TH203 Final Presentation

Chester Zhong
Let's start with an EXPERIMENT
 I have made two films each for one charact
er, and you are told that both characters are s
uspected for crime of rape and murder.
 The class will be divided into two groups, tw
o rows on the front and two rows in the back,
and each group will be shown with only one fil
m of the two. (John participated in the product
ion of one film, so he is counted out.)
During the exhibition of each film, to avoid un
predictable variables, the other group will nee
d to leave the classroom, and I appologize for
the inconvenience.
After watching the film, each one in the group
will be asked to give his or her own prediction
of the possibility of the person shown in the fil
m being an actual rapist and murderer, in a sc
ale of 1 to 10.
When both two exhibitions are done and ever
yone is back to the classroom, you will all be
given a slice of paper to write down your own
predictions, and don't tell anyone about them,
just fold the paper and I will collect it myself.
Now, when I am processing the data, b
oth films will be shown again, but this
time with everyone present.
What's the difference?

Project 2.5.2: neutral, static, bland, diagetic sound,

medium shots

Project 2.5.1, however...

More camera movements, closer shots——
Sense of voyeurism
Extreme close-ups of the person——Suggestive of d
anger and disgust
Contextual Indication——visual

Scene of dolphins
hunting for fish

Oceans, 2009, directed by

Jacques Perrin
Contextual Indication——music
From diagetic to non-diagetic, crawling into the inner mind
Choice of Music: Prelude A L'apres-Midi D'un Faune / Aftemoon
Of A Faun by Claude Debussy

This prelude was Debussy's musical response to the poem of

Stephane Mallarmé, in which a faun playing his pan-pipes alone i
n the woods becomes aroused by passing nymphs and naiads, p
ursues them unsuccessfully, then wearily abandons himself to a s
leep filled with visions.
Dialectic Montage
Its application to the play and the film Doubt

Is it the lens of Sister

Aloysius, as in the
Through first film?
what lens are you l
ooking at the world
or the people in it?
Or is it the lens of Sister
James, as in the
second film?
It depends on the circumstances, you say.

But how exactly do you decide, then?