Clip analysis-bullying

Micro analysis essay of ‘the girls bully Gabriella’- Waterloo road clip

In the beginning of the clip there is a medium long shot of the character ‘Gabriella’ in an establishing shot of the girl’s toilets in which we can tell it’s the school toilets as the character is wearing school uniform. To accompany this shot is a non-diegetic sound of eerie suspenseful music, which foreshadows and acknowledges the audience that something bad is about to occur. There is a match on action transition as the character walks towards the mirror, which is followed by a close up of the character fixing her uniform in which we hear the diegetic sound of the door to the toilets open. Resulting in a jump shot and medium close up of the character turning around, which cuts to an eye line match of the bullies that enter the toilets through a medium long shot. This shows that Gabriella is clearly scared. The walls are pink in the toilets, which connotates relaxation. This contradicts Gabriella’s overall feelings as she is feeling scared because of the bullies. This also, connotates femininity, which is ironic as Gabriella had the intentions of coming out of the girl’s toilets looking more presentable. However, looking unkempt as the bullies has done this to her. Also, the fact that the colour pink connotates femininity emphasises that the bullies are the opposite as they are quite masculine in how they attack Gabriella. 

The scene is followed by the diegetic sound of dialogue which is a jump cut of close up shots of the characters to emphasise their facial expression. Also, the medium long shot of the bullies emphasises that she is outnumbered. There is an over the shoulder close up between the characters to show which characters are talking to who. Then there is a high angle of the bullies and Gabriella, which is thought to be like CCTV. There are close ups and over the shoulder shots to emphasise that Gabriella is trying to leave to avoid conflict, which also builds up tension to foreshadow.  Then there is a over the shoulder extreme close up in which there is a match on action as the bullies drag Gabriella to one of the cubicles. There is a eye line match as one of the characters ‘Kacey’ watches Gabriella being dragged into one of the cubicles with a look of shock not knowing that things were going to escalate this far, which there is a diegetic sound of the toilet door slamming, Gabriella screaming and the toilet flushing several times. Then there is a high angle shot of Kacey as she looks at the other girls for help, which the high angle belittles Kacey as she has let this happen. Kacey leaves in which the door of the cubicle that Gabriella and the bullies are in are zoomed in on to emphasise that Gabriella is helpless. This creates dramatic effect.

We see Kacey pacing about in the corridor to emphasise her guilt and the fact that she doesn’t know what to do. To accompany we hear the diegetic sound of eerie music to emphasise that something is about to happen. There is a long shot of a teacher entering the corridor in which sees the character Kacey in which there is diegetic sound of dialogue between the two characters. The diegetic sound of screaming grows louder, which acknowledges the audience that the teacher can hear this. The teacher enters the girls toilets followed by Kacey in which there is an eye line match between all of the characters present in that scene. This captures the facial expressions of the bullies as they are shocked that the teacher is there. Then there is a close up shot of Gabriella to emphasise the after effect of what the bullies have done to her. We hear the diegetic sound of dialogue between the teacher and the bullies as she orders them to get out of the toilets. The diegetic sound of dialogue carries on but between the teacher and Gabriella in which the teacher feels that Gabriella must of started the conflict as the teacher has not asked whether Gabriella is okay or not.  

Amy brings drugs to school clip analysis

Institution and audience

Universal studios
History
Universal Studios was founded by Carl Laemmle, Mark Dintenfass, Charles O. Baumann, Adam Kessel, Pat Powers, William Swanson, David Horsley, Robert H. Cochrane, and Jules Brulatour. One story has Laemmle watching a box office for hours, counting patrons and calculating the day's takings. Within weeks of his Chicago trip, Laemmle gave up dry goods to buy the first several nickelodeons. For Laemmle and other such entrepreneurs, the creation in 1908 of the Edison-backed Motion Picture Trust meant that exhibitors were expected to pay fees for Trust-produced films they showed. Based on the Latham Loop used in cameras and projectors, along with other patents, the Trust collected fees on all aspects of movie production and exhibition, and attempted to enforce a monopoly on distribution.
Robert H. Cochrane (1879-1973) formed the Cochrane Advertising Agency in Chicago in 1904. He joined the Laemmle Film Service as advistising manager in 1906, and for the next 30 years devoted himself to promoting Carl Laemmle as the 'star' of their various motion picture enterprises. In 1912 Cochrane was elected vice-president of the Universal Film manufacturing Company, and served as president of Universal in 1936-37 after Laemmle sold his interests. This account of Cochrane's early activities first appeared in Moving Picture World on July 20, 1918, pages 322-323. Project Muse - The Beginning of motion picture press agenting - Film History
Soon, Laemmle and other disgruntled nickelodeon owners decided to avoid paying Edison by producing their own pictures. In June 1909, Laemmle started the Yankee Film Company with partners Abe Stern and Julius Stern. That company quickly evolved into the Independent Moving Pictures Company (IMP), with studios in Fort Lee, New Jersey, where many early films in America's first motion picture industry were produced in the early 20th century.^[2][3][4][5] Laemmle broke with Edison's custom of refusing to give billing and screen credits to performers. By naming the movie stars, he attracted many of the leading players of the time, contributing to the creation of the star system. In 1910, he promoted Florence Lawrence, formerly known as "The Biograph Girl," and actor King Baggot, in what may be the first instance of a studio using stars in its marketing.

Mark Dintenfass was co-founder of Universal Studios.

The Universal Film Manufacturing Company was founded on April 30, 1912, in New York. Laemmle, who emerged as president in July 1912, was the primary figure in the partnership with Dintenfass, Baumann, Kessel, Powers, Swanson, Horsley, and Brulatour. Eventually all would be bought out by Laemmle. The new Universal studio was a vertically integrated company, with movie production, distribution and exhibition venues all linked in the same corporate entity, the central element of the Studio system era.
Universal had a "clean picture" policy. However, by April 1927, Carl Laemmle considered this to be a mistake as "unclean pictures" from other studios were generating more profit while Universal was losing money.

















By using an image of the universe is unique because the company is expressing that the films they produce is huge around the globe but also saying that their films are out of this world.

Marv Films
Marv Films do not have much of a history as they were only founded in 2004, which is owned by Matthew Vaughn.





This was Marv's first logos. Marv is unique because they have adapted their logo to the films they make.

Film language-technical features

Camera shots, angles, movement and composition

The 180° rule is a cinematography guideline that states that two characters in a scene should maintain the same left/right relationship to one another . When the camera passes over the invisible axis connecting the two subjects, it is called crossing the line and the shot becomes what is called a reverse angle.













Editing (post production)
Cutting: 
       

          Shot/reverse shot- is a film technique where one character is shown looking at another character (usually off-screen), then the other character is shown looking back at the first character.

                 
  Jump cut- editing in which two sequential shots of the same subject are taken from camera positions that vary only slightly. This type of edit gives the effect of jumping forwards in time.                  





          
    Parallel editing- is the technique of alternating two or more scenes that often happen simultaneously but in different locations. If the scenes are simultaneous, they occasionally culminate in a single place, where the relevant parties confront each other.    





                          
                                                                                                                                                                                                                                   
 Cutaway-is the interruption of a continuously filmed action by inserting a view of something else. It is usually, although not always, followed by a cut back to the first shot, when the cutaway avoids a jump cut.     









               


 Insert- is a shot of part of a scene as filmed from a different angle and/or focal length from the master shot. Inserts cover action already covered in the master shot, but emphasize a different aspect of that action due to the different framing.








         


Eyeline match- is a film editing techniquecommonly associated with continuity editing.Eyeline refers to the path of the lookingeye and is similar to the shot reverse.

















         



 Graphic match- is a cut in film editing between either two different objects, two different spaces, or two different compositions in which objects in the two shots graphically match, often helping to establish a strong continuity of action and linking the two.

Cross cutting- is an editing technique most often used in films to establish action occurring at the same time in two different locations. In a cross-cut, the camera will cut away from one action to another action, which can suggest the simultaneity of these two actions but this is not always the case.










 Action match- refers to film editing and video editing techniques where the editor cuts from one shot to another view that matches the first shot's action.              





Other transitions and pacing:




   Dissolve- is a gradual transition from one image to another. 



                                                

                                                                                                             




Fade-in- an image is made to appear gradually or the volume of sound is gradually increased from zero. Usually in the beginning of a clip.
 







Fade-out- is made to disappear gradually or the sound volume is gradually decreased to zero.



 Wipe- an effect causing the transition from one scene to the next in which the image of the first scene appears to be wiped off the screen by that of the second.



Superimposition- is the placement of an image or video on top of an already-existing image or video, usually to add to the overall image effect, but also sometimes to conceal something (such as when a different face is superimposed over the original face in a photograph).



a long take or oner is an uninterrupted shot in a film which lasts much longer than the conventional editing pace either of the film itself or of films in general, usually lasting several minutes. Long takes are often accomplished through the use of a dolly shot or Steadicam shot.






Fast motion- action that appears to move faster than normal on the screen, accomplished by filming the action at less than normal speed in the camera and then projecting it at normal speed.



Ellipsis- the shortening of the plot duration of a film achieved by deliberately omitting intervals or sections of the narrative story or action; an ellipsis is marked by an editing transition (a fade,dissolve, wipe, jump cut, or change of scene) to omit a period or gap of time from the film’s narrative.

Expansion of time- created through overlapping editing. It consumes more time on screen than in the story. It contains cuts that repeats a previous action.

Sound

Diegetic and non-diegetic- Diegetic sound is where a source is visible on the screen or whose source is implied to be present by the action of the film: voices of characters. sounds made by objects in the story. Whereas non diegetic sound is Sound whose source is neither visible on the screen nor has been implied to be present in the action.

Synchronous and asynchronous-Synchronous includes all noises whose origins can be seen on-screen. Whereas asynchronous is any noise whose origin you can't see.


















Sound effects- a sound other than speech or music made artificially for use in a play, film, or other broadcast production.

A sound effect or combination of sound effects that are associated with a particular character, setting, situation or idea through the film.

Sound bridge-When the scene begins with the carry-over sound from the previous scene before the new sound begins.

Dialogue- a conversation between two or more people as a feature of a book, play, or film.

Voiceover-

a piece of narration in a film or broadcast, not accompanied by an image of the speaker.

Modes of address can be defined as the ways in which relations between addresser and addressee are constructed in a text

 








direct address’ refers to moments when movie characters appear to acknowledge our presence as spectators; they seem to look ‘at’ or talk ‘to’ us.





The process during the post-production stage of a film or a television program in which the collection of recorded sounds are combined into one or more channels along with adjusting the many attributes of the sounds such as the source signals’ level.

Sound perspective refers to the apparent distance of a sound. Clues to the distance of the source include the volume of the sound and the balance with other sounds, the frequency range (high frequencies may be lost at a distance), and the amount of echo and reverberation.

Soundtrack- a recording of the musical accompaniment of a film.


A film score (also sometimes called background score, background music, film music or incidental music) is original music written specifically to accompany a film.

Incidental music- music used in a film or play as a background to create or enhance a particular atmosphere.

Themes- Music that always accompanies a particular character or how it suits the mood.

Stings- Short bursts of music.

Ambient sound- can be recorded on location or added to the soundtrack.

Mise-en-scene



Location- is a place where some or all of a film or television series is produced, in addition to or instead of using sets constructed on a movie studio backlot or soundstage. In filmmaking, a location is any place where a film crew will be filming actors and recording their dialogue.

Studio-

a film or television production company

 

 

 

 

 

 

 

 

 

 

 

Set design-is the creation of theatrical, as well as film or television scenery.

 

 Costume and makeup- Costume is an essential feature of any dramatic production and with make- up constitutes the total visual appearance of the actor.

 

Lighting and colour design

Individuals/groups- using lighting and colour design help to establish a character's personality. it highlights their emotions in different scenarios. Using bright colours and lighting signifies a happy positive person whereas a dark lighting and colour signifies a character being unhappy/negative.

 

Places/events- lighting and colour helps to set the scene, especially in events and places as this forms the scene. Choosing a beautiful modern castle on a sunny day would the project the mood as happy whereas a castle nearer to being a ruin found on a rainy day could project the mood as glum and sad.

 

Areas of representation- gender, age, ethnicity, sexuality, social class, and status (e.g. occupation), physical ability/disability and regional identity.