A (work-in-progress) list containing notes and partial reviews written for my Introduction to Film class taken throughout the first semester of my freshman year. Each session is copied based on the exact timeframe of when they were recorded, which may not reflect any later judgements made towards the films themselves or how I currently view them as. Spoilers and other content are left unmarked, so make sure to read at your own risk.
Please note this page is not intended to be used as a cited resource.
August 30, 2023 - Singin' in the Rain (Kelly/Donen, 1952)
Main Topic(s): Motifs and PatternsAt the beginning, a movie is in production at what looks to be a lesser-known studio, yet many crew members can be seen crowding it. The difference between large-scale and independent studios is that it depends on how many people are employed, or if they have/had any involvement in other projects beforehand, but it is never hinted that they did, aside from showing multiple films being recorded at once.
The directors and sound booth coordinators play a major role in the process, as an example of how sound in films is synchronized. They also show how it can be difficult to set up where the microphone should be so the workers can hear what the actors are saying. It shows they were trying to adapt to incoming industry changes at a point where "talkie" films were becoming its own genre.
An example of a motif can be spotted where whenever certain colors (bright yellow, orange, etc.) light up a scene, the viewer can infer they are meant to show a feeling of happiness. It would make sense for the audio to also align with this, being that this is a musical. The fan reactions depicted in the opening were different each time a new person appeared, with the strongest ones being shown when the couple arrives on-screen, also making this a motif.
A major referencial point in the film is the fact that the title, aside from the opening, is not mentioned fully until near the end of its runtime. This also shows signs of being implicit, but most of that energy seemed like it had already been built up as it went on regardless.
Other examples of different meanings:
Explicit meaning - Don Lockwood and Lina Lamont are two actors who are often cast as a couple. Both are faced with a problem when they are put in a musical production filled with audio issues.
Implict meaning - Lina cannot sing as well as Don, making her unfit to play her role. Things are resolved once a new dubbing actress is hired.
Symptomatic meaning - The film overall shows the actors and production crew trying to work through difficulties related to the soundtrack being applied, which was likely common with studios who were adapting to new changes set towards technology present in the late 1920s, the year the setting takes place.
September 11, 2023 - Wendy and Lucy (Reichardt, 2008)
Main Topic(s): Camera Framing, Motifs and PatternsWithout the use of expensive equipment, I feel like the way Reichardt utilizes what she and her crew had really emphasized the way the story was set up, as it gives it more of a natural tone based on a lasting experience that could happen to anyone. It connects to the idea that no matter how small the budget might be, you can still pull off an unlimited amount of creativity.
The usage of camera movement can only be present when an actor, mostly Williams, is shown entering on-screen from one place to another, because it helps the viewer understand their body language without always needing to rely on speech. Many long-based shots occur when they are seen doing a general action, while closeups are kept exclusive to scenes with more traumatic elements.
September 18, 2023 - The 400 Blows / Les quatre cents coups (Truffaut, 1959)
Main Topic(s): Lighting and Stage PlacementLighting plays a huge role in giving a sense of depth based on the mood of each scene, such as when only specific parts of the hallway in Antoine's apartment are lampshaded to shift their focus towards the actors.
Mise-en-scène - Rene's apartment sets up this technique well by the way each prop is placed in his room. Him explaining each object in order alongside the rest of the room being shot at an upright angle helps to establish the viewer's attention. The actors can also be seen walking throughout the street as the camera trucks along with them, either used for close-ups or long shots.
The ending specifically stood out to me for coming off as a feeling of relief after all the mischief that Antoine got himself into finally came back at him. It was hinted earlier on that he had never seen the ocean before, so rather than wanting to get caught, he decides it would be the right call to find peace for once and search for it on his own terms. Regardless of the interpretation, this leads us to question if the risk was really worth it or not.
September 25, 2023 - Far From Heaven (Haynes, 2002)
Main Topic(s): Lighting, Camera Framing, Stage Placement, Motifs and PatternsAside from taking place in the 1950s like the setting suggests, some forms of cinematography and mise-en-scène are used so that the viewer can understand the context of a scene a little better or read through the actors' feelings just by how both sides are set up. Long shots are once again used to establish the placement of objects, becoming more apparent when it helps draw attention to the actors.
Another interesting thing to note was in a shot when Cathy was talking on the phone near the end, the room was completely dark and she was the only figure being lampshaded under the form of a silhouette. Scenes like this are crucial to help make those connections between the tone and what is being said.
Primary colors are used to represent a level of moods in order from where the story picks up as it goes on. Red and greenish colors help make up a natural tone, while bluish gradients remain restricted to feelings of envy or sadness.
October 2, 2023 - Strangers on a Train (Hitchcock, 1951)
Main Topic(s): Camera Framing, Editing and Pacing, MotifsThe cross-cutting technique was used alot as the pacing in the film progresses, such as when Guy is playing his tennis match while Bruno desperately tries to get his cigarette lighter out of the stormdrain, and also when the carousel fight happens while the operator has to crawl underneath to stop the machine. Both scenes had this thing where it kept cutting back and forth, creating a suspenceful feeling connected to the intensity drawn behind them, along with feeling fast enough where the viewer might feel another direct connection.
Aside from the "criss-cross" opening scenes, another motif I noticed was that after Bruno strangled the girl to death at the fair, it led to him having hallicinations regarding his actions. Whenever he would run into Guy's daughter, who looked identical to her, he would get reminded by the incident and almost feel a strong sense of guilt, even though he plotted the murder with Guy in the first place. This comes to the point where his relationship does not just rely on it, but how he closed in on everything a little too quickly as both sides eventually became involved.
Examples of filmmaking rule usage:
Axis of action - The camera stays into place while the actors are moving, defining major relationships in a 180 degree direction
Eyeline match - When an actor looks off at a certain direction while the camera follows said setting
Matches on action - A continous shot that cuts from two different angles or settings in the same scene, as shown with both scenes above
October 10, 2023 - Scott Pilgrim vs. the World (Wright, 2010)
COMING SOON