pulp fiction: opening sequence

pulp fiction opening scene:

The opening scene reveals necessary information about the film, and what can be expected in the rest of the film. 

cinematography:

natural lighting used to create authenticity and realism. this was typical of post-modern independent films, as real life was portrayed through film rather than fantasy. the characters in the film are also raw and authentic, and have normal lives and problems, meaning the lighting reflects this authenticity.

again the camera faces up towards Jules, showing his dominance and power.

performance:

casual conversation before violent killing which conveys the casual nature of violence in the film. their jobs and crimes and separate from themselves as a person, and their individual characters are not reflected in the work that they carry out. Tarantino wanted the audience to view the characters as normal people, not just assassins. their job is separate from their individual characters, and the audience can therefore relate with them and like their characters.



camera angles:

camera at low angle facing up to characters in order to portray their dominance and creates a feeling of intimidation.  camera usually straight on when filming men and is fixed which shows their professionalism of them. this also suggests that they are used to committing violent acts. they are composed when committing crimes. the two characters are also equal in the shot, demonstrating their partnership, which was unusual, as black characters were usually portrayed as inferior in film history.



sound:

sound is elevated to the position and importance of  a character. this is an auteur trait of Tarantino. opening sequence sets mood through sound for the audience, and the same music also plays on the radio in the car. Tarantino tells the audience how to feel throughout the film through his use of sound and music. often music will juxtapose a violent or disturbing scene, which means that the audience is unable to experience the scene in their own way, instead, the attributes of the scene direct the audiences feelings.

classical hollywood

Vertigo- classical Hollywood style:

classical Hollywood conveyed a unique and noticeable style. this style was portrayed through camera angling among other techniques. Vertigo also uses these same characteristics, as the film was made during the classical Hollywood period. 

context:
-classical Hollywood generated a product with mass appeal and for mass consumption in an industrial context. The steady demand for new films made year-round production schedules necessary.

camera angling:
-The greatest rule of classical continuity regarding space is object permanence: the viewer must believe that the scene exists outside the shot of the cinematic frame to maintain the picture's realism. The treatment of space in classical Hollywood strives to hide the two-dimensionality of film ("invisible style") and is strongly centred upon the human body. The majority of shots in a classical film focus on gestures or facial expressions (medium-long and medium shots). André Bazin once compared classical film to a photographed play in that the events seem to exist objectively and that cameras only give us the best view of the whole play.



narrative:
-Classical Hollywood narration progresses through psychological motivation, i.e. by the will and agency of a human character and its struggle with obstacles towards a defined goal. This narrative is structured with an unmistakable beginning, middle and end, and generally there is a distinct resolution. The characters in Classical Hollywood Cinema have clearly definable traits, are active, and very goal oriented. 

Power and Authority comparison

Power and Authority:

One Flew Over:

America has long made heroes of figures who assert their individuality, yet many American novelists have written about characters whose individualism conflicts with the societies around them. The character of Mcmurphy is also incongorous with the institution that he has been put into, as he represents the life and colour of the outside world, and the institution however is bereft of colour and joy. therefore Mcmurphy is presented as non-conformist and unwilling to accept authority. his non-conformity is evident in the first therapy scene where he is wearing colour whilst the other characters and the building is all white and dull.   

  













McMurphy is destruction to the status quo. he doesn't respect authorial figures e.g. when he addressed the doctor his language is informal. another example is his relationships with nurse Ratchet, as he is always the one questioning her power and decisions e.g. his demand to watch the world series. also when he enters the nurses office without permission. Nurse Ratchets unwillingness to allow patients to watch the world series shows the abuse of her power.
The film is notable for having men existing in a passive relationship with at leat one authoritative and controlling woman. she comes across as dominant when she is challenged. she is presented as the antagonist who thwarts McMurphy's goals and hope.
Forman previous film banned in his own country for shining a negative light on communism. this can be presented when Nurse Ratchet ignores the democratic vote of the patients, which can be linked to communism. power and authority is gained by the fear of nurse Ratchet.
Schatz argues that characters are now the main focal point in films whereas in classical Hollywood characters merely influenced the story line.

Vertigo:

In Vertigo power and authority are represented in a variety different ways in their text. One of the ways Vertigo does this is through the main character Scottie, Scottie is shown as a male authoritative figure throughout the film with his dominant expression and approach to women. One scene where this is very clear is when Scottie jumps into the river to save Madeline and the scene that follows, Scottie is shown as an Authoritative figure here because he takes action immediately jumping in to save the women. During the 1950's women were seen as lower in power than men with men being the most powerful in society. Going to the scene after this Scottie took Madeline back to his house and she is left powerless laying in the bed whilst Scottie makes her some tea. A common theme shown by most Hitchcock films is having a Blonde girl in it, this was usually done because Alfred Hitchcock liked blonde women and saw them as a tool in his films, someone who doesn't have any power except through sexual persuasions. However this is shown to be different in Vertigo where we find out Madeline had aided in the murder of Gavin's wife, when we find this out we get a completely different outlook on women power within the film and how women act as a hidden power often unseen by the audience.
Furthermore Scottie's misplaced in society, this is most present in his attempt to regain his authority after he lost is when Madeline died. his attempt at regaining control is presented as desperate and sad when he forces Judy to Dye her hair so she looks identical to Madeline because of the illusion created by the idea of helping madeline helps Scottie see himself as an authoritative figure which the time of the film was seen as being manly. Scottie tries to grasp onto his authority to try to fell secure in himself. This can be linked to the context of the film as 1950's America was a time of fear in which men were desperately trying to hold onto their power partially due to the rise of the 2nd wave of the feminist movement and the wars America fought; men are trying to recapture an outdated sense of authority.

The film can be read as a study of men trying to re-assert their control over women in post war America. 

Auteur Forman and Hitchcock

Directors auteur traits. how they compare and contrast. 

Forman and Hitchcock can both be considered auteurs due to their distinguishable traits. however their styles are very different due to the period they were active in. 

Forman’s signature traits

-       Casual informality of camera framing and angles, suggestive of documentary- contrasts to Hitchcock's style, where he plans every shot. 

-       Seemingly spontaneous ‘candid camera’ style- catches actors off-guard- contrasts with Hitchcock's style, where he tells the actors exactly what to do and say in a particular scene.  

-       Social analysis – strong critiques of bureaucracy (The Fireman’s Ball)

-       Allegory (symbolic narrative) or satire (mockery) strongly underpinned by ‘realism’

-       Earlier works made use of non-professional actors and semi-improvised dialogue to present a view of working-class life free from the stereotypes of social realism.- However Hitchcock would hire well known stars for his films in order to attract as many viewers as possible. 

-       Stories of ordinary people whose individuality becomes apparent in group scenes



-Comparison between Forman and Hitchcock as an auteur- however in introduction make clear that Nicolson can also be seen as the auteur. 
- In many of his films, he has played the "eternal outsider, the sardonic drifter," someone who rebels against the social structure.

Hitchcock:

 - In Vertigo and other Hitchcock films, there are recurring images of mirrors. this portrays the idea of duel identities, which can represent Madeleine's change of identity throughout the film. this can also convey the lack of self identity that Americans were feeling at this point in history. after the war, when men returned from fighting, society became a lot less stable and secure. people lost much of their self identity due to these insecurities.