• 18/05/2015 15:38:38
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  • Film Analysis
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  • Darren Foley

Notes:

Shame analysis Part 2

Steve McQueen’s Shame is a poetic and detailed character study that is full of aesthetic pleasure but also a meaningful use of form.

Iv already created a short analysis on the opening shot of this film describing the meaning and visual imformation.

This analysis will focus on a scene that, on surface level doesn’t stand out as the most memorable of the film, but I feel is packed with inner conflict and acts as a major turning point in Brandons story.

To put this scene in context and to fully appreciate the weight this scene holds, lets first look at the information that has been shared with the audience so far.

The film does a great job of setting up the pattern of a cycle in Brandons life.

As a sex addict, he is stuck in the cycle of lonleiness, lust, lone observation and sexual gratification. We see this cycle repeated many times through the first 25 minutes of the film, with different women and circumstances but always the same habitual patterns. The opening of the film even starts with Brandon circling his aparatment to physically ill...
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  • 04/05/2015 07:44:28
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  • Film Analysis
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  • Darren Foley

NOTES:

Back to the Fututre – The Econemy of Stortelling

 

Welcome to MUST SEE FILMS, My names Darren and this channel is helping you see films differently.

 

I recently revisited a childhood favourite of mine, ‘Back to the Future’ and it still holds up as a fun filled adventure, a sci fi masterpiece and at the same time an initimate family drama.

 

One of the most overloooked achievements of this film is the films opening shot. It manages to convey an incredible amount of information to the audience in a very short time, not to mention the technical execution of the shot its self.

 

As the film opens we hear the ticking of clocks, tying into the the theme of the overall narrative.

 

The most impressive...
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  • 30/04/2015 18:13:13
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  • Film Analysis
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  • Darren Foley

Notes:

Tarantino Character creation.

(Informal scenes that reveal character)

A piece of writing advice I receieved recently has led me back to the work of Tarantino. Known for his violence and redeption stories, but also his colourful and unforgettable characters.

The advice surrounded the idea of creating great charcaters and knowing them well enough to write fully realised characters.

The advice was ‘Know who your character are when their alone, and know who they are trying to presents themsleves to be around others.’

Now at first glance this advice seems like ‘Character’ and ‘Characteristaion’ but digging into it a little deeper, the question is really getting at the kind of thinking your character has about themselves, there veiwpoint on the world and how to present themselves within it.

Really were talking about tw...
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  • 30/04/2015 18:12:03
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  • Film Analysis
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  • Darren Foley

http://youtu.be/kpGeGyDYz8M  

Drive – When to present information to an audience.

Hello, my names Darren and welcome to MUST SEE FILMS a channel that’s ‘helping you see films differently’

In this video I’d like to look at the opening chase in ‘Drive’ and explore what makes this such a cinematic, suspensful sequence work.

Lets look at how information is presented to the audience and why the opening might be the best part of the film.

  1. The first layer of information is the chase, posing the question if the driver will escape.
  2. Running parrallel to that is the introduction of the radio basketball game. Not only does it show the calm approach of our character but the audio we hear is reflective of each of the moments of buld up, similar to the way that song lyrics can serve as inner monolgue for characters and there emtional states.

Prisoners and pulp fiction.

  1. The most essential part of this scenes construction is the slow build up of each seprate layer and their esscaletion leads to their intersection, ending the basketball game and unknowingly acting as a narrative device to help the driver escape.

There are several reasons that this set...
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  • 21/11/2014 07:58:41
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  • Film Analysis
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  • Darren Foley

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