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POST 6: FINAL CUT

September 22, 2017

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(POST SIX)

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Mulholland Drive - An Experimental Narrative

MULHOLLAND DRIVE Mulholland drive challenges the orthodox classical narrative, that is the linear sequence having a beginning middle and an end, by creating a film split in two halves, the first half the audience follows betty’s reality, and the second we are in her dream world. This contrasts against the typical Hollywood narrative that we would normally see in other films, and has confused its audience ever since. The contemporary experimental plot is difficult to understand and has been interpreted differently by many, with audiences trying to figure out where her dreams and realities coincide. One scene in particular that really showcases unusual, atypical aspects of contemporary experimental film is the diner scene. One scene in particular that really showcases the unusual, atypical aspects of contemporary experimental film is the diner scene. Although at first the scene looks like another film, with two characters having a conversation over a table, but as you look furth...

POST 11: Ferris Bueller's Day Off: mise-en-scene

(POST ELEVEN) FERRIS BUELLER'S DAY OFF ART GALLERY SCENE The setting of these scene is shown in an art gallery, overall a very different setting to the rest of the film as it is more calm and serene, as the audience are no longer stressed about Bueller being caught. This fear and paranoia is created by a chaotic scene- which are repeated in the beginning and ending of the films, so by changing the setting to an empty art gallery, it allows for the main characters to come across more relaxed, as well as the audience who can remain relaxed. In the beginning of the scene, an empty room is used alongside a long trail of children on a trip, this suggests that the three main characters are showing more of a fragile and less immature side of themselves as they are no longer disobeying any older characters. Many frames within this scene only show artwork, in most frames in the beginning of the scene show no main characters, this allows the director to make aesthetically pleasing sh...

POST 16: THE KULESHOV EFFECT

(POST SIXTEEN) THE KULESHOV EFFECT The Kuleshov effect is a film editing (montage) effect demonstrated by Soviet filmmaker Lev Kuleshov in the 1910s and 1920s. It is a mental phenomenon by which viewers derive more meaning from the interaction of two sequential shots than from a single shot in isolation. In the dawn of the 20th century, cinema was a new art form, comprising many techniques that hadn’t been developed. And the ones that had had not been studied to the needed extension. The elements of editing were among them. Filmmakers knew that you could cut and splice the film strip, but they didn’t thoroughly comprehend the purposes of doing so. Lev Kuleshov, a Soviet filmmaker, was among the first to dissect the effects of juxtaposition . Through his experiments and research, Kuleshov discovered that depending on how shots are assembled the audience will attach a specific meaning or emotion to it. In his experiment, Kuleshov cut an actor with shots ...

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POST 6: FINAL CUT

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