Assignment #4 reflective writing:

Reflection 1:

In this week’s class we were able to view multiple scenes from films that had specific characteristics that captured our attention. Robin sent the class a list of scenes that in each respective clip had a one single eye-catching moment. The aim of this task was for the class to mention what we see stands out in each clip, how and why? Expanding and investigating from this, we see in a scene from the film ‘End of August at the Hotel Ozone’, the class had pointed out that the main eye-catching part of the scene was how one of the actors did a great job in using a pickaxe/hammer to break the lid of a barrel.

Another film excerpt that the class viewed was from the 2012 film ‘Skyfall’. Here in this scene we see ‘James Bond’ dressed in his suit in a train station being asked to get on the train. It is then where he runs, trying to catch up to the train and on the very last second he manages to jump and latches onto the rear end of the train, shocking the driver. We were later shown a clip of actor Daniel Craig running up from the train station stairs and onto the road, with police officers and firemen clogging up the area around him. Though, the main reason why this clip was shown to us was from the way Craig was seen running in a suit. The class stated the level of difficulty there is to running with a tight suit on and looking good at the same time. This specific scene is just one of multiple other scenes we as a class viewed and spoke upon. Therefore, upon this class meeting, we looked and focused on the idea of what specifically makes a scene look good, weather thats through the way an actor walks up a set of stairs so effortlessly or how an actor jumps off a pool and sits at the perfect angle in front of the camera. This class meeting was definitely fun and it involved technical aspects which then leads us to our assignment 4.

I sort of want to dive into the stereotypical and main aspects that the documentary style has, and what different techniques and camera coverage that is used in documentary that makes it what it’s known for. obviously, we have the sort of B roll shots that are pre planned and are shot, as well as the narrative being played on the background. I kind of want to talk about the different camera angles and techniques that are seen in specifically documentaries, that way also allowing me to make my own sort of ‘mini documentary’ that incorporates the stylistic values of the documentary form. This can be a cool sort of research topic for me as I personally enjoy watching documentaries, whether thats historic documentaries, sport documentaries, nonetheless I want to capture the pre planning shots and values that are used in the style.

 

Reflection 2:

Reflecting upon one of the weekly classes, we spoke about the different ways camera’s are used to film a specific scene. As we all know, in the scene in cinema and in films we see specific shots that not only amazes the audience, but makes a big difference within the storyline of the film. Furthermore, different shots that we see in film can also be creative and shows a number of skill and craft.

One clip that really stood out to me and that captured my attention was from Alfred Hitchcock’s 1946 film Notorious. There was one specific shot in this film that was presented by Robin and it was the part where we see Alicia holding the key. This shot was so beautifully crafted and the coverage of it was immaculate, moreover, the shot starts off on top of a stairwell overlooking a large and bright chandelier. As the camera goes down, in a sort of ‘birds eye view’ we see people scattered around the foyer speaking to one another. The camera slowly tilts to the bottom right and once in a stable position it temporarily stops and suddenly goes down. This shot was done with the use of a crane as it would almost be impossible to shoot this shot with some different method.

Furthermore, the camera slowly goes down and in one full take that approximately took thirty six seconds we see an immense amount of creativity with just one shot. The shot ends as the crane continues to go down, following Alicia all the way until we can see her hand where she is seen holding on to a key. Therefore, with the context of the entire story and plot, the audience are already aware of this particular key as it symbolises a sense of importance, this type of shot can be used a way to make sure something is dug deep into the minds of the audience, as the key is an important symbol for the remainder of the film.

 

Reflection 3:

Learning and understanding the different shot types in this class, we also try to understand the concept of how these shots are made with the different types of technical camera uses. Examples of these would include the tracking shot, the crane shot, hand held shots and use of the steadicam and dolly. These are all multiple camera devices that are used to shoot scenes and shots in film. By choosing the correct and perfect device for a shot, it can definitely enhance the visual aesthetics of the storyline of a film, as well as define the sense of importance of a shot. As seen in one of our classes prior, we spoke about the importance of a specific shot seen in Hitchcock’s 1946 film ‘Notorious’, that involved a crane shot that went from the top of a stairwell and down all the way to the hand of a woman holding a key. This specific shot was well executed, not only in a skilful way, but as a way to signify the importance of the key that will be seen furthermore throughout the film.

In one of the classes this week, we were shown different clips that allowed us to determine the different technical camera techniques that were used. We had to differ between which shots were either handheld, used with steadicam, dolly etc.

Building onto this, we know that hand held shots can be somewhat easily identifiable in a shot as we see a sort of ‘swaying’ of the camera from left to right as the camera moves from one spot to another. Hand held shots are great in using as a way to bring a sense of ‘rawness’ to a shot, and make the shot more casual. In some instances, the hand held shot can determine something going wrong as such as scenes we see in war movies.

Moreover, the steadicam uses a stabilising mount to create a much more smoother shot. It lowers the shakiness of the camera operator’s movement and makes the shot look smooth and controlled, capturing the action without any wobbles. Using this shot is great when you don’t want the rawness feeling of the hand held technique, the effect of having a much smoother shot allows a much more professional and cleaner look.

 

Reflection 4:

What I personally think a major factor of making a good film is by making sure that the director has a direct and strong relationship with their actors. It would almost be hard to make a film and more so, feel comfortable if the director of a film is less ‘open’. Allowing flexibility, getting to know and spending time with actors can maximise actors’ potential and make them perform somewhere at their peak during production. Furthermore, after reading “A Man of Excess, Sight and Sound, I want to state how important the job Jean Renoir has achieved, especially with the notion of ensuring he has a great relationship with his actors. As stated in the reading ‘ I think that comes from the fact that he worked very intimately with his cast. If a director is of a generous disposition, his emotional commitment and admiration for his actors is transferred to the characters they play’ (Pp.27). Another great aspect of Renoir’s work was the fact that he approached film as an actor. What I personally like to do as an aspiring film maker is put myself into the actors’ shoes so that I can depict what I really want to film.

Moreover, whenever I’m out filming and shooting scenes, I tend to have the approach of making my camera movement aesthetic and more pleasing to the eye. As said in the reading, Renoir was known for seeing what moving images can do rather than having performance as the main attraction. Adding to this, we see in the 1.22 minute mark of Renoir’s film ‘The Rules of the game’ extract, a very nice and creative way of creating space. At the Lebourget Airfield, the famous aviator Andre Jurieu has just broke the record of crossing the Atlantic, and in the 1.22 minute mark we see a close up shot of the pilot, and suddenly the camera tracks back creating space and allowing the camera to pick up more of the setting and other actors. This specific camera movement was deemed modern at the time, and a reflection of Renoir’s artistic work.

 

Reflection 5:

The plan sequence was my original plan for my assignment four research topic. Within the first couple classes of the semester, as a class we focused on the importance of this shot and how the movement of the camera can be used as the focal and main aspect of the ‘long shot’. To some people, the long shot can sound pretty basic, but there can be multiple ways to make the shot interesting and pleasing to the eye. The definition from Ira Kongsberg’s ‘The Complete Film Dictionary’ states that the long take also known as the plan sequence is an uninterrupted sequence in which the scenes meaning comes from the movement and action within the frame rather than the movement of shot to shot.

One example of this shot comes from Peter Watkins’ film ‘The War Game’ (1966), which is

a powerful film about the possible consequences of nuclear war.  The films form consisted of a kind of speculative documentary. One of the scenes of the film, we see a long and compelling rear view of a despatch rider. This duration of this long take is quite lengthy at 1 minute and 30 seconds. The camera is positioned behind the rider, with the drivers head dominating the left side of the frame, also leaving the right side open. Thus allowing the viewer to not only see the drivers head, but also see what he is seeing ahead of him. The camera positioning here is vital, yet if the drivers head was placed right in the middle, it would make the shot less appealing, also making it much more difficult for the audience to see anything.

For about 23 seconds, the despatch rider is driving his motorcycle, until he gets out and walks into a Government / Military building. The camera looks hand held as there are instances where the camera rocks from left to right. Furthermore, the camera follows the biker from him getting off his bike and to the top of the stairs. The camera further follows the rider as he is approached by an officer who takes upon the note. Moving on, the camera pans to the right and we finally see a side view shot of the rider and the officer. To end the long take, the camera shifts away from the rider and instead follows the officer who takes the note to a table of officials. Therefore, it is the significant camera movement and shifting from figure to figure that makes this specific take intriguing and creative without boring the viewer. This example connects with Kongsberg’s definition that ‘The camera may move to follow action, but the audience discovers significance rather than have the editing discover it for them’.

 

Assignment #4 Presentation peer reflection:

I personally admired all the proposed research topics from all my peers in the week 9 presentations and all of my classmates had very interesting topics that they wanted to dive into and I thought that most of them were personally intriguing. Though there was one topic that stuck to my mind and that was of Campbell’s proposed work on his approach to researching the way multiple cameras and audio are used during live scale events such as sport events. At first glance, my first initial thoughts on this topic was that it hit home for me as I always was interested and wanted to know specifically how multiple cameras are set during a live event such seen in sport.

Personally, being a massive sport fan, we see in documentaries and during live sport at times, the use of multiple cameras being set up. Campbell stated how he was interested in researching how cameras are set and specifically how the use of microphones are so well picked up given the amount of fast paced action happening at the time.

One of the main purposes of using multicam setups is to ensure that ‘coverage’ during a live event that we see especially in sport events are fully covered so as to maximise viewer experience. An example of this would be setting multiple cameras during a footy match, thus allowing viewers at home to see different and various angles of the match as if they were at the game themselves, furthermore, increasing and making it a more interesting experience for them as it can be pleasing to the eye. One other very slight reason why there are multiple cameras setup during sport events is to ensure that many or most cameras don’t miss out on any good action, and that by having multiple cameras, it allows cameras to shoot different things rather than focusing on the one same thing.

One of the documentaries that Campbell said he was looking at was Amazon prime’s ‘The Test’ that specifically dives into the mens Australian Cricket team after the sand paper scandal a couple years back. Personally, documentaries that involve sport events are very fascinating to me, and documentaries in general are something that I look forward to watching or hearing about. Though, it is really about the ‘coverage’ and what is being shown and heard that makes it even more fun and enjoyable. A documentary that I believe is somewhat similar to ‘The test’ is ‘The last dance’, which is a documentary that single handedly follows the journey of the best NBA player ever in Michael Jordan on his road to greatness. The documentary captures some of his greatest moments to winning titles and has games that also include Multi cam setups. We see games of Jordan playing, and cuts from angle to angle.

It is easy to have a multitude of cameras that are setup in sport events nowadays, with cameras trying to capture the perfect shot, audio and video. But it is the ‘how’ and really digging deep into the pre production and planning process that makes the topic of having multicam setups in sports so fascinating.

 

Assignment #4 research writing:

Jeremy Lawang

What are Historical Documentaries? – Focusing on the works of Peter Watkins

 

In this day and age, documentaries as such, desire to mimic and imitate the big things that have happened in the past. One style and type of interesting documentary can be in the form of the historic documentary. This type of documentary can formally teach viewers information about an event that took place in the past through its effective approach and practise. As seen in documentaries as a whole, included in its style and form are interviews, reenactments, archival footage, facts and statistics, narration and the use of effective camera movement and angles. These specifically, are the codes and conventions that make historical documentaries what they are renowned for. By incorporating most of these effective and stylistic techniques, viewers will further be allowed to learn about a piece of history and these techniques can successfully catch their attention.

Furthermore, diving onto one specific director, whose works are seen as a different approach to the conventional documentary style can be deemed as ‘unique’ and ‘radical’, Peter Watkins, an English film and television director whose works involve a creative touch in spite has also involved controversy, is widely seen as a pioneer of docudrama. In many of his films, he tends to film it through a nontraditional style, shying away from the normal and conventional styles of documentary filmmaking. It is through his films in which aims to show radical ideas in addition to his methodical scene reenactments of events and the use of non professional actors that inevitably crowns him as a pioneer of docudrama. Majority of Watkins’ works focuses on historical events in which he mainly concentrates his works on the incorporation of ideas around media/camera crew and the interaction of viewer and actor participation.

This very unique way of filming is what makes Watkins well known for, as he tends to involve a ‘live camera crew’ in some of his films. More specifically, we see in his works ‘Culloden’ (1964), ’Punishment Park (1971) and ‘The War Game’ (1966), involved is this artistic style filmed as if it was happening in front of news cameras. Watkins’ idea was great and was used as a way for inviting his audience and helping them visualise the story as if they were there at the time. By doing this, Watkins’ style of including ‘live’ camera crew, dramatic scene reconstructions and his inclusion of filming documentary techniques such as on-the-spot interviews were both highly original at the time when these films were released and visually compelling as a viewing experience.

The documentary film ‘Culloden’ is a great film showcasing a detailed story of the Battle of Culloden, which took place on April 16, 1746, and which was the last ever battle fought on British soil. Watkins’ depiction on the war was captured so perfectly well considering that the overall production of the film itself was at placed at a small budget. However, with minimal funds and hiring amateur actors, Watkins successfully delivers an empowering historical reconstruction covering the deadly war between the ragged and nail-biting Jacobites against the stronghold Royal army. We see Charles Edward Stuart, the pretender to the throne of Britain and his army built of 5,000 highlanders be humiliated in a defeat to British Duke of Cumberland, William Augustus. nearly 1,000 of those starving in the Jacobite army were killed by the Royal Army, who only resulted in the deaths of 50 of their own men.

The documentary techniques portrayed in the film are combined in a style back then seen as ‘modern’, as we see television reporters interviewing the war combatants in both sides and recording the battle occur live. Watkins stated that he made the film as though it was happening in front of news cameras. This was important as during filming of the documentary, news at the time were flooded with footage of the Vietnam war. Watkins adapted from this style, and used these techniques such as the unconventional ‘live’ interviews of war combatants in Culloden, the narration of story in which was voiced over by Watkins himself and the use of hand held camera all contributed in the type of news-reel style. By working in a tight budget, Watkins creatively planned different camera angles in an open field of space and alluded the appearance of a mass army of soldiers which comes to show that you don’t need to spend a glorious amount of money to have many actors and a fancy studio, yet rather be creative and flexible with the camera equipment and actors you have.

Furthermore, According to cinematographer Dick Bush, roughly 85 percent of the camera shots were hand held, thus allowing the viewer to feel a sense of live action and reality as if they were there, as well as adding to the effect of war movies and the impact shaky hand held cameras have as alluding to the action happening on screen. Lastly, Watkins’ approach to making ‘Culloden’ was so compelling that in honour of their family history, many of the amateur actors portrayed in the film were the actual descendants of those who were victims of the Battle of Culloden in 1746.

Moving on, we shift to another one of Watkins’ documentaries ‘The War Game’. We still see Watkins’ fearless style of film, yet in a more darker and grim way as he showcases a terrifying worst-case scenario vision of nuclear war. The harrowing documentary focuses on a brutal vision of the possible nuclear attack on Britain by the Soviet Union, and led to the films dismissal of its original set screening date, as it was deemed of being ‘too horrifying’ for the general public and television. The film’s camera coverage and filmic techniques were very reminiscent to that of used in the making of ‘Culloden’. Its use of live news reporting action and likeness of interviews, voiceover narration which were delivered by Peter Graham and use of footage that almost seemed ‘too real’.  Though being a pseudo documentary, the type of realistic-like footage of towns in Britain being bombed were used alongside with the effective hand held camera movement, as though it was happening in front of news cameras. This was evocative of the scenes from Vietnam and the war which were appearing on tv’s news reels at the time of production. Interviews were conducted on people with professions such as a strategist, a bishop and doctors on whom spoke about the consequences of nuclear war on the human body so as to make the film seem even more realistic.

Yet again, Watkins incorporated scenes that were considered disturbing with the aftermath of the nuclear explosions. With grainy and hand held camera footage, we see the firemen desperately trying to control a firestorm that is destructing the town. We see injured men, women and children glare into the camera in multiple close up angles that effectively depict their oppressed demeanour and position. By using these close up camera angles and use of ‘realistic’ camera footage, it evokes a sense of fear and shock within the viewer. Again, the film is dominated with non actors, an attribute that Watkins has developed throughout his time directing films.

Other directors who are well known in the documentary industry include Ken Burns who is an American filmmaker, known for his creative use of archival footage and still photographs. Something that Burns does so well is the ability to create a story and create life within a photograph. Burns does this by effectively zooming out on something from the photograph that he wants to draw attention to. And so, the so called ‘Ken Burns effect’ was created. Depending on the entirety and mood of the documentary style that directors go for, whether that’s having a still photograph on screen and using narration on top, Burns typically uses the effect as a way to add life to these images and when there is also a shortage of videos. Nonetheless, it is a nice touch to his documentary style and is somewhat contrasting to the documentary style of Watkins. One main difference between the two is Watkins’ primary use of his ‘live’ interviews giving his viewer the perception that there is a camera crew live on action, this is one of Watkins’ trademark techniques that sets him apart from other historical documentary makers.

Watkins defied the conventional use of hiring professional actors, and was known for his frequent use of amateur actors especially seen in ‘Culloden’ and ‘The War Game’. His innovative style of involving live newsreel footage as scene reenactments, the use of voiceover narration and hand-held camerawork are all documentary techniques that make his works what they are known for. It is also his approach to breaking the fourth wall and creating an interaction with his actors and viewers that is so remarkable and creative in his films. Peter Watkins’ approach to historical documentaries are great in taking his audience to an incredible journey through time, and his creativity within his camera coverage are what makes his films so captivating.