Directing Fiction (0)

Analysis
Direction Fiction
20.02.2012
Monday
Student: Regina Verner
Instructor:  Arvo Iho
Baltic FIlm and Media School
Film ''Down by the law''by Jim JArmuch is a black and white comedy / drama / crime .
His main idea about the film was to create and develop a style to follow realistic and imperfect characters through familiar environments.
The scene begins with a long shot , panoramic view of a city/town called New Orleans , feeling of a old school architecture, swaps and worn down streets are presented to us of surreal and slow paced series of moving shots . Jim JArmuch is focused on the two characters and on a atmosphere of the settings. 
Two characters that are named Zack and Jack are the opposite personalities by their names, but they are destined to clash against their own personalities. Zack is a late -night radio DJ, who does not care about others , expect his expensive shoes. Jack is a pimp, who seems to think only with his heart not only his head. They end up trapped in a Jail, they meet another person - Bob/Roberto, who confesses his guilt of murdering another human being, fact that Zack and Jack do not deserve to be in prison - helps us to see the frustration. 
MISE en scene-  position of the shots, framing, lighting , set design and sound helps us elaborate the feeling and composition of the scene. It combines the elements of mood, setting , character personality and reinforces this through image and sound. At the begging the music gives a special nuance to a certain mood and reminds us of lead characters and their activities in the morning . Down by the law is a intriguing paradox of clear picture and gritty sets. It is a poetical film, without any clear message , rather a story of personalities in a vague familiar Louisiana. At the end of a film the crossroads is a certainly a deep image that will give a time to think what will does it mean ?
Jean Renoir film '' La REgle du Jeu'' is a black and white drama/comedy film.
It is a combination and continuity of space and light , soft and dark lights. Jean Renoir make's a strong accent on actors work . The combination of ''MisE en Scene'', drawing lens , dark sides , creating a foreground scene, use of the mirrors and smooth camerawork can be found in '' La Regle du Jeu''. Depth of field is what Renoir is trying to show. In everything from the perfect rhythm of the editing to the beautiful deep- focus photography. This approach allows everyone in a crowd to remain distinct , with characters in the background often doing something contrary to that occurring before them , placing a new spin on the situation. Equally the lighting and framing are excellent, while Renoir's spatial awareness allows the camera to do everything from remaining resolutely still (trapping characters within the frame , forcing them together) to skimming up and around , moving smoothly with the flow of the narrative . Natural viewpoint gives the improvised feel of the action , despite that lines seem spontaneous evan as they are exactly the opposite.
Altogether, ''La Règle du Jeu'' is an outstanding and non-judgmental film, a commentary on human behavior and charitable to its protagonists. Despite handling a number of thematic direction, Renoir's clarity of approach is such that these remain distinct. For example, the theme of mistaken identity , where one person substitutes for another (such as at the masquerade ball), is introduced at the airport and continues throughout. Together with the direct interpretation, every member of this upper - middle class social group is required (as a matter of course ) to hide their true feelings , their identity. It is this complexity , presented in simple terms . Renoir subtly builds his case against the aristocracy, collapsing his house of cards only at the very end.
Ivan The terrible by Sergei Eisenstein is a biographical/historical film. Sergei Eisenstein was the one who created a feeling of illusion ,projected trilogy documenting the life and times of the notorious 16th century czar, appeared to great acclaim within the Soviet Union. The actors perform in an exaggerated, often halting style that often brings to mind a combination of silent film, combination of theater and ballet. Close -ups of actors whose gestures of rage gives them the appearance of statues. Eisenstein creates a  drawing light, shot of a downstairs to create a victorious feeling. Strong backlight behind the protagonists creates hallows, counter light gives reflection. High key lighting and fill lighting is represented. In frame the movement is create for the feeling of a depth. Panoramic view and most of the movements in diagonal, which creates infinity. silhouette on the backround and atmosphere is tragic, dramatic which is filled with darkness . Extreme close-ups are used, dark figure and bright pace. Illusion of realistic places .
The Maltese Falcon by John Houston is a classical film- noir about crime and mystery within the characters. Film is combination of fast shots and there are plenty cut's. It is considered to be the first dark film-noir genre in Hollywood. The film simultaneously mocks human corruption and holds out the possibility of living honorably. It is a mystery thriller with moral sophistication, which may be one reason for both   its continuing critical acclaim and its persistent popularity with audiences. Film about A young woman , who walks into the office of private detective Sam Spade and desperately needs his help. Seems that her sister has run away with a dangerous man. Turns out the woman's lying about the sister, but not about the danger . Sam's partner is killed while working the case and Sam must try to find the killer while avoiding losing his heart and his head. 
Joh Houston also set the stage for an explosion in American cinema of these dark and styled stories. genres is its specific visual style, usually characterized by deep focus, shadowed faces and very exact framing. The style of the noir film is immediately identifiable. In Falcon, Huston used relatively new techniques to establish his noir world. Deep focus, a technique that allows both the foreground and background to be in focus at the same time is almost exclusively the way Falcon was shot. Low-angle camera position was also a relatively new film technique that was used throughout Falcon. By placing a camera below the waist -line and pointing it upward to show a character’s upper body, Huston created both the effect of domination and claustrophobia since the ceiling was now visible , crushing the character. And, as would become the standard for film-noir, shadows were integral to almost every shot. Most of the time, specific lighting is simply used to convey mood. A good example is the use of lighting in the exterior scenes. Nearly all exterior scenes in Falcon take place at night and allow for some dramatic shadows from street lamps, emphasizing the somber mood of the story. In certain scenes, however , lighting is a heavily thematic tool.