Semiotics

I have found a powerpoint that details Semiotics (the study of signs). Most interesting is the perception of Bears.

Semiotics from Melda Yildiz

Captain America - Frame Analysis

Captain America - 2011

Here we see Steve after his transformation from skinny child to the mighty avenger after taking the super soldier serum.

There is a logical reason why Steve is topless as he has just exited the machine. The two women seen in the shot both look at him in awe as opposed to the men in the background celebrating their success in science.  Peggy Carter (the love interest) also cops a sneaky feel at Steve’s chest. This is noticeable as throughout the rest of the film Agent Carter has been in control of her actions but in the presence of a muscular man she gives in to her urge and briefly touches his chest.

Steve is allocated the most presence within the frame as proven with the size and lighting (compare to Peggy who is shrouded within darkness). This presence emphasises his power and dominance.

3D

3D has been a major part of Cinema since late 2009.

2009 featured an array of films presented in 3D, mostly animated. These included Coraline, Monsters vs. Aliens, Up, X Games 3D: The Movie, The Final Destination, and Avatar.

However, 3D has existed in various forms since 1915 but was a very rare thing to experience due to the high costs.

As of late, studios have been remastering selected fims for a re-release in 3D. These include Titanic (which was directed by James Cameron, director of the highest grossing 3D film of all time), Star Wars: The Phantom Menace (there were plans to re-release all six films before the confirmation of new Star Wars films) and Finding Nemo.

Films do not need to be shot in 3D and can be converted in Post-Production. Notable films include The Avengers (2012), Star Trek into Darkness (2013) and Gravity (2013).

“3D was something that, frankly, I was not a big fan of to begin with. Essentially in order for us to make this movie, the studio said ‘You gotta do this in 3D’. So we said, well, we can do a 2D version that we love that can also be converted to 3D. And the truth is that I’ve actually been having a lot of fun with it…This is kind of the myth, that it only looks good if you shoot the movie in 3D, which is completely not true…

In fact, we’re doing a bunch of things with the 3D in this movie that have not been done before, using techniques that have not been seen. All the exterior shots, including the shots in space, are all either shot or rendered in IMAX format.

It’s the first time a movie has been shot in IMAX to this scale and converted to 3D.”

- J.J. Abrams on Star Trek into Darkness

Film Research - The Christmas Candle

THE CHRISTMAS CANDLE is a timeless and inspirational story based on the novel by bestselling author, Max Lucado. Nothing out of the ordinary ever happens in the small village of Gladbury -- except at Christmas. Legend has it that every twenty-five years an angel visits the village candlemaker and touches a single candle. Whoever lights the Christmas Candle receives a miracle on Christmas Eve But in 1890, at the dawn of the modern age, all that is about to change. With the arrival of David Richmond, a skeptical, young minister, Gladbury's humble candlemaker, Edward Haddington must fight to preserve his family's legacy. When the Christmas Candle goes missing, the miraculous and the human collide in the most astonishing Christmas the town of Gladbury has ever seen.

Director: John Stephenson

Production Companies

• Pinewood Studios (Will distribute in the UK)
• Big Book Media
• Impact Productions LLC

Release Date: 29 November 2013

Production began on the 28th of Febuary 2013 and as of the 29th of September has been completed.

Susan Boyle's acting debut

Filmed in the Isle of Man

http://maxlucado.com/news/the-christmas-candle-a-movie-in-the-making/
http://www.imdb.com/title/tt2739338/
http://www.dailymail.co.uk/tvshowbiz/article-2286088/Susan-Boyle-transforms-period-clothing-films-big-screen-debut.html

Gender Representation Analysis

In this scene from the first episode of the second Series of Sherlock, I will be discussing the representation of gender and distribution of power.

The scene begins with the one female character in control as proved by the midshot looking up to her slightly. The director would have chosen this shot to put us in the perspective of the male heroes, who we are meant to accept have been defeated. Another midshot, of Mycroft shrouded in darkness, generating a sense of mystery, reinforces this as he is seen attentively listening to Adler and responding. This creates juxtaposition as it is typical for men in suits to be in positions of power.

We are then offered a close up of Holmes, which is initially out of focus. This alludes to Holmes’ disinterest or confusion in relation to the whole situation. He comes into focus at the mention of the name Moriarty, a male character who he considers his equal. This implies that Holmes doesn’t respect Adler, and it is only the presence of his nemesis that draws him back in.

The Director moves Irene to sit opposite Mycroft, still higher than him. This allows a two shot where it is clear where the power is distributed as Irene is sitting much higher than Mycroft. Even when he stands, it feels reminiscent of a surrender.

This cuts to another close up of Holmes who has his eyes closed, thinking. This reinforces the idea he sees Adler as irrelevant and he isn’t paying attention to her, just the challenge she has offered.

However, when Sherlock stands (and the camera follows his movement, keeping his body in the foreground) the bold movement is the director’s way of conveying to the audience that the power is back with Sherlock.

The camera pans from Irene standing with Mycroft to just her on her own before Sherlock comes into view, telling the audience that this is where the conflict stands. A series of reverse shots come into play detailing the conversation with the camera angle pointing up to Holmes and down to Adler while Holmes details his thoughts and triumph.

Power is reinforced when the director shows a close up of Holmes placing his hand on Adler’s, a typically romantic gesture. Here it is a subtle way of conveying to the audience that Adler has lost her power and her lack of response suggests she is aware of it. As she has failed she has lost her barriers and the men feel empowered to treat her how they want.

It cuts to a flashback showing a similar shot, with the non-diegetic music creating gravitas to Holmes’ explanation of how he knows he has won. The director cuts back to a shot showing Holmes gripping Adler’s arm which would not allow her to escape or pull away indicating that she has lost all her power.

The nature of the story provides an insight to the representation of women; Adler loses because she fell in love whereas Holmes is able to solve the case as he considers himself immune to emotions. Love and sentiment is presented as a dangerous, weak thing which is encapsulated in a line of dialogue.

Confident the power is back with Holmes, he walks away. The director has Adler follow him, reinforcing that.

The power is once more shown through the exaggerated diegetic sound effect as Holmes presses the buttons on the phone, encapsulating his victory (and by extent, Adler’s loss). An extreme close up of his fingers tapping the screen alludes to Holmes’ strength and control over Adler.

This transfer of power is realised when Holmes literally asks Adler to beg for freedom. The camera pans, allowing Mycroft to stand beside her making Adler appear much smaller. Holmes is deemed worthy to earn a whole shot to himself where he stands looking away from the action, out of the window still talking. Holmes’ only line to her is “Sorry about dinner.” Which undermines Adler’s plight and focuses on a small thing, indicating that’s what all her problems are like.

IMAX

Christopher Nolan using an Imax Camera.

Imax Cameras are able to increase the resoloution of the shot as they use a larger film frame. The film quality is much better and allows a clearer soundtrack and picture.

Unfortunatley, they are very large (and can be difficult to move), expensive and the frame size means that only a select area can be in focus in any one time.

Christopher Nolan opted to film select scenes in the Dark Knight and Dark Knight Rises, including the opening prolouge and the car chase. The Dark Knight was the first feature film to have been partially shot through Imax and featured less than half an hour of footage filmed on Imax. In comparrison, The Dark Knight Rises (which was released four years later) had over an hour.

The screen Imax movies are shown in often are three stories high, meaning that when watching the film, it is all you can see. This can be used to great effect in film, for example in the opening to the Dark Knight, there is a moment when all the audience will be able to see is a drop.