MOCK and WACE Exam Film Extracts

Selected examples from the DVD disk.

Chinatown:
*Neo-Noir (1974)
-OTS (Over The Shoulder), driving car during night [first shot], illegal entrance to water reserve site – no warrant, “No Trespassing”, no dialogue
-Characterisation: typical formal suit, very detective
-Gun shots, forced into water system {like rat}
-“Hold it there kitty cat” – Thug tone, very urban USA slang from gangster group
-Nose slice, use of graphic violence – style
-Office talk
-Restaurant discussion, use of smoking and introduction to a/the femme fatale, anger and sexual discussion, sudden facial expression of shock and her characterisation is constructed as ‘unmasked’ or ‘hidden’ as her vail symbolises this notion, admits to her having {an} affair/s
-Reconstruction of the 1940’s through the costume, objects [cars], placement of people
-Detective (Gitties) directly tells the femme fatale of what he knows – typical mistake that will have major consequences, close up shot displaying intimacy

The Matrix:
*Neo-Noir [with science-fiction] (1999)
-Technological Dystopian Future.
-High use of technology, data, security issues [science-fiction]
-Referencing noir – dark lighting, detective, torch lights, costuming of old fashion policemen
-The colour green in shots reference the numbers as data – seen from the first shot
-City (urban environment), sketchy side of town
-Conflict between classic cops and cops who are above them (the uniform conflict)
-Femme Fatale – highly sexual expressed through costuming and attitude, sense of fear [empowerment] “By now your men are already dead” said by policeman
-Cinematic violence, stylised adrenaline through slow-motion to grasp the actions for entertainment, she takes them all out through martial arts
-High pace trace (panic sense, underground [terrorist] movement – telephone calls), open roof tops over looking the city (shots below and within the background), slow-motion used again to entertain, the government wants her dead – juxtaposed to the reality of what it should stand for (lethal)
-Science fiction is put forward through the use of wall running and immposible long roof top jumping – non human qualities
-The telephone is much valued in the film rather than in modern society – transfer, the communication of data that was valued in the past (1940s-1980’s)
-Shot of typical tech geek (programming), isolated, anti social, highly intelligent

Bicycle Thieves:
*Surrealist – Italian Culture [Dramatic Film] (1948)
-Historical context; first shot of church [Tridentine Mass]
-Juxtaposition of Rich [up front] and Poor [behind]; strong political and social statement
-To eat… go to mass – hence the flyers handed out… “whats to eat?”… “Pasta and Potatoes”
-The older poorer man is bullied by the rich [main male character]… all he wants is food but is dragged from his seat in church; Economic crisis
-The hitting of his child impacts on the desperation of the context
-Angry to shock of sons presence to hungry – emphasis of poorness/poverty
-Enter the restaurant – orders a pizza… classed as poor class food hence why the waiter replies “This is a restaurant”. Juxtaposition of upper classes looking down on them as through their ordered food and clothing is different. Class division through cutlery skills are very limited… “Use your hands”. This meal is to be kept as a secret from the mother as they know about their position in class.
-Viewer response: from the extract we are left not knowing if they were able to even afford to pay the restaurant bill.
-Each scene is long [not cut and fast paced action shots to create a thrill that entertains, it is so that the audience can grasp the details and emotions through the characters… really see from the main characters perspective]. The bicycle is the object [symbolic] of his independence and potential to be successful.

The Fog of War:
*Documentary (2004 [Australian Release])
-Broken up into 14 different ‘Lessons’, extract is Lesson #4: Maximum efficiency.
-Black and White Archival footage of people, rushing in and out, around and about and the development of construction of the B-29 Bomber Plane. Edited with fast motion.
-Music is militaristic. (sound of marching and triumphant determination)
-Music and shot length are timed and consistent.
-Animation (Archival or Reconstructed?) footage – Imported (B-29 Bomber Plane) materials from India to China so that America can cheaply bomb Tokyo, Japan.
-Black and White Archival footage of chinese slave laborers at work. Edited with slow motion.
-Slower tempo of sad moody music.
-Longer shots of slavery.
-“100,000 Tokyo civilans, all dead. Men, women and children”. Change of tone, hidden sorrow.
-Slow motion of Tokyo burning.
-War = Mechanism. Next shot of statistics of data recorded of the resolution to the actions of the event.
-Archival footage with edited numbers – graphically drops to Tokyo… Enhances the notion of War = Mechanism as it represents the numbers of bombs that were dropped.
-Stylised construction of data and graphs to demonstrate the mood developed from computer graphics… the slow motion shots of the B-29 Bomber Plane and the Bombs that are dropped.
-3D appeal through the bevel effects added to the bombs. As it is a still image that has been edited with the Ken Burn tool, the ‘camera’ zooms into the center… forms the feel of being dropped.
-The increased tempo and low bass music sound are timed to the shots changing to create an impact of danger on the viewer, to allude to something more dramatic to come next.
-“We lost one wingman, and we bombed Tokyo”. Chocked up at “one wingman”, but pulls a straight face for “bombed Tokyo”. – The Interviewee.
-The Interviewee is focused on the camera, direct communication feeling.
-Several shots of burnt and destroyed Tokyo.

By trentwhitworth