Film Language and Representation Post

Film Language and Representation

Using your choosen 5 minute extract, tie the particular details of the scene back to your broader research.

My extract takes place at 1:30:32. So far, the audience has come to see Marion be killed in the shower by Norman Bates, a, well, psycho, and subsequently having an inspector then Marion's sister Lila and boyfriend Sam investigate what happened to the previous person. In the extract itself, Lila sneaks into Norman's house while Sam distracts him with small talk in the lobby of the motel. The intensity increases, and suddenly Norman ca't take it anymore, these insults to his mother, and hits Sam in the head, running after Lila. Lila is exploring the house during these events, first examining the mothers room and its intricacies, and  then later looking at Norman's room and its simplicity. As Norman enter she house, she goes down into the cellar,  unknowing of the truth. My extract ends with her seeing the mummified remains of the  mother and her screaming horridly as Norman descends on her. The characters and issues are represented in my extract through Norman's fight with Sam, well as Lila's meeting with the corpse. The issues here are that Norman is now for sure having some kind of identity crisis over his mother, becoming overtly suspicious when he becomes offended by Sam's every remark. Another issues is what Lila finds in general. Firstly, she finds a bed with a deep imprint, meaning someone has slept there very recently (throwing off the viewer). Secondly, Lila is in Normans room and it appears as a kids room despite the fact Norman is a grown man. This mystery and suspense culminates as we reach the final issues, the fruit cellar, where Norman's mother turns out be be nothing but a taxedermised corpse.  And  the Norman appears in drag.

The performance of Janet Leigh, Anthony Perkins, and John Navid Gavin very dramatic.
From the screams, to the more subtle insinuation of Sam (Gavin), to the stuttered talking of Norman, all the characters interpretation of the dialogue is appropriate and complementary to the scene. It is interesting to note that the dialogue between Sam and Norman (Perkins) is under different subtexts for the both. Norman thinks that Sam is trying to blame his mother for something  but the fact of that matter is that Sam is only wondering where the money is and hasn't even thought that Marion could have been murdered. Both Sam and Lila are obvious to the truth, as Lila even tries to nudge Norman's mother  and address's her. Its also interesting to note that Anthony Perkins also changes his facial expression drastically depended what character eh is playing. For example in teh photo above he has a huge grin on his face, whereas Norman is usually always in a  slight sorrow.  

Speaking of this shot above, this shot uses cinematography and proxemics to create meaning. Lila is situated lowest and the cameras is at an low angle, looking up to Norman (as his mother). This creates an inferiority of both Lila and th audience and we feel threatened.  Similarly, Sam comes up from behind Norman and again repeats this same usage of proxemics: he is then the most dominant in scene and therefore overpowers Norman.  Another example of this proxemics and cinematography meaning,  is when Sam and Norman are talking, they discuss  the fate of Marion. Again, when Norman is lower in frame  he seems to be defensive. Similarly when Norman becomes more aggressive  he shirfts to a higher plane of eye axis than Sam asserting his superiority. And finally, camera moves are used to emphasize certain things in frame. For example, A slight dolly in to Norman being restrained by Sam and the knife in his hand suggests there inherent importance in the scene. Lighting plays a small role in creating more creepiness to the mother, as overhead eighth sources are usually so. 



The editing style used is one of a combination of realistic and classic styles of editing; present in the dialogue scenes is realism, and present in the more action intense scenes is cutting that adds to teh pace of the film, quick cuts, and there fore, classicism. The use of realism in the scene with Norman and Sam reveals the Norman nature of the scene.
The film uses setting very much so in this extract  The film uses set design to create entire characterizations of the characters for example, the mothers room is full of archaic and old funriture, giving it the creepy haunted house feeling. Light is obscured byt eh stain glass windows, and black angel statues fill the halls. The film makes use of emptiness in the cellar to suggest just that: emptiness and alone... -ness. Just the very fact that it is ins a cellar really does make it that much creepy-er.

Socio-Cultural Influences in Psycho

Cultural Themes

Despite the fact that Hitchcock was British, the film address's American themes. The themes of corruption by money, lack of privacy, and multiple identity are all resultant of Hitchcock's reaction to American Society of the late 1950's.  At the time, the American Society was booming. However  this economic growth and prosperity would eventually lead to a growing corruption, and Hitchcock is warning of this growing threat, and Marion's death is directly linked to her stolen money. The theme lack of privacy comes from from the communist paranoia of the era, and the resulting intrusion of neighbors and government into the personal lives of  the people. Similarly, the theme of multiple identity comes from the idea of the apparent two faced nature of the "communist spies" that pervaded the era.

Geographical Context
The film takes place in Arizona, and was shot in the Universal Backlot. 

Historical Context
The messages from WW2 were clear: no matter how heroic your men, how skilled your generals, how staunch your supporters on the Home Front, at the end of the day it was technology that counted. Bigger. Better. Deadlier. Like the atom bomb. The horror films of the 1950s are about science and technology run riot, an accurate enough reflection of reality for a confused populace, wary of the pace of technological change. The 1950s are also the era when horror films get relegated well and truly to the B-movie category. The studios were too busy incorporating technical changes such as widespread color production and trying to meet the challenge posed by TV to have much truck with making quality horror pictures.

Also, Psychology was beginning to develop as a legitimate study at the time.  Interestingly, developmental and child psychology were major schools of thought at the time and relates to the plot of Psycho: Norman Bates witnessed his mother in bed with her lover and brutally murdered them for it. His mother also kept him very sheltered and was his only interaction for much of his life. As a result, Norman is a quiet but psychologically deranged man because of these events.  His childhood development negatively effected his ability to deal with fatherly and motherly figures.  I would say personally that the film fell under the revisionist point in its genre at its time. Before this film many horror films were creature features. The non conformist storytelling structure and new techniques used would have made it a completely new style of horror at the time. However, it could be argued to be a classic. In the current state of the horror genre today, Psycho has influenced an entire sub genre (which has become one of the most popular), the slasher genre. It set the standard for many films to follow and 

Cited http://www.shmoop.com/1950s/economy.html
http://www.horrorfilmhistory.com/index.php?pageID=1950sa

Hitchcock- Genre and Audience

Alfred Hitchcock s "Psycho" is a 1960 horror movie that defined a new genre, the slasher. It is the roots of modern horror, and is regarded as one of the greatest horror classic of all time. It also was ground breaking for its time, using techniques never before seen in cinema. The film falls under the horror sub-category of physiological thriller. As a horror film, suspense leading up to a murder are a staple of this genre. Dialogue also plays a huge role in the physiological thriller genre as it builds on  the mental troubles of the unstable characters. Visually, masked figures, silhouettes  low key lighting, and over creepy set design create elements of horror that we are used to as an audience.

The movie is based on the 1959 novel of the same name by Robert Bloch and the screenplay was by Joseph Stefano. This novel was also influenced by Ed Gein, who was a murderer and grave robber that lived close to Bloch in Wisconsin. In addition Norman Bates was also a murderer in a rural area. The film actually alludes to several other works,this includes Marion, who's character was influenced by Persephone, in Greek mythology. This is seen in the flower wall paper room, this representing Persephone's flowers, but they are only reflected in mirrors. Furthermore the section of the film when we see Marion's eye still open after she is killed was taken from La Dolce Vita when the sea creature's eye is left open in the end of this film.

Hitchcock is widely known as the "master of suspense" by critics and theater-going folk, due to his choice to usually make such films exclusively. The choice of black and whit in such an era really shows its lower budget, yet it really adds to the atmosphere of the film. In fact the man himself was quoted as saying that they couldn't shoot in color even if they had the money, it would have been too violent. However, his budget was very low, in a Hitchcock sort of style. Alfred Hitchcock made this film for the adult audience. It fulfills the wants of the mature horror audience, by providing sexual reference and innuendo, blood and gore.

The film revolves around the theme of double identity. All the characters in the film are leading double lives, from the protagonist Marion Crane to her lover, Sam, to Norman Bates Himself all characters
 Marion leaves her job to be with her lover during lunch, and likewise Sam of course, has a lover. Norman Bates is of course, well, I wont spoil it. You have to watch it from the beginning you know. 

The Hobbit: An Unexpected Journey Trailer Review

The trailer for The Hobbit clearly effectively expresses the basic storyline of the film, through narration as well as visual montage, while still leaving the viewer wanting more. We are first set up though old Bilbo explaining that he never fully explained his adventures top Frodo and thus, it is assumed this movie is about his exaggerated adventures from his perspective, setting up the plot. By starting off with Frodo from Lord of the Rings, we also are connected to the narrative and backstory of that trilogy. Afterwards young Bilbo explains he is reluctant to go on the adventure, setting up the conflict. We are introduced to the dwarves, through narration and montage of their faces, setting up the characters. These quick clips also add to their character, as each shot gives the dwarves different attributes ranging from fat to agile to raging warrior, and sets Thorin up as leader though narration by Gandalf. Intercut are title slides giving the date of release but also using a map serving to orient the viewer. The mysterious chant of the dwarves and slow tracking shots give an epic and mysterious quality to the shots establishing both feel and setting. It also further establishes Thorin as leader of the dwarves when hes stands up first in the ominous chant. A dutch tilt shot of Gandalf gives another aspect of creepiness to the story, and a shot of Galadriel moving Gandalfs hair in a  loving way seems to suggest a relationship not scene in Rings. At the end there a is a quick reveal of everyones favorite Mo-Cap, Gollum.

All in all, epic trailer, Pete.

"Man with movie Camera" and "Bicycle Thief"

a. What was Pudovkin's concept of constructive editing and how did it manifest itself on film?

b. What was the Kuleshov effect and give me an example of how is it used in today's film's?

c. What was Eisensteinian Montage and how does it work in the "Odessa Step" sequence?

4. Andre Bazin and Realism

a. What were Andre Bazin's frustrations with Classical and Formalistic film making?

b. What do Realist filmmakers strive for in their work?

c. What techniques to realists use in their filmmaking?

Similarities

Realism and Formalism are both non-standard film editing styles. Realism is the use of long shot duration and deep focus, with limited camera moves. Formalism is the juxtaposition of themed or non themed shots to create meaning. Mostly, these types of  films are relegated to art films but can be interpreted any way by the viewer. On the hand of Thief  we have long shots where you decided the meaning. On the other we have associative cuts that add meaning in Movie Camera. Andre Bazin states that... 

"film should not stick to one simple style of film but encompass different perspectives and types of story telling."

And thus, most films are not one or the other, but rather a mixture.

The Man With a Movie Camera

This film is very interesting. Its way ahead of its time, and even now we watch videos just like this on Vimeo. There many more cuts than Bicycle Thief, and is quite a sight to behold. MWAMC implements ideas of mainly Formalism but also Realism as well.  The film uses alot of imagery, and tries to recreate the reality we live in on film. It also uses contrast of images to create new meaning. For example,  "At first we'd see the life of rich aristocrats, then the following shot would be of a man stuck in poverty and starvation." Vertov uses these juxtapositions to create meaning, which only you can decide what that is. Another side effect of the quick cuts is a heightened intensity and speed that goes with the film such as a very interesting train shot cutting between the man on the tracks and the train wheels. An aspect of realism in the film are certain shots of just landscape. They simply hang around for  a while, giving us a chance to analyze the scene for ourselves. It also gives a sense of location.  Formalism at its core is based on these thematic meanings, and I would like to explore one in a film down the line. 

Bicycle Thief

Bicycle Thief borders on Realism and Classicism.  Some cuts seem longer than normal, with deep focus, and some seem cut to action. Early in the film we classicism  and later we see the not so dynamic neo-realism. Formalism is present in the scene with the father and son near the bike racks, as he, unable to have a bike after his was stolen, is surrounded by hundreds of unattended ones. He looks down at his kid who is clutching himself in his own arms. From this we understanding a deeper meaning despite his flat face: he wants to steal a bike.


This film is part of a less-dynamic movement, the Neo-Realism movement. For example, during the chase scenes, I was surprised by the use of deep focus and odd length clips compared to what I am used to. Not really an extreme of Realism, but a subtle one as if you were there watching the chase happen in front of you. The cuts are used to show a change in action or emotion and it flows so well with the film that the audience accepts it as normal. There were no surprises in the cuts, unlike in The Man With a Movie Camera.

Editing: Realism, Classicism, Formalism

Editing

Editing has been grouped into 3 groups, Realism, Classicism, and Formalism, in order of amount of editing. Realism is the use of long static shots and minimal editing, letting the viewer determine what is the most important thing in the scene, it was made famous by the neorealists of Italy in the 1940's. Classicism is cutting in a very modern sense, cutting to dramatic action, letting the editor explicitly express what is the most important thing in the scene. Formalism is the juxtaposition of images in a montage, with editing creating meaning form related or unrelated imagery. This technique was pioneered by Russians in the Soviet Union.

The film I chose to express these 3 styles of editing is the classic 2001: A Space Odyssey.

Formalism

Example

Formalism is the juxtaposition of images to create meaning. Is this scene, the Ape moves forward on the first step of evolution towards man. The ape figures out how to use a bone as a tool and thus a weapon, and we see him crush more bones. The cutting in a a falling pig creates meaning in the context: we can see that the ape will or is thinking about using the bone as a more of a weapon than a tool. It is a thematic montage, IE  a montage of related images to create a theme to connect them. Another example of formalism is at the end of the film. Kubrick juxtaposes images of babies in embryos and inverted color landscapes. What you would expect of an eyeline match from the old man (a few seconds ago an young astronaut) leads to him as an older man in bed looking at a monolithic black pillar. 

Realism

Most of the movie is cut is a mix of the classical and realist styles of Kubrickian editing. Therefore, I will examine both ends of the spectrum. In this shot sequence, The camera never moves and we never get any cuts to their faces individually or over the shoulders. The deep focus in this shot allow us to realize the ominous HAL in the background reading the lips of the astronauts. The scene itself lasts over 3 minutes, with no cut aways or the like. Kubrick uses this and the lack of a consistent score throughout the film to give the viewer a sense of uncomfortableness and emptiness, fitting for the long voyages in space. Also, this realism makes us feel as if we are in the scene, and Kubrick uses all the visual vectors in the scene to suggest that HAL is the most important thing in the scene.

Classicism  

  Classicism is editing in a classical way; cutting to action to dramatize certain things in the scene. In this scene, the astronauts discuss the monolith just found on the moon. This scene is cut very normally compared to the rest of the film, it make us feel a bit more comfortable. Much like our character, who is surrounded by friendly people, we can feel more at ease. This ease later creates a contrast with the long static silent shots when the crew reaches the monolith. We have classical cuts to people talking and cut aways to object in the scene.

Blog: Characterizaton

Characterization is "the processes of creating a character, using words, actions, thoughts and appearance. The key to creating a realistic character is adding motivation. By allowing a character to develop strong want or needs allows his to gain a greater depth and realism". And thus, the character and movie I will be focusing on is the cult hit Napoleon Dynamite.

Napoleon Dynamite is a highshooler who lives with his grandma and his older brother Kip.Kip  sits "chatting with babes" on internet chatrooms all day, while planning to be a cage fighter. Napoleon daydreams his way through school, drawing ligers (lions and tigers breeded) and his medival fantasies, while reluctantly dealing with the assorted bullies who frequently torment him. To make himself seem more interesting, he continuously makes up lies about him going to Alaska and fighting Wolverines. His uncle attempts to use get rich quick schemes to, well, get rich, whilst his grandma is in the hospital after crashing a dirtbike on the sand dune with her secretive boyfriend,  breaking her coccyx.

Napoleon wears cheesy graphic tees and and sweatpants, also donning his signature moon boots, revealing his "dont-care" attitude. His glasses are huge and thick, and he has generic nerd hair. When he goes to the dance, he picks out a outdated, brown suit from the second hand store as well as a dance VHS and a small ninja sword, which he promptly puts on his belt loop. He constantly squints and gets into slap fights with his older brother, as well as being picked on by bullies. He is annoyed but still loves most of his family  except for Uncle Rico, a failed football star, who uses him to distribute "Bust Must" female enhancers.

The scene I'm going to be focusing on is the scene where Uncle Rico buys a time machine on the interwebs of cyberspace. 
With Uncle Rico nowhere to be found, Kip lets Napoleon use the machine, which electrocutes him. His goal isn't really to travel back in time, rather it is to defy his uncle by using the machine (since his uncle bought it). Kip pretends not to know it wont work, devilishly smiling as Napoleon reels in pain. The only obstacle that Napoleon faces is "forgetting to put in the crystals", well and maybe not going back in time. We see that Napoleon is defiant, that Kip is a sneaky trickster, and we have empathy for the 
uncle. Thus, Napoleon is characterized as the outcast of the family, Uncle Rico, and Kip later going on to  run a "10 piece set" scheme in wihc they sell cheap Tupperware. 

Mad Max 2: Sequels Aren't Always Bad

The Road Warrior tells the story of a man named Max, a lone wanderer in a nuclear wasteland build on gasoline. People have moved away from the cities and into this desolate wasteland. Max comes across a oil refinery,in the midst of a war. A group of people defend it whilst a bloodthirsty motor gang has them under seige.

In light of the announcement that another Mad Max film was coming, Mad Max: Fury Road, I decided to pick this film because it was one of my favorite movies in terms of set and character design, which I find much interest in. The sheer influence this film has had on the post apocalyptic genre, not just in film, but the lucrative video game market as well, also urged me to review it. I wanted to show people the movie that influenced some of their favorite games and movies, from Borderlands to Fallout To Heartbreak Ridge to even a 2Pac album. Filmmakers Guillermo Del Toro, David Fincher, James Cameron, and Robert Rodríguez have cited Mad Max 2 as one of their favorite movies.

Mad Max truly portrays the time period it was made in. It was a time of gas prices soaring to an all time high, Trucker movies were all the rage, and no CG meant all practical effects and stunts. These are all beautifully executed, and even now Mad Max stands the test of time and is considered one of the greatest stunt movies of all time. For example the final chase scene of max defending an oil tanker truck from multiple cars includes stuntmen hoping from car to car, onto the truck, falling off and being crushed, riding on the outer part of the truck at high speed.
Mel Gibson (in one of his earliest roles) plays a superb max, supported by a wonderful Bruce Spence as the air captain. The characters are all memorable in some way; the tricky scoundrel in his gyro, the strong captain Papagello, the insane old man/genera ( who has a samurai sword)l, the old and wise woman, the young “sex appeal” and the feral boy. The production design of this movie is amazing, probably the defining feature of the film. The cars , the the costumes, and even the landscape itself have a character of their own. The score of the film is by Brian May, and it is of an archetypical "fantasy-late 70's early 80's" sound, even having some visceral quality of the ET score. The film is set in the Australian Outback, which is perfect for a post apocalyptic action movie based on vehicle combat. The cinematography of this film is breathtaking. When you first switch from the full screen intro to anamorphic widescreen, you know an epic movie is about to unfold, on par with Dorothy’s change into technicolor.

Every film has its flaws. In Mad Max these prove to be minor with substance, rather average than lacking of. These average traits include average lighting, which works but doesn't impress, which makes sense for an action movie.

In conclusion,Mad Max is a stunning work of art that influenced many IP’s of today. It’s gritty texture, it’s stunning visuals and unique production design make it one of my favorite films of all time. It is a “classic” but by no means is it boring. It a high octane action movie on par with any one made today. 30 years later it hasn't lost it’s touch, and i with gas prices skyrocketing once again, it hasn't lost its core message either I give the film a 10 out of 10. It is a must see movie that might inspire you as well.

Oral 4

1. What was you rationale for choosing this selection?
I chose this selection because it shows the main ideals of the society it is a propaganda for: a society that is militaristic, diverse, yet ultimately flawed, as the invasion is also. The invasion scene also has symbolic qualities that add to its meaning. The troopers run directly into the warzone without any kind of support or cover. This symbolizes the ultimate devotion and unquestioning allegiance they have to the Federation I also chose it because it is a pretty good action scene that drives the rest of the plot. Without the failed invasion of Klendathu, there would be no reason to invade the other planets near it within the Arachnid Quarantine Zone. Thus, no Brain Bug and/or resolution to the plot. Due to these qualities, the scene perfectly represents the entire film and society that it portrays.

2. How does the extract relate to the film as a whole?
This part of the film is the first actual combat between the Mobile Infantry and the Arachnids. This is the first time that Johnny Rico find himself individually actually engaged with the bugs, as well as wounded. He is fresh out of bootcamp but is still enthusiastic about going to the bug world.The battle results in heavy causalities and the loss of much of the fleet. It’s main purpose thematically is to create hatred in the audience towards the bugs, as well as establish that the troopers, and the Federation, are unprepared for the horrors of war.

3. How is this film constructed according to narrative/story being told?
The film follows the usual 3-act structure and uses dramatic and sub plot elements. The dramatic is the overlying plot to win the war that eventually leads to the capture of the brain bug, while a love triangle (more of a square) forms between Johnny, Dizzy, and Carmen, all while trying to stay alive.

4. Is the narrative organized by plot or time sequence,character driven vs. plot driven?
The plot is time driven, as the events take place in chronological order, and it is mainly character driven, as there is no main goal, other than to win the war and follow orders, and the decisions of the characters (specifically Rico) is what motivates the plot. The brain bug, the main goal of the protagonists, is not discovered until three fourths of the way through. Of course, at the beginning of the movie, we see the battle of Klendathu from the perspective of the News Broadcast, and thus how the public sees it. This takes place (plot-wise) before the events of Johnny's graduation, and thus can be considered organized by plot, as well as by time.

5. Does the film use other principles than narrative sequence as a structure (for instance, an argument?
The film tries to be as streamline as possible, does not create conflicts between characters, rather, it creates conflicts between humans and bugs.

6.What is the nature of our engagement with the story or characters?
We see similarities between us in the Mobile Infantry, and we see the humanity. This is exemplified by the bugs who are very dissimilar to our own, very alien. We sympathize with the Mobile Infantry because they are human, despite the mass genocide committed against the Arachnids. We side with Johnny Rico, as he has lost his parents, and we feel that the bugs wronged all humans and should be brought to justice. However, in one of the news broadcasts, the topic is brought up of the bugs being "provoked by humans entering their natural habitat." This slightly reveals that the truth may be hidden by the Federation, and that our sympathies are all misinformed.

Part 5

How are characters and issues represented?
All the characters are very 1 dimensional, as intended, and the only issues have to do with love triangles. Johnny finds the brain bug because he is searching for Carmen. Johnny joins the service because of Carmen. Dizzy joins because johnny joined. Carmen fell in love with Zander who both crash and find the brain bug. The only complex and not stereotypical or perfect is Carl. Once a nice boy with promising future, he becomes a grave SS-like officer that has to make decisions that "send hundreds of people like you to their deaths." He is internally conflicted whether to fight for humanity or his friends.

What is the style and effect of acting and performance?
Most of the actors are in 1 dimension: they lack depth and are stereotypical. This is done on purpose by Verhoeven in order to create a sense of relation to characters in the story in order to relate and maybe even sympathize with them, which is, all in all, the main thematic intent. To make fascism seem attractive, and bring it back to the directly stated theme: “War makes Fascists of us all.” Thus we see our own inner fascists because we can relate the characters as if they are normal people. The American way of thinking usually demonizes facism, yet we see so many similarities to our own society in this facist one. This leads us to question what really differentiates us from them.

How is meaning created by camera angles, shots, and camera movement?
Obviously, the Arachnids are physically taller and larger than humans, which leads to low angles suggesting their physically dominating nature. Pans are also used constantly which add to the “sweeping-epic” vibe that glorifies the society, and ultimately, violence and fascism.
At intense parts of the extract, such as when they are running, or when people are cut down by the Arachnids, the cinematographer uses shaky camera movements in order to create a feeling of action and excitement in the audience.

How is meaning created through proxemics, territorial design, or open and closed forms?
How is meaning created by location, set design and mis en scene.?
The film uses, rather, uses a lack of, open forms in order to give the audience a clean cut image, easily processed by the audience, and thus a clear message of what the director is intent on making you think. If taken into consideration that the film itself is faux-propaganda, then this makes sense in order to give the audience a straight message. If taken from the political satire angle, this makes sense as well because similarly you usually don't see comedy films with artistic shots. Comedy is subjective, and if it is confusing or open formed, it may confuse the audience. Lastly, if taken for a shoot-em up action film the closed form keeps the schematic “B-Movie” feel that subconsciously tells the audience that they are watching a mindless “everything-blows-up-when-you-shoot-it” movie.
The primary location of the main battle sequences are rocky deserts. The starships and building on earth are sparse and clean, with a lot of 'gloss": windows, chrome, silver colors. This contrast not only signifies the mentality of the 2 races, but also the very nature of their being. The silver is covered in blood, where it sits; conversely on the sand it simply sinks in, similar to the effects of death on the respective societies.



How is meaning created by editing and sequencing?
By showing us a ferocious alien and then a reaction shot of a terrified MI trooper, we are instilled with a similar fear, we feel as if you are that person. This “gore to reaction” shot sequence creates greater emotion and dramatic effect, thus creating more tension and suspense. a

How is meaning created by lighting, shade and color?
The scene is on an desert alien world. It is the only point in the film where color grading is taken boldly and everything has a blue tint. This presumably means they attacked at night, or it could just be the natural look of the planet. This blue tint reminds us as an audience of night, when we are most vulnerable, and this creates fear and tension in the audience. Many times you can also see the troopers breath, suggesting that the blue tint is there because it is cold, which also suggests a feeling of uncomfortableness, “chilling” you might say.

http://www.youtube.com/watch?v=UwteHQoYfLQ

How is meaning created by sound and music?
The theme is played of the Klendathu Drop scene. It starts out strong, patriotic, booming, and then leads to a quieter sounds that are more mysterious, leading to the same feel in the audience. We feel confident in the Federation, much like the Troopers do. Then we see the horrors and reality of war, and are instilled with the  fear and eventually hatred of the entire bug race. The Arachnids make noises similar to screams, and something within our primal sense tell us something is wrong, it creates fear.

Does the film make use of symbols, metaphors, or allegories? Share are they and how do they work within the context of the film?
I personally believe that the arachnids represent Islamic fighters, or at least an allusion to them. They hide in holes, they are demonized and made to look unintelligent by the state, and they kill without mercy (“...the bugs don’t take prisoners...”) They don't have advanced weapons, but can send attacks all the way from their home to a major city of our (meteor, Arachnids = planes, Islamic Extremists) or order to preserve their way of life from imperialistic expansion.

How is meaning created by technical elements such as production design, mise en scene, composition, special effects (matte paintings, models or animation, computer generated images….etc.)
The bugs are all rendered in 3d. This allows the filmmakers to create massive legions of bugs and create a menacing war machine. The design of the bugs reminds of deliberately of spiders, thus the term "Arachnids" is occasionally used. This is based on societies common fear of spiders, and it adds to the creepiness and horror we see in the bug's entire race. Verhoeven and Phil Tippet, who worked on Star Wars, we insitant that real puppeteers were used and then motion tracked to the animation to create a more organic look to the movement of the bug. The director did not want you to see the bug as a mindless drone. He wanted you to see that despite what the humans are trying to lead you to believe, they are intelligent (on multiple occasions the humans are proven wrong and beaten by bug superiority) and take into consideration that they are living things and on second viewing you might even feel sympathy for them instead of the humans.

11. What emotional information is conveyed through the filmmaking process?
As an audience we feel sympathetic for the humans. We despise the seemingly mindless, violent bugs. Yet by the near end we realize how fascist they really are, and not just from the striking SS uniforms they wear. The film goes to show how the medium can subjugate ideas and make you hate; it shows just how easily someone could be driven to fascism, as you the viewer just has been.

Starship Troopers Analysis 2 and 3

1. What are the institutional factors that may be important?
1. as a production of a specific producer (i.e. Walt Disney), institution (Disney Studios), specific economic factors (Studio Film), or a political background? (U.S. politics 1959)
2. What is the film’s historical significance?
1. as a document of its time?
2. as a part of history of film?

III.  Socio-cultural context

1. What is the film’s socio-cultural context?
1. as a work from a specific country?
2. As a work from a specific culture?
3. As a work representing a specific part of its society?
4. As a work made for a specific audience?
5. As a work made for a specific reason?

During the time when the film was made, we were currently fighting in the Iraq war. It was also the year when Osama Bin Laden declared war on the free world. It mocked the news that constantly assured us ‘We’re winning were winning!” as during many other wars that we seemed to be losing , like Vietnam, or Iraq. The similarities don't stop there, however, and the parallels between Vietnam, War on Terror, continue to compile. That the Troopers fight in a desert against bugs who hide underground in “bugholes” is no coincidence (Neither is the similarity between “Arachnid” and “Iraqi”). From Paul Verhoeven’s view, the film is a mocking of fascist society by over exaggerating its features to point out it’s insane ideals. This was due to his early childhood filled with Nazi’s violence and discontent with the Allies (being born in the WW2 Nazi-occupied Netherlands). Daily, allied bombing raids left dead in the streets. Conversely, Ed Numeier wrote the film as a parody of US involvement in guerrilla wars and absurd international policy, himself being American. This is primarily why every actor recruited is “American,” yet they live in Buenos Aires. This suggests that the whole world has been Americanized, parodying our aggressive American expansionism which the US government is constantly trying to justify. Even the news reporter suggests that maybe the bugs attacked them because the humans expanded into their territory, and they felt threatened. Unfortunately, Starship Troopers was marketed as a action B-movie, and the audience that attended saw it as such. Intellectuals failed to see the deeper meaning as the failed to be attracted to such a “mindless” movie.