Film Studies Blog

How Far Does "Winters Bone" Rely Upon An Understanding Of Its Social Context Winters Bone is a film rooted with verisimilitude, this is immediately shown with a mid-long shot of a couple of children, it is obvious that these children are not actors but instead real school students. The auteur, Bronik, uses this to create her natural, organic cinematic world and this documentation style creates this realistic atmosphere that ultimately forces the spectator to immerse themselves in the world. This is reinforced by the mid-shots of the parents-to-be being taught how to be parents, we notice here that the boyfriend and girlfriend are not both holding the baby, but the woman is, this introduces the patriarchal society that is established in the Ozark's and a present theme throughout. Finally, we get a mid-shot and point of view shot of the soldiers marching. with Ree peaking at them through the doors window. This frame within a frame symbolises Ree's desp...

Cinematic Ideas for Blood Noir Long shots - represents David Doyle's loneliness, and foreshadow his decent in death. One point perspective shots - taken from Kubrick, meant to symbolise narrow POV of Doyle, and also reinforce this foreshadowing.  Low angles - to create Doyle as a menacing figure and create tension between the two characters, used to juxtapose the two characters through the two different angles, and create the conflict not only through exposition, but different camera angles. High angles - to make Bates look "up" to Doyle, but this changes to a low angle at the end to show power change Match-on-action - to smoothly transition from one location to the other Close ups - these are used in multiple places throughout the film, they are used to create tension between characters, to emphasise certain actions, such as their hands shaking, to make the audience wonder why this is important, but they find out later on. Black And White -  We wanted Bl...

Synopsis for Blood Noir A private investigator by the name David Doyle has been assigned a case, a murder specifically, about a man by the name Rod Riguez, he has an informant by the name Bogart Bates who may be able to assist him, this is revealed through narration, and is planning to meet him at a park when the film begins.  Bates leads Doyle, once they have met, to an "undisclosed location" we see that he is leading him to the train station, still unaware, as the audience are, as to what is happening. Upon entering a lift there Bates assaults Doyle, knocking him unconscious and dragging him away, despite Doyle's brief re-animation which proves pointless.  We next see Doyle tied up in what seems like a photography studio, owned by Bates. We see Doyle being mouth-gagged and with Bates talking down to Doyle, the films ends on this cliff-hanger and we do not know what becomes of David Doyle.

Storyboard for Blood Noir

Moodboard for Blood Noir  

An Evaluation Of Blood Noir Blood Noir is a film noir about a detective, known as David Doyle, trying to uncover a murder, an informant, Bogart Bates, has some information that may assist Doyle, but it is discovered that Bates is actually the murderer all along.  We chose the film noir genre as it was a good opportunity to do a parody of it, but to also represent this idea of good and evil, which is always present throughout the film. In the film, there are a lot of long shots to show the loneliness of  Doyle and is entirely filmed on a steady-cam, as this creates a professional appearance and reinforces this idea of this being a 1960s detective thriller. The film did have hiccups though, we were late due to reshooting and this cost us more time editing and as a result most written work had to be re-done, however, I was proud of the film at the end, so even though the process of its creation was difficult, the pay-off was deserved.