Significant Props

For my focus on props i looked at the film "27 Dresses":

The contextualised props in this case are the bridesmaid dresses. These objects are significant as they are the focus of the shot many a time by having them centre frame. Even when the dresses weren’t specifically talked about they were in the unfocused background which made sure that the audience understood that the dresses, at all times, are significant. They seemed to symbolise that even in the happy moments Jane (Katherine Heigl) experienced we believe that there were deeper thoughts as to why she kept the dresses, such as longing to be a bride someday. This helps to move the narrative along and develop a relationship with the character she is confiding in at the time.

These props were especially significant as they are constantly referred to throughout the scene. The entire segment Kevin (James Marsden) was writing for his newspaper was practically on the amount of bridesmaid dresses she had in her possession. Not only that but it is also the title of the film.

As Jane parades the dresses we begin to empathise with her character. The props give us a montage of comical moments on which we dwell on what she must have gone through wearing some of those bridesmaid outfits. The props seem to have put up a front for Jane. We think of her as super human figure as she always tries to put others before herself; in her words “jesus”-like. (At the end of the scene shown above) we are given this emotional side to our lead as all of the props have been used and tossed aside exposing a more “human” and relatable side to her personality.

Mise-en-Scene

"When applied to cinema mise-en-scene refers to everything that can be seen in the frame. this includes set, props & equipment, costumes, lighting, sound and blocking."

Set

Sid's house is dank and dark looking reflecting the menacing character of the young boy and allow the audience to see that Sid is not going to treat our beloved characters well. It has other things in the room such as a poster that said "killin' Paul" to build on the threatening nature of the room.

In the scene where Sid is about to take his sisters doll; we are brought to a shot where Woody and Buzz look terrified. In the background a tiny drawing of a monster has been graffitied onto the inner lining of the bag. This may suggest to the audience that Sid has no regard for the rules as he is damaging property and it may also depict his "true self".

Lighting

At the arcade the lighting is a lot brighter in contrast to Sid's house. This proposes to us a place of enjoyment however as it's theme is space it is slightly darker and seems to have glowing stars on the ceiling. 

In his bedroom there is but a single swinging light giving an ominous feel to what is happening next and makes the character seem slightly deranged as he carries out his "operation" on his sisters doll.
Later on as Woody and Buzz are left with nothing but a torch to see where they are. This gives the audience and the characters a limited view around this mysterious place which then creates tension as they are in the unknown.

Costumes

Woody and Buzz both have bright clothing which emphasises how they are meant to be enjoyed by young children as the colours seem playful and engaging.
Sid has a black t-shirt with a very appropriate skull to match the danger that he brings to the story.

Sound

At the arcade we have a voice over who tells us about pizza. This is done in a fashion that you would expect an astronaut would speak; adding to the theme and atmosphere.
As we draw near to Sid's house we hear police sirens in the background again, this adds to the ambiance of incoming peril.

The Sound Of Cinema

The BBC programme "Sound Of Cinema: The Music That Made The Movies" spoke of the way musical scores have enhanced our viewing of films since the very early 1920's. 

In the 1933 Max Steiner had stormed on the scene with his pioneering musical scores which brought alive the drama by giving us more depth to the characters. For example Steiner creates emotive music when King Kong is exploring Ann Darrow (Fay Wray) allowing the audience to connect and empathise with Kong. As Neil Brand says "we all feel suddenly, what he feels". 

In this case Steiner also pulled off accurate musical timing with movements made by Kong. This development had only just occurred in the 1930's which opened a whole new door defining the sound of cinema.

In "Taxi Driver" Bernard Herrman's ability to fit his music pieces to Martin Scorsese's protagonist who was meant to have an apathetic ambiance about him was seemingly perfect. Thanks to Herrman's underscore throughout the film it continuously suggested that De Niro's character was unstable and something violent could happen at any time. However never confirming whether or not the protagonist was a "villain" at the time.

In conclusion I found this documentary to be honestly quite bland overall. It is rich with information however the presenter seemed to take away from the programme rather than bring across a keener interest. On the other hand, finding out about the development of sound over the past 90 years has been quite fascinating. Specifically the creation of the 'Click Track' which was essentially the start of the modern day cinema experience.

I would have to say that one of my all time favourite films would have to be the "The Dark Knight". I mean, it's pretty understandable due to the amazing acting from the legend (made after death) Heath Ledger. The very thought of his monologue scene in the interrogation room sends chills down my spine.  I am quite the super hero supporter especially when it comes to DC Comics but this movie open the doors to my love and appreciation of Super Villains. Christopher Nolan must also be given a round of applause, nay, a standing ovation for his dedication to making one of the most invigorating and gritty series of the Batman franchise. It has inspired the era of bold films showing the true face of the characters we know and love.




With actors such as Seth Rogen and Jay Baruchel you would expect it to be a laugh per second. I kid you not, DISAPPOINTING, i see why reviewers have been slashing the latest works of Rogen. I don't understand how a team of people who have absolutely fantastic comical chemistry off screen come crashing down whilst filming. Granted these films are never high quality (i.e., stage and props) however it really should be the relationships that bring out the best in this film.