A Documentry's Beginning

 On Tuesday 20th November  after weeks of preparation  my team and I have set out from Stafford to film our first university Documentary. It is also our first work that will be judged and used for industry purposes. We are creating a documentary to encourage the elderly to reduce the amount of energy they use, linking with the European union's efforts to reduce energy consumption down by 20% by 2012.

Waiting for the train with equipment.

To accomplish this I have mentioned in an earlier post about our pitch presentation. We were rewarded with helpful feedback and the motivation to continue with our idea's. However before we could get to the stage of filming we have had to do a lot more prep. Including gathering actors and interviewers. There availability has affected our process and determined the time scale of our filming. Therefore it has been a number of weeks since our pitch. We have also continued to gather more research to make our documentary as close to the truth as possible but also enjoyable to watch and educational.

On the train excited about filming tomorrow

We have caught the train and are changing location, mainly due to the fact that we have more contacts in this area of the country. We are armed with our equipment and hope to be finished over the next 2 days, then it's into the editing rooms. We will have to wait to complete our film until we have all our material, which includes an interview to be held at a later date.

All our actors are willing to help, some are also inexperienced which will give us more experience with working with the public. We will also be entering these peoples home's, which means we will have to adapt to the environment quickly as well as take special care to respect the environment. We will also be working with a frailer generation physically and will have to take care over the length we are filming, letting them have plenty of rests.

All our train tickets for journey

My team and I are very excited with this adventure and look forward to the experience and hope it will be rewarding and fun. We also want to learn as much as we can also teach back to the people helping us out.
The marking for this assessment is based on the actual making of the film, composition, exposure, focus etc but the 'see green' team will be judging on content so it is important for us to keep this in mind and have a good balance to our film.

Our first day of filming will commence tomorrow and we just hope we are organised enough and can work together as a team to create the documentary we all envisioned. So I hope it all goes well and we have some excellent footage.

It was a long journey.

We have put a lot of preparation into this work and hope it will be success and look professional. As we want to make this a professional production we are also encouraging our actors and interviewees to sign a release form allowing us to distribute the film in any way we want. This allows us to post the link on Vimeo or Youtube. We will also be allowing our actors to have a screening of the film and allow them to rate it. We will also be using these new contacts to help distribute and advertise our film.

Anyway on with the filming.

Disturbia (2007) - An effective beginning?

‘Analysing the effects created using cinematography, editing and sound within the introduction sequence of ‘Disturbia’ (4.30minutes)’

‘Disturbia’ was directed by D.J.Caruso and released on 14^th September 2007 by DreamWorks Production Company. It’s a thriller with a runtime of 105minuets. The cast includes Shia LaBeouf, Sarah Roemer and David Morse. Translated into Russian it is named ‘Paranoia’ accompanied by the tagline ‘Every Killer Lives next door to someone’.

After witnessing his father’s death at 16, Kale Brecht is sentenced to 3 months under house arrest for punching a teacher. He passes his time by spying on his neighbours only to discover that his neighbour is a serial killer. Determined to expose the truth while protecting his mother and friends, Kale attempts to prove what Mr Turner really is.

I am analysing the introduction of the film as this sets the scene and introduces Kale making it important to grab our attention. The screen begins black with non-diegetic voices speaking in the background:

‘“You think he sees us?”

“Nah he can’t see us but he can feel us watching.” ‘

This line foreshadows future events in the film and causes tension within the audience straight away as they prepare for something to happen. Slowly the diegetic sound of water begins as a stream fades in. As the camera pans upwards we can see a reflection in the water, the camera continues upwards to a medium shot of two men fishing. There are mountains in the background with the sun shining creating a very calm scene that relaxes the audience. Non-diegetic calming music begins in the background removing the tension from earlier.

As the characters talk they reveal their father and son, the son named Kale. The camera cuts to a high angled close up of a fish that they are trying to catch. It cuts to a medium shot of Kale as his dad joins him. The mis-en-scene is very still apart from the water and fishing rod. It cuts to a close up of the fish and follows its movements. We feel that Kale has the upper hand over the fish by using a low angled shot so they appear higher than the fish. The camera cuts to a medium shot half in the water which is murky and unclear, the audience realises the fish isn’t as defenceless as it seems. The camera pans upwards, everything appears still until the fish jumps in the air. We feel Kale’s triumph which the music accompanies by rising with the speech tones.

The camera cuts to a close up of Kale reeling in the fish with diagetic sounds of the fish splashing. The audience sees Kale’s disappointment when the fish escapes. A medium shot shows his full disappointment. A close up forms into a point of view over the shoulder shot of his dad. By cutting from the two characters we can see their close relationship and respect for each other. Kale is willing to spend time with his dad than his friends; they can talk freely to each other. A medium shot allows us to see them together which cuts to a high angled long shot with them in the distance. This allows us to see that they’ve travelled far to a remote, beautiful, peaceful and calm place. This is continually accompanied with non-diegetic music to emphasis their calmness and tranquillity.

The scene abruptly cuts to a close up of Kale and his dad in a car. The music continues but is drowned out by the diegetic sound of the engine. Kale is on the phone to his mum. The camera cuts to a low angled long shot of a large house in the suburbs showing that they live a happy comfortable life. We hear diegetic sound of Kale’s mum replying before cutting to show her in the kitchen, the music has stopped. This alerts us that something is about to happen allowing for tension to build. The camera cuts back to the car emphasising the family’s close relationship. A close up of the wing mirror reveals a car taking over. This makes us feel wary that the car is threatening Kale’s relationship with his family. Cuts to a point of view, over the shoulder shot through the windscreen of Kale passing the phone to his dad we feel relief because he can concentrate on driving. A close up of his dad then to his mum emphasises the relationship. The audience begins to speculate the damage if one member were to die, this heightens the tension that has manifested within the audience. There is still only diegetic sound.

A point of view shot out of the windscreen looking at the car in front which is too close, at this realisation the car quickly turns to reveal a stationary car in front. Kale isn’t looking and the people by the car are running away. We know they are going to crash and are scared that they will die. The next shots are very fast, but show us almost every angle to give a big impact affect and build the tension to whether they’ll survive. A close up reveals Kale’s dad reaching for the steering wheel but it’s too late. We see the car hit the stationary car and turning as it moves through the air. The camera stays level with the car with every different shot and angle this allows us to feel from the characters perspectives, heightening the tension and terror felt over the fear for their lives. The diegetic sound of the car crashing to the ground is designed to shock us, we calm as the mis-en-scene becomes still but when we see the smashed window the tension rises again. There is relief when we see that they are alive. The whole crash takes just 14 seconds but within that time the director has managed to play with our feelings in a few shots.

The audience is still concerned for the characters but believe the danger is over. A close up reveals that they’re in pain but not seriously injured. Kale remains securely fastened to his seat unlike his dad who is falling out as they remain upside down. As the diegetic sound quietens the non-diagetic high pitched music begins and continues to rise, building tension once again. A close up of Kale shows him looking out his dad’s window. “Dad-“, is said in a quiet frightened voice which allows the audience to realise that it’s not over yet. Cuts to Kale’s dad as he realises then a point of view shot of the car coming towards his dad’s window. The car continues towards the camera and the audience knows it’s not going to stop; it hits the camera shocking the audience. It cuts to a red truck which pushes the car as the camera stays still creating a faster and bigger impact. A close up of the car spinning towards the camera makes that us realise that someone will be seriously hurt. The camera is still at a low level with the characters. Medium shots are used to show the impact and destruction of the crash. Smoke surrounds the car when it stops making us focus on the car and makes us keep our attention on the characters survival. The mis-en-scene is very still and using a low angled close up of the back of the car we see the extent of the damage. Only diegetic sound is used such as the tinkling of falling glass. The camera pans to the front of the car showing the smashed remains. The sound of someone moving give relief to the audience as Kale crawls out of the car, ripping his leg in the process. The camera follows Kale as he moves to the other side of the car, always keeping to his level. We see’s he’s in pain but believes his dad is alive. A point of view, close up of Kale looking into the car, smiling gives the audience hope. However his expression slowly changes to disappointment then horror and we realise that his dad’s dead. Using this technique the director has used Kale’s facial expression to explain that his dad’s dead without us needing to see the body. Non-diegetic music slowly begins allowing us to mourn with Kale who stands and steps back, the point of view shot continuing as if his dad has died with his eyes open.

This first scene is designed to show the close relationship within Kale’s family and therefore the impact Kale’s dad’s death will have on them, Kale especially. The director has made use of the cinematography to make us feel as if we are first witnesses then involved in the crash. Using fast or slow shots the director has conveyed desperation or calmness. The editing also allows us to see everything in a few seconds of footage. Shia LaBeouf has created a stunning and suspenseful performance by using his expressions to give the audience all the information they need.

The music used to create calmness is kept in the background while the director prefers the use of diagetic sound to give the suspense needed. Overall the opening sequence allows us to understand Kale’s actions later in the film and pity him.

Therefore the opening effectively sets the scene for the rest of the film, giving Kale a motive and reason for his actions with all the appropriate elements included. This is a very powerful opening as it is shocking and to the point, effectively creating emotion within the audience.

"Marla is the root of it all" - Fight Club Directed by David Fincher

“Marla is at the root of it.” Says Jack in David Fincher's film 'Fight Club' (1999)

(Warning this essay contains SPOILERS from the film 'Fight Club'. It is an analysis on the effects of Marla Singer on the main character, scripted as 'Jack'.)

Fight Club DVD directed by David Fincher and Fight Club written by Chuck Palanniuk.

Marla Singer is introduced very early on by Jack (the narrator) when he appears to be threatened by Tyler Durden with a gun, “Somehow I realize that all of this: the gun, the bombs, the revolution...has got something to do with a girl named Marla Singer.” From this brief mention the film moves to a flashback from which the rest of the story is told. The first mention of Marla allows the audience to know that Jack believes that Marla caused his present predicament and therefore causes us to judge her accordingly. We believe that this ‘woman’ must be an untrustworthy and manipulative person as we stereotypically cast her as someone likely to cause Jack’s position.

When Marla first appears on screen our earlier assumptions appear to support her character. Jack is currently addicted to support groups that allow him to cry and release his built up emotion allowing him to sleep. Marla ‘invades’ these support groups. We hear her heels before we see her entering the meeting room for a ‘men’s testicular cancer group’. She is smoking with no concern for the other members in the room. Her appearance is messy and also has an uncaring quality with her short matte black hair and her big dark eyes. Jack’s dislike towards her is enforced by Jack’s narrative voice-over, “And she ruined everything.”  She uncaringly asks if this is the group for cancer and Jack is left staring dumbfounded. Her behaviour appears harsh and disrespectful towards the members of the support group due to her constant smoking and turning up to all and any group. However, this emphasises the wrongs that Jack is committing by also attending all the support groups giving us a contrast between the two characters “Her lie reflected my lie.” Jack becomes self-conscious and is unable to cry, stopping him from sleeping again. Jack uses very negative language when describing Marla, influencing the audience’s reactions and feelings towards her, making her throughout the film, appear more ‘unhinged’ than Jack.

The contrast between Jack and Marla remains clear. Jack has everything that everyone wants to aspire to, even living in a condo with the slogan “A place to be somebody”, he isn’t happy. Marla is also unhappy but is of a lower class, owning little and unable to do anything due to societies system “The girl who lived there used to be a charming, lovely girl. She’s lost faith in herself.” Both characters have a desire to ‘feel’, Jack creates ‘Fight Club’ to quench the desire while Marla attempts suicide “This isn't a for-real-suicide things. This is probably one of those cry-for-help things.” Marla has a ‘bored’ attitude to her situation; she has little to live for and nothing to do and appears not to take her situation seriously. Tyler stops her suicide attempt, beginning a sexual relationship with her in the process.

Jack becomes jealous of this relationship even though he denies liking Marla “I am Jack's Raging Bile Duct.” However, frequently throughout the film Jack’s mind wanders to Marla for instance when he is at a support group and thinking of his cave, for the second time, it is Marla he thinks of. Tyler’s and Marla’s relationship is a key function to giving the audience clues about Tyler’s true origin “Tyler and Marla were never in the same room together.”And at other instances Marla’s words or actions appear out of context to Jack. Tyler soon wants rid of Marla and doesn’t want Jack to say anything about him to her “If you say anything about me, or what goes in this house to her or to anybody, we're done. Now promise me.” This sounds like a reasonable request but as the film draws to its conclusion we discover the real reasons behind it. Jack’s refusal to admit he likes Marla creates Tyler’s sexual interest in her. Tyler is everything Jack wants to be and Jack desires a relationship with Marla but won’t admit it to himself, “If I had a tumour, I'd named it Marla. Marla...the little scratch on the roof of your mouth that would heal if only you could stop tonguing it, but you can't.”

Marla’s odd behaviour is evident when she steals some clothes from a launderette and sells them in a vintage shop further on. Although Jack comments on this he does nothing to stop her. When they exchange numbers Jack’s voice-over tells us “Marla’s philosophy of life was that she might die at any moment, the tragedy, she said, was that she didn’t.” This highlights again the uncaring attitude she has but then opens up questions about Jack’s own feelings on life and how the audience should view their own lives. When Fight Club begins Jack doesn’t care about how he’s hurting the other members just that he can release his own energy and emotion “Where did you go Psycho Boy?” He only realises the true impact of what ‘Project Mayhem’ is doing when ‘Bob’ dies by accident. He can’t understand why the other members are so uncaring and passive. This leads to his attempt to protect Marla from the effects also but in the end she is brought straight back by his own making.

Marla appears or disappears whenever something crucial happens in Jack’s life. Jack is finally able to sleep and Marla appears causing him to be unable to sleep. When he is finally ‘rid’ of her by splitting the support groups he sets up fight club. When she starts a sexual relationship with Tyler, Project Mayhem is created. When he makes her leave to protect her, he has just discovered he is Tyler and has realized that Fight Club and Project Mayhem were not the right solutions. Overall when Marla leaves from his life, Jack/Tyler creates something more dangerous that creates a bigger community but is still harsh and uncaring. Chuck Palahnik author of the original book said the whole story is about a man reaching a point where he can commit to a woman. I believe this is true; Jack has nothing to care about or commit to and thus has no purpose, when Marla enters his life he refuses to admit to himself that he likes or cares about her to the end. When Marla asks him to come over and check if she has breast cancer, he goes. Tyler’s relationship with her is a reflection of what Jack truly wants. When Fight Club and Project Mayhem refuse to provide its members with that ability to care, Jack realizes his own mistake and tries to break free. Therefore Marla is the point of the story. Men need to learn to care or they will have no purpose. Interestingly when Jack is asked to find his “power animal” he thinks of a penguin which symbolises self-discipline, self-confidence, spiritual, creative energy, loving and capable of out of body experiences. This defines what Jack wants to be and gives the basis for Tyler. It is also what Jack becomes in the end, He becomes confident and loving.

However, Marla maybe the reason behind Jacks actions later in the film but she is merely a catalyst for fight club. Other factors caused Jack to create another personality. Tyler flashes on screen almost subliminally before me meet Marla.  The first time is when Jack is talking about “Everything is a copy, of a copy, of a copy.” And we have a shot of a copy machine and everyone drinking starbucks coffees. Jack is sick of the repetition within his own life and craves something different which Tyler is. When Jack is refused help by the doctor Tyler flashes up on screen, which leads him to the support groups where he and Marla believe that “When people think you are dying, they really listen, instead –“ ... “--instead of just waiting for their turn to speak.” Tyler then flashes up as Marla is leaving from a meeting and going off down the street as Jack pauses to decide if he should follow her. Therefore Marla isn’t the root of it all but she is the catalyst.

In conclusion Marla creates a meaning for the film as well as being a catalyst she is also the goal. 

This essay was created in 2010. All Quotes are from the film 'Fight Club' (1999).

Networking at BVE North 2012

On the 14th November 2012 I attended BVE North at Manchester Central. This is an even for 'production, post and content delivery professionals'. Meaning it is a gathering of UK film industry talent and companies to network, promote and socialize. It is also a great opportunity to learn from others and see the latest technology. 

Tickets and show guide for BVE North

The event is free but pre-registration was necessary which I completed easily and simply online. Allowing me to attend two days of events. Unfortunately I could only attend on the 14th however it did allow me to attend with a number of other peers from University and allow us to practice networking together. 

BVE was held in Manchester at Manchester Central, previously known as the g-mex. It is located in the centre of Manchester and was very easy to find, with signposts clearly visible. The building itself, is basically a large conference hall that was split into sections to accommodate stalls. Four temporary theatres had also been set up to base seminars and debates. I attended two seminars in the IOV theatre. 

Due to the wide level of people attending this event, the seminars were easy to understand as well as fully in depth, with tips for every level of skill. I particularly enjoyed Christina Fox's seminar on 'Essential Camera skills for Freelancers', all which was transferable into any area of work. She had great experience of the industry and gave simple but very effective tips. Her work and the presentation she gave can be accessed at 'Urban Fox TV'. 

This event was also a great opportunity to view the latest technology developments and have them explained and demonstrated by the companies themselves, such as Sony. We were also encouraged to be hands on with the equipment which was exciting. Watching those already experienced was also interesting as we could see what they looked for in the equipment or what they were using it for. This varied with the equipment and the job being currently undertaken. 

The BVE turned out to be very insightful and I learnt a lot, not just about the equipment but also networking and broadcasting my work to others. Also the importance of using the technology to my advantage such as vimeo and youtube. It was an inspiring day as well as somewhat overwhelming. I can't wait to learn and develop my own skills to be as knowledgeable as the people I met and spoke with. 

I also look forward to attending the next BVE event and learning more.

Support 'The Projected Picture Trust'!!!

'The Projected Picture Trust' is based in Bletchley Park, Buckinghamshire. It is an organisation which hopes to preserve and restore previous cinema technology and share this knowledge with the world. However they may be removed from the Bletchley Park premises due to a change in the Park's outlook and focus on world war 2 which the small museum of film no longer fits into.

I wish for more people to get involved with this charity especially people already involved in the film world, as persevering our history should be of up most importance! You can get involved with this charity by visiting the park itself or their website: http://wordpress.ppttrust.org/
You don't have to actually participate in events but you will receive a monthly magazine which details the current events as well as detailing cameras being worked on. For those who want to be actively involved there are opportunities to help restore items, no skill or previous work is necessary.

Currently the organisation has five options:

1. To try for a building of their own - this would require a patron or benefactor as well as a business plan and formation of a limited company.
2.To find a medium sized building - funded by the council or a grant, possibly with a community cinema.
3.To downsize their collection and look for a storage place/ separate workshop offsite and to focus on restoring items with no cinema.
4.To dissolve the trust which has been established since 1978 - THIS IS A LAST RESORT!
5.To tie in with another museum with a similar focus.

The trust would also love any other suggestions and of course support! It is open nationally and internationally and anyone is welcome to help and show there support.

Anyone is welcome to support, may it be individual or an organisation and more bases placed round the UK to make it more accessible to members and the public.

I have only previously enlisted as a member but have learnt a lot and a respect for the previous cinema history. In my spare time I hope to be more actively involved with the preservation of these much loved machines that brought us the moving image!

So for more information please visit their website (the link detailed above) and show your support and get involved. Also Spread the Word!!!

Comparison of 'The Passion of the Christ' vs 'The Exorcist', emotional impacts.

Both the films ‘The Passion of the Christ’ and ‘The Exorcist’ are disturbing films but in different ways. They both centre around religious issues that are very controversial for instance ‘TPOC’ is centred around Jesus’ death on the cross. Mel Gibson directs the film so that we truly understand the pain that Jesus went through by using relentless graphic violence throughout the film. This shocked many people and it was praised by some as it gave us a deeper understanding of the bible story we are told. The crown of thorns meant little until you saw it forced on to his head making blood run. The violence is really highlighted in the scourging scene, where it is shown to be carefully organised with weapons lined up and set out on a table. There is so much blood which is understandable when we see flesh being ripped from Jesus’ body. Not only are people watching as a form of entertainment, they are enjoying the torment.

‘The Exorcist’ is graphic but in a different way, the emphasis being that it is a young girl being made to do sexual and violent things such as swearing and the masturbation of a cross. Her face also becomes deformed throughout the film with her lips cracking and wounds appearing on her face. She is also physically sick but it appears to be a green mucus concoction.

Both films emphasis a lack of control for the main characters, Jesus cannot control what the people are doing to him but he doesn’t get angry with then and remains calm and quiet. This is perhaps the most shocking aspect of ‘TPOC’. During ‘The Exorcist’ Regain has no control over the Devil possessing her and making her do immoral things. Her mother also appears helpless as she is on her own and no one can give her answers for her daughter’s ‘problem’. Mary, Jesus’ mother, is also shown as helpless to help her son. This is emphasised by a flash back of her picking him up when he was younger because he had fallen. She knows she cannot help her son and trusts him to God’s hands.

Regain’s mother, however, admits to not being very religious and only turns to it as a last resort but the priest also appears to have no control over the Devil who manipulates Priest Damien by impersonating his dead mother who he feels guilty for. This applies also in ‘TPOC’ where religious figures also have little power over the Devil. Jesus ignores it (we do not know and it is not made clear whether the Devil is male or female) but Judas, one of Jesus’ disciples, succumbs to the demons and eventually hangs himself. The involvement of the Devil in both films is a shock factor as people may not believe (fully) in God but most do have a fear for the devil as it is shown to be the most evil and frightening thing in any culture.

Both films are also shocking due to their director’s decisions. William H Friedkin, the director of ‘The Exorcist’, physically made the actors do stunts for instance in one scene Regain is flinging backwards and forwards on the bed screaming “It hurts, make it stop!” The actress was actually screaming because it really did hurt but the director thought it was good footage so kept it in. In ‘TPOC’, Mel Gibson chose to show one of the rulers to be passionate and kind but many people disagreed with this interpretation as he is usually portrayed as a harsh and unfair man.

The films are also disturbing towards our emotions in different ways for instance Mel Gibson wants us to feel shock, sympathy, empathy, disgust, guilt etc while William H Friedkin wanted us to feel shock, disgust, fear etc. However, this is an emotional response from today. When the film ‘The Exorcist’ was first released, it was seen to be much more shocking with many people being physically sick. Due to the development within the film industry, making it easier to distribute and watch films as well as the vast increase in this particular genre, it has made it a common occurrence to see such things on the screens. However as I have already stated there are still aspects that shock today’s audiences.

The mis-en-scene is important in both films for instance in ‘The Exorcist’, Regain’s room gets emptier as the Devil gains more control and the journey to her room becomes longer, this builds the tension within the audience and creates foreboding as the more control the Devil gains the lower the chance of getting rid of it. In ‘TPOC’ many items trigger flashbacks to Jesus’ past for instance some table and chairs. This invokes and strengthens different emotions within the audience and plot line throughout both films. The mis-en-scene creates a confirmation of what the audience feels about what is happening on set.

In conclusion both films will never be equally disturbing as they are targeting different emotions but by using similar issues. It also depends on the persons own beliefs as well as time and period that the films were viewed. They are, however, both disturbing films. This is evoked in similar ways, for instance, visual effects, the lack of control, the involvement of the Devil and backgrounds during the making of the films but also vary in different ways, for instance, Jesus is a well known figure and so is his story, especially the period presented in the film ‘TPOC’. It is also very bloody and Jesus’ suffering is also shown to be enjoyed. ‘The Exorcist’ is trying to keep the situation controlled and contained with more visual representations, such as, the stairs in which Brook (a director) and Priest Damien die could represent and symbolise the stairway to hell as they are very steep and narrow, and the camera work is always carefully positioned with high or low shots. 

‘The Exorcist’ also emphasises the innocence of Regain and the unfairness of her possession. Unfairness is also a key theme throughout both the films.

Therefore both films are equally disturbing in their own way due to story line and directors intentions. 

Comments welcome on whether you disagree or agree! Also would love to know you believe its wrong for Christians to view 'The Passion of the Christ' as I have had mixed responses and am interested in why some are willing to watch it or why others refuse.

The Impact of 'La Haine', 'The City of God' and 'Once were Warriors' on an Audience!

The Impact of 'La Haine', 'The City of God' and 'Once were Warriors'

The impact of any film depends very much on film techniques because it emphasizes what the director wants and is trying to say. It also builds tension and warns the audience of what might happen. Through sound, cinematography and mis-en-scene the audience is able to have a greater understanding of the film without relying on dialogue or an actors’ performance to tell the story. It also makes the film visually interesting, keeping the audiences’ attention.

Each of my three films La Haine, City of God and Once were Warriors include potentially different cultures from which an English audience isn't used to seeing. Due to this it is important for the directors to show the audience everything without leaving room for misinterpretation, making the film techniques more important.

La Haine directed by Mathieu Kassovitz is a good example of the above. The film is split throughout by a clock to tell us a certain time. By doing this we can see that the film is set as a 24hr period of Vinz, Saїd and Hubert’s day. More importantly the use of the clock makes the film more realistic and adds to the documentary style. The audience can also see how much time the boys are wasting and that nothing in their day really amounts to anything. Interestingly, City of God directed by Fernando Mairelles is also divided but by separate stories which Rocket (the narrator) announces throughout the film. Again none of these are the same length and timing varies but by doing this, we can see how the individual stories link together to create a larger picture. For instance Knockout-Ned is introduced before his story is told later. Rocket believes he is ‘too cool’ to justify robbing, which is ironic as later Lil Zé rapes his girlfriend and kills some of his family members, this causes the gang war in the slums. Mairelles links everything together carefully to create an exciting and fast paced film. Each story is given a title ‘The Apartment’ or ‘The Tender Trio’, and is introduced carefully by Rocket. The film is ‘paused’ as Rocket’s voice-over introduces them, causing the audience to take note that this is another chapter to the story. Although these stories don’t always appear important they all link in carefully.

These ‘stories’ are an important aspect within all three films. In Once Were Warriors, Grace writes stories to give her hope and remind the audience that she still prides her education and has a chance to escape the poverty, however when she is rapped and her father destroys her book we realize she is doomed and will never be able to escape. In City of God the use of individual stories makes a complicated plot line more understandable. It also gives a personality to each character giving them much more depth and build. Even minor characters are given some background to spur their present actions. In La Haine stories are told but mostly to emphasis the emptiness and lack of purpose or things to do, for instance ‘the Old Man’s story’ has nothing to do with the plot or subject matter, apart from briefly stopping the boys from arguing. However other stories such as ‘Humbert’s story’ constitutes to a structuring device. This story in particular opens and closes the film with Humbert’s voice over telling us about a man who falls from the 50^th floor of a building and keeps saying ‘So far, so good...so far, so good...’ – “What matters is not the fall but the landing”, this contributes to the actual structure of the film. What matters is not the process but the ending result.

La Haine’s back and white imagery has also caused discussions with critics. The film was originally shot in colour but changed to black and white in post-production. To release a black and white film in 1995 was a real statement but by doing this Kassovitz de-romanticizes Paris and makes it appear more gritty. It also emphasis the social differences and class so the issues within the film are picked out more easily by the audience. Due to the location for the film being Paris which is usually associated with love it was important for Kassovitz to show its darker side to give the film a bigger impact and change people’s opinions of Paris. The use of the news reel images of the riots at the start contribute to a documentary style theme making the film more real and introduce key issues within the film such as: The unrest between young people and the police, the impact of violence and whether this is a similar view/example in the world. This is then in forced when we first see Saїd, who is spray painting his name onto the back of a police truck along with ‘Fuck the Police’. Saїd is obviously not a usual ‘criminal youth’ as he has written his name, showing the spread of influence among the young people. In City of God the slums are a separate world from the rest of ‘ordinary life’ and the police rarely involve themselves with slum life. Most are as corrupt as the slum leaders that rule the slums and in Once were Warriors, Beth distrusts the police and violence easily finds its way into their home. This is shown when the youngest child makes an imitation of a gun using his hands and pretends to shoot the polices’ retreating backs.

Camera work used throughout contributes in a number of ways, in La Haine close-ups are used to emphasis the documentary style. We also are given a clear idea of Vinz’s hot headed character in the ‘You talking to me?’ a homage to ‘Taxi Driver’. This scene adds to the ironic ending of Vinz’s death. By using close-ups and other shots such as point of view shots, makes the audience feel more involved. For instance, in City of God point of view shots are used when Lil Dice (later named Lil Zé) kills someone this makes us feel as if we are looking from the dying and dead’s view point. This also makes the scene more dramatic as the last thing they see is Lil Dice laughing maliciously as he kills people and continues to shoot them when they are down. In the ‘apartment’ scene we see Rocket entering and someone else knocking at the door, from two different angles, first from the door as Rocket enters and then from behind the occupants, this allows us to see a bigger view of the events including everyone’s actions and movements. This allows the audience to see clearly and accurately what happened with little room for misinterpretation. In Once were Warriors, high shots are used throughout to show a weaker character. When Grace is raped by ‘uncle’ Bully the camera looks down on Grace making her seem small and vulnerable. The lighting also changes as Bully invades the room, briefly blocking out the light. A teddy bear is also visible again emphasizing her innocence and youth. Another high shot is used earlier in the film to show the destruction from another of Jake’s drunken parties. By using such a high shot, the audience is looking down on the characters that have surrended to the drink. It also emphasis the effect on the children and the impact of this influence.

The directors use mis-en-scene within their films and this has different uses e.g. in La Haine the ‘gun’ symbolises violence. Vinz’s gun is a cops gun signifying all their mistakes and ‘cock-ups’ but for Vinz the gun means/is a patriarchal power and is a symbol of masculinity. Due to it being ‘lost’ it gives motivation to the film. In City of God the symbols of power are also very masculine, with few women present in the film, this is understandable and those women present are treated with violence. The guns, drugs and money all create ‘respect’, or so it appears. Those who have and use these have power but violence comes with this power. This is showed when Lil Zé takes over the drug rackets, we are showed this quickly with no dialogue accept the non-diagetic sound of Rocket’s voice-over. The camera follows from above quickly and efficiently to show the speed and ease of the operation. Jake in Once were Warriors is nicknamed Jake ‘the muss’ for his violent out bursts which have gained him respect throughout the community. His fists are a great symbol of this violence which Beth accuses him of bring violence into their home, “You’re still a slave Jake, a slave to your fists!” Grace’s book represents escape and functions as the evidence to uncover Bully. Again in City of God, the camera represents escape for Rocket however the camera is frequently present when death occurs. It first becomes visible when Shaggy dies and Rocket first sees the camera. When Benny gives Rocket a camera, he dies soon after and Rocket makes his name with the death of the gang members using the camera, he never truly escapes the violence.

The sound in La Haine is mostly there to appear diagetic and natural with certain sounds such as trains hissing, car horns and gunshots being emphasised to create tension and increase the expectancy of violence. The lyrics for the music are very political such as Bob Marley etc, emphasising the conflicts and what people are fighting against. This contributes to the realism of the film. When Jake becomes angry in Once were Warriors the sound of the wind wailing is audible warning us that Jake is becoming violent, for instance when he discovers that it is Bully’s fault Grace hanged herself. The sound track at the beginning of the film is upbeat and pulsing as men lift weights in the sunlight, a clear symbol of the importance of masculinity. The music is most peacefully when Beth and Jake take the children for a picnic and Beth reminiscences about the past. This scene is very calm and peaceful until Jake interrupts and the moment is shattered, this shows Jake is uncomfortable talking about the past. The soundtrack for City of God mixes a variety of existing period songs e.g. Brazilian funk and rock, with other music that re-works the traditional samba. By doing this we understand that these are present situations and issues. Sometimes the music isn’t very obvious and gives the film an appeal of intelligence. The lyrics also add to the complexity of the film and characters for instance when the gangsters are changing their clothes and hairstyles “Eu you desdizer aquilo tudo que eu lhes disse antes/I’m going to unsay everything I said to them before” is played during the scene giving more depth to the situation. The lighter and happier samba songs are more associated with Rocket emphasising the contrast between Rocket’s life and the bloodshed surrounding him.

The choice of language was an important decision by Kassovitz and Meirelles as by choosing to keep it within their own languages the majority of people have to use subtitles. An English audience wouldn’t necessarily need the use of dialogue to understand what was happening but the films lose some of their intensity and often the humours aspects would be missed, this lightens the films as well as making the characters more human. The importance of word changing in La Haine would also be missed for instance when Saїd changes the ‘World is yours’ to the ‘World is ours’ and when ‘man’ has been changed to ‘society’ at the end for Hubert’s story which is repeated. This change of words and use of language is very important but appears to have no influence as the ending of La Haine shows because ‘society continues to repeat itself’. Beth’s own cultural language of Maori becomes a stronger influence within the film as the characters gain strength for instance Boogie (Mark) is able to release his anger using Maori and later Beth is strong enough to return to her ‘home’. This also allows comparison to her situation with Jake and gives us more understanding as to how Beth came to be in her situation.

In conclusion all the films depend on their film techniques and directors decisions to ‘tell’ the stories in full. By doing this they show the audience a clear and in depth view of the characters and their situations as well as putting across the directors views so we understand their point of view clearly. All these films have very pressing, dangerous and potentially hurtful subject matters that must be addressed fully to justify presenting them to an audience.