Monk

Take length is used to represent status as someone with a disability. When Monk is considering the difference between 'popping' and 'banging', it uses an extremely long and drawn out take at points with minimal cuts, whereas this contrasts the rapper where his cuts are almost immediate. This connotes that, much like the plot leads onto, everyone is dependent on him; he is the most important focus of the scene. This is subverting the stereotypical expectation that a man with a disability would be overlooked or even ignored -- would be less important.

Slow pacing is used to represent disability as well. In the same scenario where Monk is considering the two terms, cuts are very infrequent and slow, meaning a slow pace. This slow pace actually portrays Monk in a negative light; it connotes that he is inferior because while everyone else can make a quick, decisive choice, he can not process the information particularly quickly or come up with a response. This conforms to the stereotype that disabled people are less able than what are considered normal people.

Shot/reverse-shot is another technique used in representation. This technique is initialized when the rapper asks Monk his opinion. However, despite starting the conversation, following this Monk holds the majority of the discussion with the reversing shot predominantly the focus. Even though the 'normal' person was the first focus of the technique, this is juxtaposed with dominant screen time on Monk's behalf, signifying he is directly more important than the rapper. This is also subverting the stereotypical view that the normal person would be directly more important.

Diagetic dialogue is used to represent disability in a good light. When evaluating the connotations of 'popping' and 'banging', he uses the description of 'evocative', and otherwise upholds a very sophisticated manner of speaking. This contrasts the 'normal' rapper's terms and pronunciation, like the examples of 'popping' and 'banging themselves. This signifies that Monk is considerably more intelligent than his peers. This is subverting the stereotype that disabled people are less educated and inferior to 'normal' to people.

Sound bridges are another sound technique used to represent Monk. When the rapper is talking, it is only synchronous. However, Monk's use of sound is asynchronous and forms a bridge through many shots even when you can't see him. This connotes he is important and is what should be the focus even when we can't see him. This is subverting the typical representation of someone with a disability because it signifies he is more important than the 'normal' people which would usually be the reverse.

Soundtrack is also used in representation. While Monk is going through his lengthy evaluation, suddenly a song begins to play, despite there having been no music playing before the focus was on Monk. The fact that music singles his character connotes he is the most important person in the scene, deserving his own soundtrack. This subverts the typical expectation that disabled people are inferior.

Ethnicity

One way ethnicity is represented is through the use of soundtrack. While a foreign antagonist is threatening to shoot someone, a typical slow, violin-based soundtrack is playing to create an escalating amount of tension. What's unusual however, is that backing these violins are authentic, too foreign drum-beats that are extemely strange considering the British context. While we can already see the antagonist is foreign, this music is conforming to a racial stereotype by suggesting he too needs ethnic music, rather than typical music. This is especially noticeable when he fires his gun and kills Danny; suddenly chanting and extreme ethnic music takes its place.

Another use of the micro element sound to represent ethnicity is silence. Throughout ultimately the whole of the scene the protagonist, weakened on the floor, enters through a couragous speech. All the while the antagonist makes absolutely no sound, all the way up until the climax. This suggests that the character is weak and inferior to the protagonist despite being in control of situation, unable to even speak. This is conforming to the racial stereotype, that the asian terrorist is an inferior person.

Finally, one use of sound that is subverting racial stereotypes is diagetic dialogue. The male protagonist who is a hostage, Danny, is black. Despite this he speaks in an extremely thick and clear English accent, speaking very confidently and in control. The reason this is subverting the racial stereotypes because we would expect both a foreign accent as well as a less talented speaker, for example, for him to stutter.

Cinematography is also used to represent ethnicity. One example of this use is the use of close-ups. One specific close-up is when it highlights the antagonist's gun-in-hand as the protagonist is telling his speach. We can quite clearly see the antagonist's hand shaking violently, unable to keep still. This contrasts the composure of the protagonist which close-ups reveal to remain very strong. This again suggests that the stereotypical foreign antagonist is scared of the protagonist, he is weaker, and is conforming to a racial stereotype.

The director also utilises his rule of thirds in the portrayal of the characters. This is most visual when we are shown continuous close ups of both the antagonist and the protagonist. In these shots, the protagonist is shown to be only off-centre slightly and passes through both of the power points of his side, suggesting he is important. However, the antagonist is viewed being pushed off screen, with only the edge of his face visible and only then visible on the right hand side panels. This connotes that the character deserves less screen time than the protagonist, whereas the protagonist's composition connotes he is important. This is both conforming to the ethnical stereotype and subverting it. This is because the foreign antagonist as inferior, conforming, but also subverting because it shows a black male as in control.

Finally, the director uses composition and focus to portray stereotypical ethnicity. There are several shots, specifically at one minute 20 seconds, where it shows both the protagonist and antagonist at the same time. However, in these shots, while the protagonist is quite clearly seen, the antagonist standing behind him is the victim of a heavy blur. This connotes he is less important and does not need to be seen as much. This direct contrast to the protagonist is the same as the previous comment where is conforms racial stereotypes but too opposes them, showing the asian antagonist as less inferior but still showing the black male as more important.

Editing is also used to portray stereotypical ethnicity through long takes. Even when the protagonist is not talking, he clearly dominates the amount of screen time with the protagonist recieving very little screen time. This is conforming to the stereotype because the British special agent is clearly dominating the foreign terrorist.

Fast paced editing is actually used to subvert racial stereotypes in instead showing the British officers looking inferior too, however. At the end of the clip, after Danny has been shot, it shows many fastly cut shots between several white British agents who have been listening to the event from elsewhere. The shots cut from each person very quickly, each showing either tears or extreme distress. This pace connotes a sense of chaos, and a lack of control. By suggesting that the British authoritive figures have a lack of control in comparison to the terrorist is breaking the ethnic stereotype.

Fade-ins are also used to connote power. Near the end of the scene, there is a fade-in from white to the flashback of the shooting. By coming in from white from previously the shot of an agent crying, it shows this flashback is the subject of their focus. This connotes that the antagonist is actually in control. This is subverting the ethnic stereotype by revealing an Asian terrorist to be puppeteering a group of high and powerful British agents.

In terms of mise en scene, the use of costume is used in the representation of power. In this scene, the antagonist is wearing a well kept and expensive-looking suit. This connotes he is powerful and important. This is subverting the stereotypical terrorist/antagonist attire as you would probably expect them to wear something more typically associated with another country.

The production design is used in character portrayal, too. The antagonist is keeping his hostages in a very dim, rough and horrible room with little windows or light. This dreary setting suggests little resources as well as very suspicious intent. This is supporting the ethnic stereotype by suggesting the antagonist has little to select from; he is considerably worse off than the white agents who are surrounded by expensive technical equipment.

Props are used to connote wealth and importance. For instance, one protagonist at the beginning and start of the sequence is shown to be using an expensive-looking phone. As well as this, another British person, a female at the end of the clip, is using a headset and computer. This contrasts the cheap and poor phone that the antagonist is shown to be using and lack of equipment otherwise. This is conforming to the ethnic stereotypes but suggesting that these officers are significantly better off than a foreign terrorist.




As a note, it was horrible trying not to repeat "which suggests he is inferior because he is Asian" over and over, and yet I did. Or something along that line anyway.

'Oliver Twist' Trailer

Rule of thirds is used in 'Oliver Twist' to contrast the the class boundaries. An example of this is the first shot of the trailer where Oliver is placed in a minimal selection of the direction centre, where this is contrasted to a tall oppressive man of better class who not only towers over Oliver, but also goes through each of the power points. This connotes the character is important, whereas Oliver is inconsiderable.

Another use of composition that highlights the class division is the way the actors are position. In that exact same shot, all of the impoverished class excluding Oliver himself have their faces turned away from the camera, to the point you can not see them, even including the maid. This signifies that these lower class people are unimportant and nobodies, in contrast to man standing next to him.

Shot angles are also used to explore class in the Victorian era. In that same shot, a high-angle shot is used showing Oliver, the centre focus of the image, small. This symbolises how insignificant Oliver is in comparison to the man who scales the whole shot besides him; he is portrayed as tiny, forgettable.

Diagetic dialogue in the form of the actual script portrays the class of the main character, Pip. This is evident in the scene where Oliver says "Please sir, I want some more." Pip does not ask for the food, and rather just states his wants; this is representative of the lack of education and upbrining Oliver has received, where he would have not learned the correct manners and etiquette for these types of scenarios.

Accent is another use of diagetic dialogue to represent a type of class. This is strongly evident when a member of the board states "he will be hung." The male speaks in an overwhelmingly posh and upper-class accent, which contrasts the cockney accent of the Arftul Dodger. The elderly male's accent is so stereotypical and cliche, it is clearly mocking the man but is a definitive and clear representative of the class.

Non-diagetic music in the soundtrack is used to juxtapose the two classes too. This is strongly apparent in the build up to Oliver Twist asking for more food. The music, unlike the optimistic and high-noted violions through the rest of the trailer, is extremely eerie, slow and tense; this tension is symbollic of the conflict between the two classes and how steep a gradient it is.

The Shining Trailer

Romance

About Me

This video represents me because it is a collation -- mostly -- of media that I am fond of; it spans the likes of TV shows, films, music and books through both video clips as well as music, as well as pictures. This montage of media reflects my hobbies and interests: I am a heavy consumer of media products, and they are mostly how I spend my time. From this people can connote I am mostly a technological person. As well as this however, this is also a few others of my interests, for instance table football; this is as not to pigeon hole me to a minute selection of tastes.

Astro Boy Trailer

The first technique used is a fade-in from white to the introduction of Astro Boy's birth. This is because the white screen is commonly associated with waking up or something of a holy nature. This ties in because it soon shows the character being made; he is not only waking up (said before) but the fact he is being made, given life so to say, is a very religious theme. This happens again when the lights of the robot's eye shine. While it has the obvious suggestion the robot has simply turned on, it has the same connotations as previously said.

While we see this happening, the scene is consistently interrupted with fade-in and outs to black, almost like a heart beat. This is on the exact same line of thinking as to that he is being given life; the fade outs represent the time between his heart beating, as he is about to be given life. As well as this, the use of these means that we only really see about half of the scene, the rest is a black screen, and this is created a very restricted view of what is going on to the audience. This builds a sense of mystery within the audience; we want to know what is going on but it is hidden from us. Supporting this are the very restrictive camera shots used, revealing very little to us.

The music accompanies each fade in a peak and is very slow. This is to make the scene suspenseful.

There is another fade to white as the boy is finally completed: this has the same justifications as before.

The scene that next follows starts with a sudden change in music to more dramatic and exciting violins. It is also full very fast cuts depicting the boy flying. These two combined make the simple event of flying seem very chaotic, and thus it is much more exciting to the audience.

A sudden camera shutter sound and a Polaroid flashing onto the screen implies someone has photographed Astro Boy. This sound allows the music to be cut off, and in turn means emphasis is directed at the dialogue that follows. This is especially important as the moment is comedic, and it makes it seem more awkward as there is an extended period of silence.

As a fade-in reintroduces the main footage, what mostly follows is quickly cut glimpses from many different scenes. This is to create a montage effect, alluding to the the constant excitement the film offers but never remaining in one place long enough to reveal anything substantial. It keeps the action free-flowing to ensure the interest of children, who are the primary audience.

There is repetition of the techniques already shown from this point, including the sudden silence to highlight the humour of a scene, like where the big robot speaks into the microphone, or when they realise that the dog is driving the car.

It is around this point that a dramatic voice-over enters. This is the typical, film-trailer voice that breaks the fourth wall and announces the arrival of the film. His voice is separated by extended periods to create tension within the audience. He exists to create a structure and point to the trailer, and the form a climax. To emphasise the climax the editing at this point soon becomes incredibly and increasingly fast-paced, until the point where it becomes so fast that finally the title covers the screen and the music comes to a close; we have reached the end.

However, another period of silence allows one final comedic piece.

Cigarette

Thriller Storyboard Trailer

The first shot we see is a close up of a shoe with a voice-over. The voice is a gravelly and deep, already giving the audience a negative impression. Because we only provide a close-up of the shoe, the shot is extremely restrictive and the audience is curious as to who the character is.

The transition used it a fade out; this is to suggest that we have moved to a different scenario, setting or time, and in this case it leads into a flashback.

The next shot shows a woman, on a bed, screaming. The shot used is a medium shot that is restrictive, which is used so we can not determine who or what it is that is scaring her. This is especially important as a sound effect of a gun shot overruns. It looks like someone has shot at the woman, but rather than reveal her fate a transition where the shot of her spirals into the screen, both being fast for excitement (as is useful of a thriller) and to leave us ignorant.

When we return to the antagonist, we have since escalated half-way up his body, still using a restrictive close-up. This shows the audience that that camera is moving up his body but the character is not yet revealed. This causes suspense as the audience know the camera will soon reach his face and all will be revealed. He also has a gun at his holster, confirming his bad state.

The transition of this scene is through use of the dissolve technique. Much like the fade out, this suggests a different scenario and is useful as it as again another flashback.

Similar to all of the shots in the series, a restrictive medium shot reveals a suited character with a stylish hair-cut firing a gun, which is again accompanied by dual gun shots to suggest he is firing. However, we can't see who he is firing at and this again creates mystery and tension -- why is he firing? Who is he firing at? The two flashes on the screen are meant to represent the muzzle flash of the gun.

A fade-in transition into the next scene again means we a changing scenario. This is because we are again returning to the antagonist.

This next shot shows a close-up of just the antagonist's face. It shows him looking rough with a cigarette between his lips. His gruff exterior and the cigarette is to contribute to his villaious assumption. The cigarette is also a key prop the to the next scene, so is especially important that it is highighted to the audience. Using another restrictive shot in following the trend of escalating the tension within the audience; just as they thought all would be revealed, they're left perched even moreso on the edge of their seat. The voice-over continues in the same gravelly style, but also reveals the fate of whoever it is the speaker is talking to: it is his end. Suspense is largely a factor for the audience; what's that villain going to do?

The transition between the next scene is a fade. This is to lead into a montage of sorts; the next shots are not real-time.

As mentioned, the next three shots are quick flashes in the style of a montage. These shots show the close up of a petrol can being poured, a finger flicking a cigarette, and finally a man on fire as he burns alive, with a screaming voice-over, which also has a slight pause before it is shown. This finale most of all relies on Theatre of the Mind: considering all that the audience has seen, with a dominant apparent villain threatening someone, smoking a cigarette, the pouring of a gas can, a cigarette being flicked and someone being burned alive, the audience will immediately assume that the villain has done all of these actions chronologically, threatened and then killed someone. However, because each scene is so brief and restrictive this might not actually be the case at all, but the audience will assume so without any blatent evidence regardless.

In conclusion, I am ultimately pretty pleased with my trailer: I believe I included a broad range of techniques and portrayed them relatively effectively. However, I admit one of the flaws in the storyboarding is the sake that without actual moving clips, and limited drawing skills, it makes it extremely difficult to effectively display a scene's purpose. For this reason the flashbacks have proved to be ineffective; pretty much all viewers have not understood their point until the basic plotline was explained to them. For this is would have been more suitable to have less involved flashbacks and keep to the basics of guns firing, people screaming, etc, but being extremely restrictive in what is actually revealed in the shots.

Telling a story with some photos

This is an establishing shot, slightly tilted in hindsight (not intentionally), that is used to set the story's setting: a narrow, empty walkway.

Our long-shot is the initial introduction of the antagonist, suggesting a character type that's too vague to leave the audience curious as to more. We can immediately assume a villain, however, through the black attire and swaying step. Tension builds.

Finally a close-up completely reveals the character to the audience and his expressionless, cold but determined stare confirm the viewer's first impression, and tension moves from himself to his intentions.

A close-up of his feet in action is a simple shot used show that he is now walking, his actions in motion.

A low-angle shot that scales most of his body, at medium range, is used to imply a sense of power and authority, escalating his threat as a villan and further building tension.

An over-the-shoulder shot that targets the bin finally announces the character's aim. The type of shot used is so to show the event from his perspective, showing him specifically staring towards the bin. It isolates it, using his perspective and that fact is is the centre of the view in its entirety.

A shot that took several attempts and in the end was pretty poor, is a medium shot simply used to catch most of the action as it happens. We specificially needed to be somewhat close-up to hide the limitations of our project; one student was forced to hold the bin somewhat in the air, as it is not real-time.

Finally, the climax finished, a twist provides a resolution to his ill-intent: a low-angled shot from the bins perspective shows the character turning back, as if guilty of his action; remorseful. The low angle shows that he has defeated the defenseless bin.*


I'd like to thank Menthol Moose for soundtrack-tional inspiration.