[AL FILM PRACTICAL 1] Cinematic Ideas

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 Blood Noir to be black and white to be a very stylistic homage to the film noirs of the 60s, but also the combination of those and thriller, with Hitchcock's Psycho. We also did this to represent the characters inner emotions and morals, with the detectives being black and white, and therefore good and bad, much like Rorschach from The Watch Men but how this eventually leads to his downfall. We then wanted to juxtapose this with Bates psychotic mental state and so wanted bright, popping colour and very rapid and eccentric actions conveyed through these shots and the mise-en-scene within it.  

Cinematic Ideas for THE DEAD MAN

  • Close ups -  to completely juxtapose with the original film, above.
  • Point Of View - used to make the film have a "home-made" effect, using hand-held camera techniques and shots allows us to put the viewer in the shoes of the murderer, and to create tension and uneasiness throughout
  • Dutch Angles - adds to this uneasiness and also is used to create tension as it creates a nauseous effect, also used at the very end to show the power change of Doyle and Bates
  • Tilts - Reinforces these ideas
  • Many jump cuts - to create an almost paranormal effect, juxtaposed with the very flowing and natural first film.
  • Hyper-realism - We wanted Blood Noir to be black and white to be a very stylistic homage to the film noirs of the 60s, but also the combination of those and thriller, with Hitchcock's Psycho. We also did this to represent the characters inner emotions and morals, with the detectives being black and white, and therefore good and bad, much like Rorschach from The Watch Men but how this eventually leads to his downfall. We then wanted to juxtapose this with Bates psychotic mental state and so wanted bright, popping colour and very rapid and eccentric actions conveyed through these shots and the mise-en-scene within it.  

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