Step Outline

1. Logline: Fights happen all the time, but not like this.

2. Genre Reference: Thriller

3. 2 Reference Films: The Outsiders, The Warriors

4. Step Outline:  Create a t-chart for Action/ Dramatic Intent

THEMES: -extra personal theme- A criticism of gang culture (wats the deal with the gangs fighting?)  -interpersonal theme-friendship? -intrapersonal theme: Freedom brings pain, the importance of the mentor parent but lack thereof -yearning for structure in life -violence is useless

Action	Intent
Films begins with the  fight between Mack and the baddies and short expositional narration	To be  expositional and set tone, but still be a simple story
2. Flashback - Does something that angers enemy gang, strengthens his friends Johnny (nice guy)  and Dallas (stern older mentor)	2.   Character Development, critical mistake that begins tragedy
3. Comes home late to find his older brother waiting (also stern older mentor), brother gets mad and hits him,	3.  Drama (but not action), tension at home? Incites freedom that brings death, reinforces themes, violence  has no gain
4.    The Stabbing - As Mack hangs out in the parking lot with his 2 friends, they are jumped by enemy gang, where Johnny is being drowned and back broken either Dallas or Mack stabs Bob the Baddie (flee scene)	4.   Action creates
5.   Running - Trying to get johnny to hospital on foot avoiding baddies	5.   Action
6.   Running - Johnny is dead, what do we do?	6.   Moral Question, tension
7.   The Last Stand - Mack watches Patrick rob a liquor store, and get shot as he pulls out as they pull up in car,	7.   Existentially ends the film with the narrator protag being disillusioned with society at large, but personal issues is resolved for the sake of classical narrative

WHITE THUNDER Production Portfolio

Production Portfolio
IB Film HL
Session: May 2013
Rationale
I chose to do White Thunder because I really wanted to make a cheesy movie and experiment
with the lost art of zooms. I think that lowballing rather than super serious can be quite an
advantage with the audience. I also notice it is easier to get a reaction from the audience if you
make them laugh rather than feel bad or emotional, and my bitter reaction to my last super
serious film, the bitter tragedy of it being comedic to the audience. After seeing the film black
dynamite, I knew what I had to do for my next film.
Word Count 100

Trailer
It is a rational trailer. First, I set open framed shots in the beginning to create questions in the
viewer. The car shots and mechanized sound effects represented speed, and the zooms
accentuate fast feelings. Afterwards, I introduce Thunder and his qualities such as violent, being
a “loose cannon” and needing a partner. Panama is introduced characteristics of being cocky.
Using Andy, we establish that they are both cops down on their luck. A shot of Panama and
Thunder disagree on musical taste explains their relationship, and ending shots conclude the
bad guy’s role, Dragon Wang.
Word Count 98

Written Commentary for White Thunder
I had always wanted to do a really fun film. I had made a White Thunder short before, and
I wanted a to expand on the character. Once my co produced project Epic Roll , I knew that a
comedic cheesy fun film was something I had to make. The idea for White Thunder came from
my love of Buddy cop movies and the recent explosion of parody blaxploitation and cheesy 70’s
parodies. The plot itself is a cliched buddy cop story, present in many films from Rush Hour to
Running Scared to Bad Boys. They would always begin with introduction to the characters, how
they were forced to conform to each other, find how different they were, mess up, take the case
into their own hands, and become friends. And thus our plot was created as so.

The script began as a treatment that was created at the end of sophomore year basically
outlining the events that would transpire in the full version of White Thunder. A short “pilot
episode” screentest proving ground for the show was shot later that year but not a full version.
With the help of 3 different screenwriters, a continuous edit and a 2nd draft, we completed the
majority of the major scenes, and I was very happy with actually having a almost full script by
the time of actual production, unlike many of my other productions. Unique characters would end
up being the most important part of this film, rather that could have been an intimate relationship
between Panama and Thunder. For better or for worse, this was the influence Jonathan Nievera
brought onto the project, and this would lead to the notorious marketing campaign. My “dual
meaning backhand” blunt style of writing was somewhat present in this project, as in the intro
scene, which was loosely scripted. For example, Thunder says “ Stop being a pansy, Jet. You
know I love you...” which at first glance is not inherently obvious, but under tighter scrutiny is
clearly recognized. The script was a marvelous thing, it created not only cohesion and efficiency,
but direction on the project., and was very beneficial.

Setting the film as a period piece was really a challenge with this film. Having to amass
the wardrobe, sets, props and even vehicles for such a large project was quite an undertaking,
but I think it was a really good learning experience. Even behind the scenes our film was a period
piece; This type of practical effect, home movie blockbuster production harkens back to the 70’s
Super 8 genre style filmmaking usually identified with Spielberg’s early works, and homaged to in
the film Super 8. To that end, each character in our film was uniquely characterized by their
wardrobe and choice of props. For example, White Thunder uses a large .45 Colt, and Panama
Jack uses a small, almost insignificant .22 revolver. Thunder is a brash and hulking fighter,as
well as speaker, whose large and flamboyant style may not actually relate to his actual
effectiveness. Panama, on the other hand, is a small and sly guy, he can hide his secrets until
he wants to strike. However, most of the Panama direct characterization didn't make it through
the first few drafts, and his character is very flat, letting the script focus more and Thunder’s
epiphany. Dreyfus has suspenders to suggest his maturity and wisdom, and the “Other Buddy
Cops” wear Hawaiian shirts not only to address the era, but to also suggest their laid back
nature, contrasting with their reactions later, creating ironic comedy. Dragon Wang Chan wields
a large, blunted sword to suggest his way of getting things done; he is a doppelganger to
Thunder, in the egotistical sense, he is the dark side of Thunder, brutal, blunt, and violent. The
setting of the film was important as well, many of the assorted sets we tried our best to adapt it
to be period acceptable or try to not face the camera towards such things as flatscreens and
cars. Modern cars are however a major error in the film, but are very luckily very subtle. The
choice of Penn School seemed to fit with it’s Cold War Era Architecture, the rest of the locations
were time period anonymous. The use of cars in films seems to be ramping up. Our usage of a
the 1976 red Chevelle was a little different. Because our car was restricted by time, driver, and
the fact that it was old, we decided to go with the green screen route rather than practical.
Conversely, practical effects were an interesting but briefly used in our film. The blood spurts
were created from a air compressor and fake blood in surgical tubing, clogged at the end with a cut piece of a rubber glove. The dummy was a old scuba suit, filed for hours upon hours with newspaper “salvaged” from the neighborhood, and the head was an equally laborious process. I wrapped Jon’s head in an old cloth, and then duct taped its crevices (of course with breathing holes) , and filled with newspaper as well. It was promptly thrown from the roof as a test.

My job on the film was Cinematographer. I really wanted to experiment with zooms in this
project, a sort of underused art. In my research, I found the reason that zooms were so prevalent
in the 70’s was because they had just reached the mass market and were now “new”. Films
during the era had used so many zooms to simply show off their new technology, but as a result,
prime lenses not being used and smaller aperture of zooms led to more exterior day shots and
less low light shots. White Thunder had to have a lot of light pumped into it, as present in the
Andy Litili scene, because most of the film was actually shot at f/8. Stopping down the f stop also
helped with the zooms, as being at a lower aperture meant less depth of field, meaning easier
focus between zooming. Similarly, I found it to be increasingly annoying that short films shot with
DSLR’s made shallow depth of field almost cliche, many shooters rarely stopped down manually
and as a result had trouble pulling focus.

The DSLR revolution has let even the smallest budgeted film maker capable of capturing great images, but as a result the “market” you could say was over saturated with shallow depth of field films. It is quite interesting that zooms were originally the new craze, just coming to market, and now filmmaker are rediscovering, and in some cases overusing the prime lenses of old.

Another aspect I noticed was people who do not use primes shooting at the widest FOV
possible, say 18mm on a T2i. While this is not a bad thing, in fact I quite like it’s epic sweeping
feel, its not what I wanted to do with White Thunder. I used the Panasonic GH2, a smaller name
than the widely used and trusted Canons, to represent not only the reaction, but as reference to
the era itself. The GH2 has a smaller sensor, but more sharply grained noise camera that is
widely regarded but rarely used by the filmmaking community. Even buying this camera was my
reaction to modern filmmaking: everyone had Canons, and if i wanted to I could borrow those at
any time. Why not try something new? White Thunder, at its core, is a BMovie,
and at that time they were shot on 16mm film, smaller than 35mm cinema; therefore, shooting on smaller sensor would make sense and add to the overall period feel of the film. Making White Thunder was my
antithesis to the modern DSLR filmmaking age, as this is clearly present in the zooms, stopped
down aperture, lack of sliders, longer lenses, and usage of smaller camera sensor. However, I
am not completely immune to falling into such self set pitfalls. As exterior scenes and naturally lit
scenes became darker as night approached, I was forced to open the aperture to, I dare say,
blasphemous f/4.5. This, paired with my innate ability to not sense when things are slightly out of
focus, led to some shots being blurry, which I take complete responsibility for.
And score. Indie production is not without its difficulties, but the film scorer is always the
worst. I must say, working with Jonathan Nievera was very beneficial in bringing another mind
onto the intellectual property of the film, but relying on him to do score was the worst experience
of my life. Numerous times he checked out the audio gear and not once did he return with
anything. Not even loops, and despite devoting and promising he would deliver, he did not.

My critical analysis of the film was that it was a fun adventure buddy cop film but with
some issues in pacing and sound. The film was deeply influenced and teat genre research
shows throughout the film, with very good attention to detail in costumes, sets, and ways of
speaking. The acting was a little underdone, but it kind of fit with the B movie style and era piece.

The Cinematography also represented the era with zooms and lack of depth of field, but there
were some issues of inexperience with the zooms that made them choppy. Editing was very
compressed and kind of sloppy, leading to some bad pacing during the Informant scenes. Sound
design and score was very lacking in this project and the weakest link overall. Overall it was very
fun to shoot and the actors play it out, leaving the audience feeling the same.

Word Count: 1600
Marketing Campaign
https://www.facebook.com/WhiteThunderShow

70'S Whitesploitaion Buddy Cop Treatment

70's Blaxtiploitation and 80'S Buddy-Cop Movie (w/cliches) "Frantic Cutting”
Brought to you in High-Fidelity Mono-Sound™!
Its blaxploitation, but he is white and it's a buddy cop.

A cop, dressed in an open collared shirt and a leather jacket, WHITE THUNDER™ and his partner JET HURRICANE™, arrive at a “toy factory”. They are in pursuit of the asian crime syndicate lead by mob boss Hung Lo, who has been poisoning kids with lead paint action figures since ‘62. Thunder notices boxes being moved and Thunder stops. They exit the car. Thunder tells Jet that he can take on Hung Lo alone. Jet says he can try, he takes out two and loses to Dragon Wang Chan he dies because he is inferior. Thunder tries to open the door, but he can’t, he notices the shots but is too late. Thunder takes the badge and cut to next scene.

4 years later, and White Thunder’s loose cannon actions have resulted in the distribution of bootleg toys and that causes hundreds of kids to get hurt/sick. Black police chief Dreyfus calls Thunder into his office. He tells Thunder that he's a loose canon. He needs someone to keep him in line. Dreyfus tells Thunder that his new partner will be Panama Jack/Joe, an equally ego-centric detective. Dreyfus  explains that Panama is a straight cop that grew up in the ghetto and vowed to take crime off the streets. Thunder resists, however, and says that he only "flies solo". Chief Dreyfus says the partner is not optional. Either that, or Thunder loses his badge. Chief Dreyfus softens up a little and says that he knows Thunder still takes blame for his partner's death. This case has links to the unsolved murder. He calls Panama into the room. His feet can only be seen. The door knob twists, and as he walks in, he gets one look at Thunder and goes "heyll nah!" He explains to Thunder that he is as resistant as Thunder and he doesn't want to be partners either.

White Thunder and Panama stroll out of the office. Standing around the water dispenser is two other cops, Thunder’s rivals, Darrel Roebuck Marvin Searzinski, taunt the pair about their new partnership, with gay undertones. Thunder and Panama feel like separate entities.
In the car they talk. [CHARACTERIZATION]

Thunder barges in to the Hispanic informant’s house, who usually gives Thunder information in turn for letting him slide a little. Panama slyly just walks in. Thunder questions him, but he won't give in this time. Thunder going around the house and knock things over, sarcastically telling him things like “this looks like an expensive vase. To bad its broken.” Panama starts to disagree with Thunder on his ethics and tries to take the lead. Eventually the Nicaraguan guy caves when panama speak spanish and tells him where Hung Lo’s hideout is.
We cut to the lair of Hung Lo, Pier 69, Hung Lo briefs Dragon Wang Chan. He tells Chan that he must eliminate Thunder like he did to Jet Hurricane, he says Dragon Wang is his most loyal servant and trusts him to take care of White Thunder who has been on his case ever since.

While on the stakeout, they talk about Hung Lo. After they see crime they decide to sneak in.
They get to the hideout and Thunder wants to stick together. Unfortunately are caught after they fail in a kung fu fight. At shotgun point they are confronted by Wong and his henchmen. Thunder gets a "Thunder Sense" and looks at two of the henchmen. After a small looky loo, Thunder notices something isn't right. Suddenly, the two odd henchmen punch out the other henchmen, and Wong runs. It turns out that the 2 "henchmen" were actually agents undercover. They had to blow their cover to save Thunder and Panama, They are angry because they had been working on the case for 8 months infiltrating Hung Lo’s ranks.

Chief Dreyfus calls them into his office. He is furious and scolds them and calls them "irresponsible" and takes their badges and guns. Thunder suggests that he ask first to take them off the case. Panama says that the situation is "hella wack." Disgruntled but hopeful, they separate for a while.

One day Thunder gets a phone call: Dreyfhus has been shot. He calls Panama and they put aside their differences and decide to track down Hung Lo. They track Hung Lo to his new lair and try to arrest him, at which point Thunder's love interest, Destiny Jones, comes forth as a hostage of Wong's. As Dragon and Thunder are about to fight to the death and there is a flashback with Thunder running through the jungle and hears a man yelling in agony. Thunder runs toward the man and notices he is part of the Vietcong and in attempt to shoot him Thunder couldn’t kill wounded man so he rips a piece of his jacket/shirt and wraps it around Dragon’s eye. The final confrontation ends with Wong dying. The two have become friends, and they finally accept each other. Thunder gets the girl, and Panama goes on to become the police chief with the lowest crime rate in a century.

Film Step Outlines

Knock

Logline: An ignorant girl hears a tapping on the other side of her wall, only to find bliss knocking.

2. Main Character Description: Ignorant girl, teenage

3. Setting- In a single house over the course of several nights

4. Inciting Incident: She hears knocking at her wall and finds out it inst her brother

5. Rising Action #1-  Tries to tell parents but they wont listen or are occupied

6. Rising Action #2- Younger brother innocently tells her about the knocking and trying to talk to the being

8. Climax: She cant stand the knocking anymore and tears down the secret door near her room in the basement. 

9. Resolution: Finds the monster and it points to a leaking gas line

A Game of Logics

Logline: A Jehovah's Witness and an atheist take shelter in a bunker during the nuclear holocaust.  

2. Main Character Description: (include name, physical and emotional description.

3. Setting- Where does the story start or take place. 

4. Inciting Incident: What is the first conflict the character is confronted with?

5. Rising Action #1- Describe the first complication or challenge the character confronts 

6. Rising Action #2- Describe the second complication or challenge the character confronts 

7. Rising Action #3- Describe the third complication or challenge the character confronts 

8. Climax: What is the final moment that must win or lose? 

9. Resolution: How does the story end?

Genre Research: Journey Movies

I decided to research journey movies for my genre research. I used Cast Away, Life of Pi, and Rescue Dawn as my role models for journey films. 

In terms of narrative and structure, usually such films are psychological or ideological journeys from start to finish. Sometimes they develop a partner, such as Wilson the ball or Steve Zann's character in Rescue Dawn or the tiger in Life of Pi. They encounter hardships through their journey, usually with the environment,  but overcome them , sometimes loosing this partner. And thus, many times these journey feel a lack of fulfillment by the end of them. In terms of chacrter acting and style, the main character usually has strength when everyone fails, such as the plane crash during Cast Away or Pi's escape from the ship or Christian Bale's escape from the crashed airplane. They eventually also stabilize their motivations. 

In terms of setting, they are usually set in a hostile environment such as a forest or jungle, but they make their way out. In terms of cinematography,  many wide angles are used to accentuate loneliness. Similarly the sound design is ambient music to also create lonesomeness.

A man goes on a journey with his friends to get rescue from the forest before the sun goes down.

Documentary Pre-Production

1.Purpose: (What is the message or intent of the piece?) To document the only sweatshop in San Francisco.

2.Contacts: (Who do I need to speak to in order to get the information for my piece?) Ross Alley -The Owners(Ask to film) -Workers (ask for permission to interview) (415) 781-3956

3.Interview Questions: (What do I want to focus on in the interview? At least 5 questions and avoid Yes/No questions.) (REMEMBER THAT WITHOUT STRONG CONTENT YOUR PIECE WILL FALL FLAT!!) {OWNERS} History -How long have you been in business? -History of Factory? -Are you the original owner/ in the family? -What challenges do you face?

4.Shot List- What images do I need to make the visual part of the story work? Interviews use mostly Close-ups, Waist shots, and B-roll. Background should also be considered. Usually at least 5 to 10 different shots are combined for a sophisticated piece. Establishing Shots, around 4. -Portsmouth Square -Tin How -Misc Streets -Shots from Car -alleys (also The Alley) -meat racks -interesting stores B-Roll -Macro Rack Focus of machines -Symmetrical shots of machinery -Workers working Interviews -Establishing Interview Shot -Longs pauses for name slides -Medium close up, can zoom later in post

5.General Flow: Describe the beginning, middle, and end of your segment. Include any narration you might include as well as graphics or interviews. (Try to imagine the piece playing in your head) We see establishing shots of Chinatown. Starts out grand, such as temples and city squares, then becomes more and more claustrophobic and into the gritty alleyways. We move in towards the small manufactory itself. After some macro shots, we are introduced to a laborer working alone. He is sweating, putting his craftsmanship and labor into the machine. We then roll into interviews and historical shots of old photos and b roll of the factory at work.

6. Scripts: This is the written portion of your piece that is included either for the broadcast script or for a voice over that pulls the different interviews together. Intro: Have you ever wondered what a small sweatshop looked like? Me too! Closing: 7. Production Schedule- Dates for interviews/broll Sunday -B roll -Interviews -Pick ups

EL CAMINO - Film Support Site

A support site for our latest film, EL CAMINO.
Henry Gyles is  photojournalist who's down on his luck. His boss, whom was once his friend, continually puts him on murder cases relating to the mob boss Douglass Mclafferdy. When Mclaffeddy is killed, he returns to town and his boss, Hammond, gives him the case to write up. It requires him to go and talk to Mclafferdy's 2 year wife, who has since reverted to Ms. Janice Wetherby. Seeing nothing more than another murder case, he refuses the job. As he is about to leave the office, Hammond that all secrets are be fatal.

Enter
https://sites.google.com/site/retrofuturisticnoir/

Story Elements to Step Outlines

Story Elements to Step Outlines:
Neo Noir Retro Futurism

Element	Description
Character	A reluctant hero saves a town from a murderer as wel as himself. Tries to get over death, finds love, etc.
Setting	Takes place in characteristically suburban city. Time period is retro futuristic, a 1940's view of the future.
Backstory	Protag has been pushed around alot, different agencies etc. He is an agent of special purpose, unbeknownst to the people in town. His partner has been killed, he here for revenge, he's here for the job.
Goal	The character has a deep goal, as well as his case. He wants to get revenge for his partners killing, but has to keep his job and take the criminal if for fair trial.
Time	Flashbacks occur, time is eschewed by similarity, as if to be a complete narrative.
Relationship	Develops a relationship with a woman, gets over his with his partner, and finds himself.
Obstacle	The urban environment, the murderer, his likes and loves.
Mood	Very slow paced and suspenseful, sad, and yet uplifting in the end defying noir tradition.
Unknown	How the case will turn up, who will it be. Will he ever leave this foreseen town?
Discovery	As it is a mystery suspense, there is alot of plot related discovery and in the tend character discovery. Refer to relationship.

Step Outline

1.Agent appears on train station.
-To introduce character and urban location, his loneliness.

2. Goes to police station. Goes to hotel.
-To establish story.

          2a. flashbacks to partner
          -establishes conflict

3. receiving object (Chekhov's gun) and leaves hotel

5. investigates murder inside deep house
Sees murderer and confrontation
5a. Talks to partner (flashback/ghost?)
-creates conflict (belly whale)

6. interrogates woman

         6a. woman leads him astray

7. gets scolded by dead partner trough flashback?/ghost/police chief
        7a. apostasis

8. confronts baddie

-climax

9. Final duel on train station

          9a. refuses to get on train
           -Leads to his death

10. Ends with baddie getting on train.

11. Protag is dying

         11a. flashing back to return home, finds some philosophical message
-gets over fear of death

10 Themes

Canon's "Project Imagination"

A Ron Howard Production

Using the story themes/elements we reviewed from the "Project Imagination", please identify the 9 elements used in the film. Include screen shots from the film as evidence. Describe how the film incorporates each element/ theme. 

Character

Canon defines character as a person, and that persons traits, virtues, etc: Anyone or anything. This picture expresses character because of its interesting composition and unique image of a moment of time. The crisp focus makes the viewer focused deeply on the kid. The boy himself, is interestingly wearing a suit and has a determined look in his step and forehead, this gives him a back story and thus a character, increasing the viewers interest and understanding. He also seems a bit sad from how his mouth and eyes look. The angle of the photo also adds character and story: the high angle suggests that it was taken by an adult, probably a parent. The grainy image adds to the grit of the cityscape, adding the realism and the viewers perception of reality, giving the character realistic depth. The grain/scratches and blue grade also add to the backstory: the use of photographic film actually creates both a sense of history and nostalgia for the viewer; The viewer can determine that this character existed in a long past time, and that we connect feeling from that time (the feeling of youth for example) with the photo. The visual vector also adds to the feeling of determination, as it hints that he might have walked down the far sidewalk from what artists call the "vanishing point"."

Relationship

Canon defines Relationship as A bond of knowing between anyone or anything. I had a special interest in this photo because I felt most people in the contest would submit simple relationships between people, which I found cliche. This photo depicts an old woman grasping a doll, and i chose it because of its nice composition. The constant of the soft skin of the doll and the wrinkled skin of the old woman accentuate the woman's age. Thus, we imply that she has had the doll since she was a child The ring on her finger suggests that we was quite well off, that she has been married, another example of relationship. The dolls face is dirtied, and we can assume that it has been used by the woman for a very long time.The tightness of the grasp by the woman also suggests that the woman really doesn't want the doll to fall, that sher really cares for it. We know that it is hers because if it were someone else, you would daintily grasp it to not damage it.

Setting 

Canon defines as a location or environment. This photograph showcases "Setting" because it not only encompasses location, but literal environment. This photo has a nice composition and it is one I can personally vouch for. In other words, its my picture, that i uploaded to the Canon Imagin8tion Project! Anyway, I like this setting because it sets us only in the rural landscape but also sets us in a time further back. The old rustic farm-looking house adds to the rural feel and the blurred out of focus background adds to the viewer's, well, focus on the house.

Goal

Canon defines goal as "something achievable" This photograph portrays a group of people making there way across a large span of water towards the Statue of Liberty. The flag that they fly is that of a revolution era flag. We can imply that these people are anti-large-government and that this might be a protest. It uses the rule of thirds and color to make us focus on the stark red flag and distant green Stature in the background, as well as the boat and its occupants. This photo maybe a modern representational of immigrants moving to the us during the interwar boom. The physical distance is very large between the people and the statue, however the long lens compresses that space to make it seem acheivable. Also, the contrast between the small row boat of a few people and the large sailboats exagerates how small the row boat is. Also, the wind powered sailboats contrast the human power and effort that it takes to operate a rowboat, thus symbolizing the hardship that change instills upon people. They are also moving away from the statue, which might represent government, and the industrial yards in the far background.

Back Story

The story behind a certain character or place, that makes us better understand something by contextual pre-history. In this photo we see a man who appears down on his luck: frowning, sitting in the bathtub waiting for something inevitable. The small duck in the tub is a police duck, which could be a visual metaphor for the man's woe's: he might be on the run from the law. He stares down at the duck, knowing what we can only assume. From his large belly, we can assume he might be someone who sits in a desk most of the day, maybe a banker; the glasses also add to the idea. From that we can hypothesize that he might be being chased for fraud or something similar. The fact that he is sitting in the bathtub with his suit on could mean that he knows that the suit doesn't matter anymore, or he has more important things to care about.

The Unknown

Canon defines the unknown as anything unexpected or a twist in the story.  In this photo, we see an man walking into the sunset, or in art terms "the vanishing point". His dress indicates that we is beyond caring for his fashion, and his slight slouch (as well as white hair) indicates that he is and elderly man. The man is walking towards a light, probably the sun, an unknown destination. We can assume that this is heaven or afterlife. The light rays provide a visual vector that, along with the selective focus, brings the viewers attention onto the man and the sun.

Mood

Canon defines mood as something that conveys tone atmosphere of emotion. In this image, we can see a girl in a decaying room. The tone of atmosphere in this image is that of decay and forget, forsaken. The crumpled wallpaper and the molded, rusted sink further imply this point.  The girl is in a goth like position; she is not in a pleasurable emotional state. She is slouched, another indicator that she is not in a positive state. The detail in this image is superb, its the entire collection of the little details that really make this image unique. The tall framing and wide lens ad to the depth of the image, and we feel more lonely as a viewer. The lighitng creates the dark contrasts that is associated with negative feeling.

Obstacle

Canon defines obstacle as "anyone or anything standing in the way of the character." On the surface, we can determine that the chair is used by someone to go down the stairs. The leather antiqueness of the chair and the many old photographs on the back wall suggests that it is an elderly person (or a hipster). Selective focus is used to focus the viewer, and thus of the chair's importance. The obstacle is not the chair itself, rather, it is the implied disability that is the cause for the need of the chair, and the stairs they must descend and ascend. The wide angle lens used creates depth, thus increasing the perceived distance between the viewer's standpoint and the distant door. This distance increases the implied difficulty of passage and thus the increasing need for the chair.

Time 

Canon defines time as something that represtent a time of day or story. This photo represents "time" because of its composition. The first metaphor for time is the butterfly. It has passed its time, not killed or smashed, but died when its time was up. The rule of thirds comes into play due to the small water droplet on its wing, which, along with the Instagram selective focus. helps us focus on what is important. The leaves are also a visual metaphor for the theme of time, as time is what kills and drops them. The the range of color in the photo is mainly earthy tones, and lighting is also that from the sun. This "natural" feel is akin to time itself, that all things in nature come to and end. The photo is taken from a higher angle to show that the butterfly is weak and is dead or dying.

70's BLaxtiploitation and 80'S Buddy-Cop Movie (w/cliches)

70's BLaxtiploitation and 80'S Buddy-Cop Movie (w/cliches)
Brought to you in High-Fidelity Mono-Sound™!

White Thunder is a Detriot city cop that don't take no for an answer. With his caucasian jive accent, afro, Ford Mustang, and black belt in Gung-Fu, he patrols the streets taking out "punk-ass bitches."


Unfortunately, during a routine drug bust, 3 civilians were injured due to Thunders ego.

Black police chief Dreyfhus calls Thunder into his office. He tells Thunder that he's a loose canon. He needs someone to keep him in line. Dreyfhus tells Thunder that his new partner will be Panama Jack/Joe, an equally ego-centric detective. Dreyfus  explains that Panama is a straight cop that grew up in the ghetto and vowed to take crime off the streets. Thunder resists, however, and says that he only "flies solo". Chief Dreyfus says the partner is not optional.  Either that, or Thunder loses his badge. He calls Panama into the room. As he walks in, he gets one look at Thunder and goes "heyll nah!" He explains to Thunder that he is as resistant as Thunder and he doesn't want to be there either.

White Thunder and Panama get debriefed on their mission: they must locate Mob boss Hai Wong and take him into custody.  Dreyfus suggests they check out a recent murder that has just been called in. They investigate and find evidence.

Using this evidence, they track one of Hai Wongs Henchmen back to a place. A chase/ fight ensues, and they make their way onto the road.  

After a brief car chase,  They chase him into a gas station, where he throws ninja stars at them, they duck and he refills his gas. Thunder and Panama get to him, and he is forced to abandon his car. They confront him at gunpoint, revealing the location of Hai Wong. Thunder flashbacks to the days in "'Nam".

They get to the hideout, but are caught. At fistpoint they are confronted by Wong and his henchmen. Suddenly, two of the henchmen punch out the other henchmen, and Wong runs. It turns out that the 2 "henchmen" were actually agents undercover. They had to blow their cover to save Thunder and Panama, They are angry because they had been working on the case for 8 months infiltrating Hai Wong's ranks.

Chief Dreyfus calls them into his office. He scolds them and calls them "irresponsible" and takes their badges and guns. Panama says that the situation is "hella wack." Disgruntled but hopeful, they separate for a while, but come together to continue working on the case.

They track Hai Wong to his place and try to arrest him, at which point Thunder's love interest, Destiny Jones, comes forth as a hostage of Wong's and the final confrontation ends with Wong dying. The two have become friends, and they finally accept each other. Thunder gets the girl, and Panama goes on to become the police chief with the lowest crime rate in a century.