the other is blue lighting / colouring (where the authorities are), potentially to symbolise authority.

Ironic how Robert Downey Jr's character becomes the subject pf his own TV show. He has become one of many (murderers) American Maniacs. Despite his character being Australian.

At first, I thought the film would go downhill and not as engaging from their arrest onwards because conventionally it would focus on the resolution from here on because the climax has passed, but it looks like I was proven wrong.

Close, handheld, and somewhat intimate (possibly 35 mm) like it would be like when operating a heavy camera like that.

This particular scene of the film is in VHS quality and reminds you of The Blair Witch Project, which is another film that switches that back and forward in black and white and colour, but that film uses black and white for film footage and colour for VHS behind the scenes footage.

In the ending credits, clips from movies and TV shows, and stock footage used in this film are credited right after the cast

I would put this film with the best of the decade like Pulp Fiction, Shawshank Redemption, Titanic, Casino, A Few Good Men and so on. I would describe the film as visually contemporary and advant-garde, and as a contemporary Bonnie & Clyde. It was much more thought-provoking than I expected.
The film's themes is what makes it a Oliver Stone film. Take that away, it's on the edge of being a Tarantino film.



Completing Scene Analysis and Proposal
I went back into the Word document to add supporting visual material and added figure citations for them. It was debatable on how to do since I haven't done it in three years and even then it was APA 6th Edition. I also added the full references of the images into the proposal's reference list and exported it into a PDF. It's now ready to have the SIT cover page added on (which I will do on Adobe InDesign) and then will be handed in onto the Y drive dropbox tomorrow.



Images for Scene Analysis and Proposal

Getty Images. (2017). Quentin tarantino. Retrieved from https://www.imdb.com/name/nm0000233/mediaviewer/rm3344179712
(Getty Images, 2017).

IMDb. (n.d.). Pulp fiction (1994). Retrieved from https://www.imdb.com/title/tt0110912/mediaviewer/rm1959546112
(IMDb, n.d.).

(Bender, & Tarantino, 1994).