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FM4_urbanstories_revision Lesson 2_case Study Films REVISION OVERVIEW TABLE_lilya

FM4_urbanstories_revision Lesson 2_case Study Films REVISION OVERVIEW TABLE_lilya

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Published by: candifilmstudies on May 14, 2013
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 CASE STUDY FILMS
 –
REVISION OVERVIEW
 Case Study Film, director and date of release:
CONTEXT OF TIME &PLACE
When was the film made andwhere? When and where is thefilm set? How is the socio-historical context of the city orcountry seen in the film? Whatimpact is this seen to have on thecharacters?
NARRATIVESTRUCTURE
what narrativestructure does theDirector use? How doesthis convey the pace of life in the city for thecharacters? Whatnarrative devices areused?
 MAINCHARACTERS
Their strugglein the plot?How are thecharactersconstructed?What is theirexperience of life in thecity? What isthe directortrying to sayabout socialissues and lifein the citythrough thecharacters?
 
REPRESENTATION OF THE CITY& URBANENVIORNMENT
What are the keymessages & valuesabout life for thecharacters in that city?How is the cityrepresented as adefining presence?How is it representedas a place to live?What do you think thedirector is sayingabout life in thatparticularenvironment?
ISSUES SURROUNDING POWER,POVERTY & CONFLICT
What are the power struggles, conflicts andexperience of poverty in the film for thecharacters? What is the director trying tosee about these?
 
VISUAL STYLE & INTERESTINGMICRO-ELEMENTS
What formal techniques are used by the directorto communicate ideas within the film? Are thereany aspects of camera, editing, sound and m.e.sthat are particularly powerful?
KEY SEQUENCESto use in exam
What key sequencesfrom the film could youuse to support yourideas about the themesand style? List the timecodes / chapternumbers and say whythey are useful toanalyse.
 
Moodysson, 2002Estonia/SwedenUnemployment, formerSoviet Union, bleak cities,no hope for escape, dismal.THEMES:Religion, realism, ourexperience on this earth,contemporary societyoffers much to those whocan access it, not reallydistinctive, same shitdifferent cities.Fragmentedbeginning, butthen follows aliner structurethrough ellipsis(passing of time
 –
 cutting/dissolvingthat shows timehas progressed),
Propp’s stock
characters
 –
ironicinversion of fairytales, actioncodes, closedending.LILJAVOLODYAANDREIANNAMUM
MUM’S BF
 SEXTRAFFICKERS,ABUSERS,RAPISTS.Bleak, dry, dark,dismal, high risebuildings,decaying, schools,Pentagon, nightclub, dying space,entrapment, nohope, despair,escapism throughdrugs, no love,limited choicesandopportunities.POWER: rape, teachers/socialworkers exert authority, menphysically abuse women for financeand pleasure, material possessions,money, power, Aunt Anna, fragilefamily, romantic relationship withAndrei, mother-daughter.POVERTY: clothes, drugs are seenas precious, environment sucks,picture of Madonna and child ismost treasured possession, noeducation, unemployment, noescape, desperation.CONFLICT: loves Volodya, valuesfriendship, Lilya realises hermistake for leaving.CAMERA: personal, we enterprotagonists world, documentary-like,hand-held, long shots, extreme longshots, cutaways of city, close ups convey
Lilja’s feelings, POV shots.
 EDITING: jump cuts create confusion,pace fastens shows boredom, montageediting creates realism, slow motion:drama.MISE-EN-SCENE: bleak environment,high rise estates, grey skies, clothing,angel wings, basketball, pain peeling off walls, use of orange/red, drugs, cars,road, cash, food, Soviet Union.SOUND: anger, urgency, non-diegetic,Russian Metal, RAMMSTEIN, POPMUSIC, clubs, pop music, high life,classic music gives sad ambience,
contrasting with Lilja’s optimism.
 
1)
 
Opening2)
 
Ending3)
 
SovietUnion/Pentagon base4)
 
Mum leaving5)
 
Volodya dying6)
 
Arrival inSweden

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