Pan's Labyrinth- Representation- Gender

-Responsible for creating life- Carmen giving birth to son and Metaphorically (Ofelia's re-birth)

-Carmen and Mercedes reflect two sides of Ofelia- the need to conform tofu into new family's life and rebel against Fascism.

Representation of men

- Captain Vidal is obsessed by his Fathers military exploits and is equally determined that his own son (He refuses to believe it will be anything other than a male) is born close to him. However, the health of his sick wife is only of secondary importance to him and is dismissive of his step-daughter Ofelia. when Ofelia and Carmen stop out too the car, the camera pans down as Vidal feels Carmens stomach while exiting the car. Vidal forces Carmen to sit in a wheelchair to emphasize his physical dominance over her. 

For the Mise En Scene, there is an emphasis on Vidal's pocket watch which he keeps constantly checking. This shows he is a fastidious time keeper.

- The final scene where he tells the rebels who will soon execute him that his son must know who he was show's the final exhaustion of the patriarchy he represents, as Mercedes tells him that his son will never know who he was.

Politics

-Notice during Vidal’s dinner party when the Mayor states “one ration card per family is not enough”, and the priest replies “he has already saved their souls.Their body does not matter.” This would suggest the ignorance (a religious Crusade allegory) of those institutions who profited (and subsequently turned a ‘blind eye’ towards the inequalities associated to a Spanish fascist regime) from the ultra right-wing mode of politics. 

This scene is the real life version of the Pale man scene. the crackling of the fireplace represents the fires of hell.

 Servants moving along the outside edges of the shot (including Mercedes) – the workers work but Fascists plot. 

Extravagant display of food is hypocritical representation of power juxtaposing bourgeoisie wealth to working classes. Franco’s army unit is represented as a brutalising force of occupation and its commanding officer, Captain Vidal, as a sadistic epitome of evil: cruel to everyone including his own wife and step-daughter. His evident pleasure in torture is straight out of a psycho-horror film. The ruling elite who attend a banquet given by him are equally venal and corrupt and Del Toro clearly has little empathy for the priest and the organised Catholicism he represents. 

Experimental film examples

 Experimental film involves breaking the rules of the narrative, Mise-en-scene and genre. This could include having a split-screen which shows two different narratives happening on screen together either for a scene or for the whole movie. They also lack a traditional narrative.

An example of experimental film is David Lynch's 'The Grandmother' where there is no dialogue at all except for the grunting noises from the mother. Lynch uses stop motion sequences in the film to show the boy move about which is an example of experimental film. Mielies 'A Trip to the Moon' is one of the very first experimental films as the silent films made before this were realist films from the Lumiere Brothers. It is the first expressionist  piece of filmmaking as it's the first to have a narrative. The reason it's experimental is because it's the first sci/fi film with the characters going off-planet and this hadn't been seen before in film. Although, the film isn't purely experimental as it does have a narrative. 

The short film 'Pitch Black Heist' is an example of experimental film due to it not conforming entirely to the heist genre. An example of it subverting conventions is how the bank robbers don't want a reward or any cash which is an odd trait for bank robbers but the reason they want to do this task is to put his mother in jail. Another example of this film subverting conventions is by the characters completing the heist in pitch black darkness hence the title 'Pitch Black Heist'. These challenge the limit of the heist genre.

 Breaking the 'Fourth wall' is an example of experimental film as it bends the rules of film form by establishing a relationship with the audience. A split-screen film is also experimental as it has two narratives playing out on screen at the same time as each-other. A film that shows its end scene in the opening is experimental as it breaks the conventions of the narrative. Experimental film can have little or no editing.

Buster Keaton exam question

 I believe that Keaton is an expressionist director. However, he can also use realism. According to Bezin, for a film to be realist, the director has to be invisible which is true for Keaton with his use of invisible editing as Keaton only ever uses very minimal editing and only edits when he needs to. To make his editing invisible, Keaton only cuts on an action which is shown in 'One Week' in the spinning house sequence where the only time Keaton cuts is when he jumps into the house. This sequence also matches Bezin's definition of realism as the house is always in the dead center of the screen with no change of camera angle, even when it's spinning around everything stayed in frame with the only visible cut being when Keaton jumped inside the house. Although, there is some expressionism in this sequence as special effects are used to create a storm and the house spinning around is used to create audience pleasure. Another reason why Keaton is more of an expressive filmmaker is because he uses Vaudeville act routines in his films such as the use of the ladder and In 'The High Sign', the use of the banana skin is used for audience pleasure which dates back to the 1890s vaudeville acts when slipping on a banana skin was used for comedic gags. However, in this nobody slips on he skin. This scene shows that the position of women in Keaton's films is progressive as she does not get pushed to the side as Keaton builds their house but instead, has a prominent role in the film alongside Keaton's character. The only time editing is visible in Keaton's films is in the dog chase scene in 'The Scarecrow' where Keaton falls backwards off the building and the camera cuts to him on the ground. This use of visible editing is quite jarring for the audience as we are not accustomed to seeing Keaton cut like that. Other expressionist films at the time which had a narrative was Melies 'A trip to the moon' which was a sci/fi film. This does not fit Bezin's description of how a realist film should be.

Keaton is very much an expressionist filmmaker; as shown in 'Cops' when a bomb is thrown next to Keaton's character. He doesn't realize it's a bomb at first but a lighter. This doesn't fit Bezin's description of matching reality and is done to create audience pleasure as in the early 1920s, the anarchist bombers were very prevalent in the media at this time so the 1922 audience would off been very familiar with the anarchists bombings as just before this was shown, the anarchist bombers who had been behind the 1920 Wall Street bombing were arrested. In the exaggerated chase sequence, every cop in town is chasing Keaton through the streets. This is both a mix of expressionist and realism as it isn't realistic that a short man like Keaton wouldn't be caught by the comedically large number of cops who are all represented as stupid, useless and pathetic as they don't see Keaton escape into a building two groups of cops ran past. However, it is realistic in the sense that the cops would be chasing Keaton who they think is an anarchist bomber. The representation of women in 'Cops' is not as progressive as in his other films as she plays the romantic interest who would only marry Keaton if he is a businessman. Once again, there is no editing and the police chase is in frame the whole time. Other realism films in the silent era were the Lumiere Brothers 'train pulling into the station' sequence. His stunt in 'Cops' make him an expressionist as Keaton's creative signature was that all his stunts were performed by him. The stunt in this film was when Keaton was shot up in the air and it cutted to Keaton falling on a passer-by. This does not fit in Bazin's description of realism due to it being an edit and was done for audience response. Expressionism is used in 'Cops' when Keaton tries to communicate with the horse by using a telephone. This is an example of modern technology being implemented into Keaton's films. 

In conclusion, i still believe that Keaton's films are more expressive than realist but his lack of editing and the representation of police matches reality does make Keaton a realist filmmaker in some aspects.

Buster Keaton

 In 'One Week', this short, both partners are shown to be equals and in a civil marriage with the wife helping him to build the house and is given a lot to do rather than being forgotten about and leaving her her husband to do all the manual work. In 'The Scarecrow', Keaton is playing the romantic suitor who is in a battle with his brother to win her over. However, she plays a bigger role than a love interest as she is involved in the chase. She is shown to be the dominant one in this scene as it is Keaton who struggles to get on the horse with his the romantic interest at the front. The conventions of Keaton's short films include keeping a dead-pan face in any situation which started with his Vaudeville acts. while other silent comedy actors at that time such as Chaplin would have different facial expressions,  while when a gag happened, the camera would cut Keaton keeping a 'dead-pan face'. Anther convention of Keaton is falling over but each time he falls in a different way and does not repeat the same fall each time. Another key convention of Keaton is his lack of editing in his films.  The action is played out on screen with fewer cuts which makes for invisible editing. Usually when Keaton cuts it is when action is playing out on the screen. The only time a piece of editing is visible (which is uncommon for Keaton) is when he falls backwards of the top of the building and cuts to him on the ground. This was necessary  to do as it would off been hard to frame Keaton falling of the house and landing on the ground in just one take. For the mise-en-scene in 'The Scarecrow', the table in the multi-purpose room is framed in the dead centre of the screen. This is so you can see them use all the functions of the house without having to cut. In 'The Scarecrow', Keaton's short stature is used for comedy when his Brother who is a lot bigger than Keaton, which allows for more comedy between the two of them battling it out as the romantic suitor.

The conventions of silent comedy's are present in Keaton's short films. In 'The Scarecrow', a ladder is used for the dog to run up. Using animals for comedy is also a convention of a silent comedy. Another convention of silent comedy films are the chase scenes. In 'The Scarecrow', the majority of the running time is devoted to Keaton's character being chased. He is first chased by he dog and at the end, he and his wife are being chased on a horse. The fourth wall is broken a couple times across both films. In 'One Week', as the wife is about to get out of the bathtub, she stops when she sees the camera and a hand then covers the lens. This is a very modern pun which you would expect to see in comedy nowadays.

A convention of silent comedy which is shown in the 'High Sign' is the use of the banana peel. Bananas were imported to America in the mid-19th century and were often thrown onto the street. When they rot, they got slippy. They were used for gags in silent fils in the 1890s Vaudeville acts. However, Keaton flips this convention by not having anyone tripped it. Keaton is portrayed as the outsider who gets hired to be a hitman and the protector for the same man. There is the use of the media when Keaton finds the hitman advertisement in the newspaper and falls off the bench straight after which is a classic Keaton gag.

In 'Cops', a convention of silent comedy is the use of animals for gags. Keaton uses a horse for the first part of the film. Modern technology is shown through Keaton using a telephone to communicate with the horse. At the police parade, a town is thrown which lands beside Keaton. This is a representation of the 1920s anarchists who bombed Wall Street in 1920 which killed 38 people. The audience would of caught on to the anarchist bombings were prominent in the media at this time. The cops are represented as ignorant, stupid, pathetic and weak as the whole police force chases Keatons character through town with no one catching him despite Keaton being short. Keaton plays the romantic suitor.

Pan's Labrinth

In the opening scene, subtitles are used to tell us the year this was set in and that the Civil War is over. This is because the Civil War plays a key part in the film and most of the film focuses on the fascists while making the fantasy more of a side plot. There is a voiceover being played over Ofelia's, with a close-up of her head on her side. A blue, cold lighting  is cast over her to show these are this is a dark ending. We then get a close-up shot of her eye to show her emotions. The camera zooms into her pupil which signifies going into the darkness which is the underground realm. We hear a voiceover wile showing us this world so we know what it is and why Ofelia escaped. As we get a deep focus shot of her running up these stairs. The camera then focuses on the light from outside signifying heaven and an escape from the bleak underground realm into freedom. This contrasts with before when the the camera zoomed into her dark pupils to enter the underground realm. An argument could be made that Ofelia thought up this fantasy world and is all inside her head. Her father has died so makes sense that Pan and the King acts as father figures for Ofelia. The Captain treats her with little respect due to being female and only cares for his unborn son. This could be why Ofelia is a princess in the underground realm and is important which the Captain does not regard her as. The enchanted creature takes the form of a fairy in Ofelia's book which shows this is what Ofelia sees him as. Another reason this underground realm is all in her head is because there are no one else her age there and after moving from the city into the rural area, she could dream this world up for her own fun. 

We see Ofelia is reading a fairytale book which shows she's mentally escaping from the real world into a fictional fairytale world where she actually belongs. We get a POV shot of her exploring the forest. When Ofelia finds the eye shaped rock, this sets up for the rest of the film and triggers multiple events which leads her to the underground realm. Putting the eye back in place leads to the first magical creature she discovers which acts as the catalyst for Ofelia finding out about her life she never knew about. Her mother having the flu and Ofelia having to stop the car for her foreshadows her death as it shows she's not in good health. This will lead Ofelia to take charge and stand up for herself. Ofelia and her mother don't have a good relationship with each-other. This is shown when she tells her to stop reading fairytales and when she doesn't respond to Ofelia's claims that she saw a fairy showing she's the anti version of her. She also wants her to call the Captain 'father' which is something she should not expect from her as he is new to When Ofelia meets the Captain, we see he's a fascist who only cares for the unborn child. He want's to shake her right hand showing he likes to keep order and tradition just like how he keeps checking the time and does not like it when they're late.

When Ofelia is reading a story to her unborn brother, the Del Toro is very free with the camera, allowing to move the camera freely but is not shaky but a smooth camera movement. There is not cut in this film but transitions to the unborn baby, to the Thorn tree in Ofelia's story and back to the room. This is invisible editing as it makes it easier to watch than constantly cutting. Del Toro's free camera movement was shown before when her mother is sat in a wheel chair and the camera moves down to her baby who the Captain places his hand on showing his unborn son is the only thing he cares about. The Mother in a wheelchair and the Captain standing over her shows his dominance. 

Second Scene- Meeting Pan

 When Ofelia is introduced to Pan, he used his hands a lot which is the complete opposite to the Captain who's movement is very stiff while pan is very free with his hands. This shows he is a friendly character as he opens his arms in a warm, inviting and welcoming way. He acts as a father figure for Ofelia, guiding her on her quest as well as the King who is her real father. In another scene, Pan tells Ofelia off but later, he forgives her like a Father would do. This is why Ofelia is more attracted to this world as in the real world as she lost her father and isn't treated well by the Captain as she is seen as inferior in that world while in the underground realm, she is a princess. Pan has horns on his head which has similarities to the devil but is actually the complete opposite to him as his first words to Ofelia was 'don't be scared' showing he's a caring character who means well.

Pale Man scene

The Pale Man represents Fascism as it uses its eyes in its hands and sees only what it wants to see which links to the fascist regime as they believe their views are the only right one. The room likes like a church with stained glass windows and old murals depicting the pale man eating babies which looks like they have been there for hundreds of years which shows it was left undisturbed for a very long time as everyone in the underground realm fears him as he represents the devil of the underworld. There is a pile of shoes which links to the Nazis taking the clothes and shoes off the Jews. This is a direct similarity to the Captain having a feast which represents the pale man. This scene flips the meaning of lighting as warm lighting is used which is supposed to show comfort but this scene twists that by having the pale man in it. When Ofelia escapes back into her room, cold lighting is used which is supposed to show danger but in this scene, it is flipped to show the room as safety from the pale man. However, at the ending scene, cold lighting is used again when Ofelia is dying and warm lighting is used when Ofelia is reunited with her Mother and Father but in the pale man scene, it is the exact opposite. Ofelia is shown to be anti-authority and disobedient to Pan when she went against his orders and ate the food on the table. This is important as Pan wants Ofelia to be disobedient which she does in the final scene when she refuses to give her brother's blood to enter the world. The Captain shoots her and her own blood is used so she can enter. This was brave of Ofelia to go against Pan's orders as earlier, she promised to be obedient. 

Script- Action Plan

 Shot List 

SCENE 1

-Begins with an establishing shot in the forest to show the location of the action. This establishes the forest as the main setting of the film.

-In the opening, an extreme wide-shot will be used to get a scale of the forest so the audience can take in the setting as this forest will be used for most of my film.

- There is a POV shot of a frightened Terry running from the Android. We see him grab his gun from within his pocket when he is down.  

 -The camera follows the character through the woods as we get a POV shot of the Android.

- An overhead shot will be used, looking down on my characters. This is to create a sense of scale.

- A full-shot will be used so we get to see the Android in more detail.

- SCENE 2 

 We get a low level of shot of the android standing above Terry in a dominant way looking down at Terry as the Android is superior, making Terry look inferior looking up at him.

-When Terry falls on the muddy ground, a medium close-up shot will be used which shows the character from the shoulders up which allows to see the characters expression. 

-Another medium close-up will be used when the Android takes off his head. This is the shot that reveals he's an Android.

- When Terry falls on the muddy ground, a medium close-up shot will be used which shows the character from the shoulders up which allows to see the characters expression. 

-Another medium close-up will be used when the Android takes off his head. This is the shot that reveals he's an Android.

- We get an Extreme close-up shot of Stevie's lips as he say's an important line.

SCENE 3

- When another android walks out of the hollow cave, Terry spins around in shock. For this, I will use a whip pan shot, moving the camera from one shot to another creating a blur.

 - A cowboy shot is used to Frame the gun in Terry's pocket.

- A Full shot will be used to show the Android walking towards Terry.

SCENE  4

-An establishing shot is used again when we change location from the woodland to the underground bunker. 

- An overhead shot will be used to show Terry outside of the underground bunker with his hands gripped on the bars.

- A tracking shot will be used to follow Terry through the woods using a hand-held camera. <-a a="" an="" and="" android.="" android="" androids="" another="" army="" as="" at="" be="" belongs="" burnt="" button="" by="" can="" cave.="" close-up="" created.="" end="" ending="" enter="" extreme="" find="" flashback="" for="" free="" gate="" get="" grabs="" hand="" he="" high="" him="" hip-level="" his="" important="" in="" into="" inventing="" is="" it="" lab.="" lever="" line.="" lips="" nbsp="" neck="" night.="" of="" off.="" off="" on="" p="" pulling="" reaching="" revealing="" reveals="" s="" say="" scene="" self-destruct="" setting="" shot="" shoulders="" show="" skin="" so="" stevie="" survived="" switch.="" switch="" switching="" terry="" that="" the="" they="" this="" to="" trying="" twist="" unlock="" used="" waist="" way="" we="" when="" which="" will="" with="" working="">

- We get an Extreme close-up shot of Stevie's lips as he say's an important line.

- When Stevie and Terry turn around to see the third android, will use a whip-pan. 

-When we see the switch on Terry's neck, revealing that h's an Android, I will use an extreme close-up shot on this.

For the Android, I will use a person to be the android. I made the android less robotic and more human-like by them wearing hoodies. Each android will wear a different coloured hoodie so you can distinguish them from each other and so they don't all look alike. The main Android wears a red hoodie.  The hoodies will be useful as it confers that the story is set on Earth and not on an unknown planet which would be more difficult to accomplish a set for another off-world planet.

For Terry, he'll be wearing a white coat that represents a lab coat as he is a scientist that created the android. This coat will show Terry has an important status as he is a scientist.

- A full-shot will be used to show the yellow hooded Android staring at Terry and Stevie where it will focus on the Android in shot instead of the forest around him.

- An enigma code in this film is presented at the start when the Android is chasing Terry through the woods and we don't know the reason.

- Another twist ending revealed is that Terry is in fact an Android who was created by the Android chasing him. There are clues which suggest this including Terry spilling coffee on himself and sparks fly off him but does not notice this. This is revealed when the Android digs into Terry's neck to reveal a switch.

Locations

- Most of my film takes place in the woods with the two characters- the Android and Terry (it's creator) so I will film these scenes in a woodland area in Westerham. There is a cave in these woods with a gate blocking the entrance which will be used to show Terry running into it. The cave will be used for an underground bunker in the film. This cave will also be used at the end to show the twist ending that there are more Androids that we didn't know about.

-I have done a location scout at Westerham woods which is where most of my film takes place in. I will have to wait to dark until I film takes place in the evening.

- There will also be a scene in a Lab where we see Terry invent the android as well as the self-destruct button. This could be filmed in a kitchen as I have no access to an actual lab.

Props

- Gun prop which you make yourself. It will be used for Terry to shoot the Android.

- Self-destruct button prop.

- A red laser beam will shoot from the Android's arm.

- Two plastic knives which the Android will use on Terry.

- Fake blood to put on Terry's neck.

- Fake CCTV camera that will be used to spy on Terry.

- Masks which I will use for the face of the Android.

-  Green, orange and blue hoodies which I will use for each Android to distinguish them from one another and give the Androids a modern look.

City of God analysis

 City of God opening scene analysis

Cinematography

The streets use cold lighting and is shot through a blue filter to show these as the bad days. Even some of their shirts are blue reminding the viewer these are dark days. Its very claustrophobic with the houses packed together and having the gang chasing the chicken through the streets. When we see Lil Z, it is always a close-up shot of his teeth when he's laughing like a psychopath. He is the first person we see with a gun showing he's the leader. When we see Rocket standing in-between the police and Lil Z's gang we get the camera panning around him all sped up taking us back to the 60s. The chicken is shown to be escaping Lil Z and his gang, this represents escaping the 'City of God' which doesn't happen and isn't easy to do unless you have a dream and follow it like Rocket does. When we transition back to the 60s, warm lighting is used to show the 'good old days'. We finally get to see the sky and a whole field compared to the lack of space and claustrophobic in the present. The houses have space in-between them and are on the same level which is not the case for the favelas in the present.

Editing

Fast-paced editing is used when the see the gang chasing the chicken through the streets. A handheld camera is used here so the camera movement is all over the place and is very chaotic. We finally get a break from the chase to see Rocket and his mate walking down the steps slowly.

Mise-en-scene

A key prop used in the opening is Rocket holding the camera when he's between the two sides which will be important later on in the film as the camera is the reason Rocket manages to escape from the 'city of God' chasing his dream of being a photographer for the newspaper. Back in the 60s, when Rocket introduces himself, we get a camera shutter clicking over a close-up shot of him foreshadowing the camera playing a key part in his life and associates a camera with this character already.

Performance

 As soon as we are introduced to Lil Z, we know he is the villain of the film as his evil laugh and wide grin

 

Essay

How are the ideological themes and issues in your chosen films resolved ?

In this essay, I'm going to explore the theme of maturity in 'Shaun of the Dead'. At the end of 'Shaun of the Dead' we see Shaun now living with Liz in the same flat that Shaun was living in at the start of the film. For 'Trainspotting', I'm going to talk about the theme of drugs which leads to the end of Trainspotting where we see Renton walking away with the drug money to start a new life.

At the beginning of Shaun of the Dead, the shuffling 'slacker generation' is parodied in the title sequence. Shaun and Ed are portrayed as an exhausted generation of 'zombies' playing video games. For a lot of the film, Shaun has no idea that there are zombies as shown by him walking to the shops with zombies everywhere and him being oblivious to it. For this scene, Wright shoots a hand-held track to follow Shaun from his home to the shop across the road. The effect of this gives realism to suburbia.  The final scene of Shaun of the Dead shows Shaun has grown up and matured as he's no longer living with Ed and reverting back to their adolescence like getting drunk and listening to loud music while wearing backwards baseball caps. However, by the end, Shaun and Liz have both settled their differences and 'meet in the middle' as Liz wants to spend their day in the pub - this differs from earlier when she breaks up with Shaun for him wanting to go to the pub for their anniversary dinner. Shaun asks Liz for two sugars in his tea, something which he hasn't had since he was a teenager so he hasn't matured completely. Ed was holding Shaun back such as when he doesn't answer the phone to Liz for Shaun which was the catalyst to Shaun and Ed's breakup.

In the pub scene, It is Shaun who has to turn his life around and act like the hero by sacrificing himself so the others can get in the pub. Shaun even acts like an action hero symbolised by him showing up after they think he's dead with just his arm coming into frame to grab the bar snacks and we see him with his tie around his head and blood stains on his shirt. Shaun is also the one to shoot the zombies which is not something you would expect in a British horror movie as guns are not easy to get hold of, especially for a regular guy like Shaun, but here the pub comes to his rescue by providing him with a weapon from the wall.

In a way, the zombies are used as a way for Shaun to get back together with Liz as Shaun manages to handle tough situations and show his bravery by distracting the crowd of zombies so the others can get in the pub. Shaun stands up to Ed and finally gets the nerve to tell Ed he's holding him back which makes a change as he was constantly defending Ed like telling Pete to "Leave him alone". When they are all in the basement of the pub, Ed stays behind while Shaun and Liz escape symbolising Ed no longer coming between them and Shaun finally makes the decision to choose Liz over his friendship with Ed.

In Trainspotting, a central theme explored is heroin addiction. Renton has an overdose in the pub where he falls and surreally sinks into the carpet and loses touch with reality. We see him being taken to hospital in a POV shot with Lou Reed's 'Perfect Day' playing on the soundtrack making this scene so ironic. The combined effect of the POV shots is to make Renton seem like he's at his lowest point and close to death and to place us in his rapidly dying body. The film heavily features British music culture in the 1990s. It starts with Iggy Pop's 'Lust for Life' a song from 1977, and ending with 'Born Slippy' by Underworld from 1996. It takes the audience on a journey moving from punk to rave. In the overdose scene, Renton is seen at low-level, worms eye view that communicates a sense of life with limited ambition. Renton is literally at his 'low life' and when he falls on the floor after overdosing it represents his life being one step away from the gutter. Later on, when Renton is back in his room after being brought home from the hospital, there are sequences that are clearly reflective of Renton's deranged mind. His hallucinations seem real to him but have a dream-like quality or more the taint of a nightmare. When he hallucinates Tommy's baby on the ceiling it shows an addict enduring 'cold turkey' as he's forever disappearing and escaping.

Renton's nightmares only really become inescapable when he fights his addiction. Renton is shown to be a smirking cynic so his final treachery is not expected. He only shows compassion towards Spud as it's him that gives some of the drug money he stole from Begbie and put in Spud's locker. Renton's relationship with his parents is awkward; a sense of failure and disappointment overlaying their disgust at his addiction. McGregor plays Renton as a likeable person. What prevents the audience from despising Renton is the fact that we are positioned in the narrative to follow his journey. At the end of the film, Renton leaves Spud, Begbie and Sick Boy, and runs off with the money received from a drug deal. Renton has quit heroin and is going straight. He's leaving his violent friends behind.

In both Shaun of the Dead and Trainspotting, gaining maturity is seen as a way to move forward. Maturity as a way to be saved in Trainspotting is literally represented by Renton's parents who lock him in a room and refuse to let him out until he is clean. In both films, gaining maturity is seen as a way to move forward. Shaun is never going to move forward unless he stops living with Ed and moves in with his girlfriend. And in Trainspotting, Renton needs to stop living with heroin in his life as a way to move forward and to 'choose life' instead. The zombies in Shaun of the Dead also look a lot like those addicted to heroin or having an overdose in Trainspotting so they could have a shared enemy.

Shaun of the Dead

 The film starts with Shaun looking out of it and not paying attention to what Liz is saying. There is a close-up shot of Shauns's face which zooms out to reveal Liz sitting opposite him. At first, we are to believe it is just them two in the scene but later the camera pans to the left and right to reveal their friends are also with them. This could be because he's thinking how to change his life around and change for Liz. It starts of with a shot-reverse-shot between Shaun and Liz with Liz saying she wants Shaun to want to change. It is then revealed Ed was in this scene the whole time and the way he is framed shows him between the couple. This tells the audience the only thing stopping Shaun from changing is Ed. In this scene, Liz is clearly shown as middle class with her wanting Shaun to take her to a fancy restaurant for their anniversary dinner. Ed is shown to be working class with him on the fruit machine and constantly swearing. The couple are then interrupted by Bev and Dav. It is clear Dav does not like Shaun as he accuses Shaun as not liking his mum as he has not yet introduced Liz to her. He's saying this stuff too Shaun as he likes Liz. Bev is middle-class as she forces Dav to go to the Theatre with her which is a middle-class trait.  Ed is clearly holding Shaun back as he is the complete opposite to Liz. It is Ed who gave Shaun the idea to go to the Winchester pub for their night while Liz wants to go to the restaurant with all the posh meals whereas the pub Shaun wants to got to doesn't serve food except snacks. At the end of the opening scene, there is the use of fast-editing to show Liz, Bev and Dav calling Shaun which shows Shaun who can't take the constant haggling of them. There is a lot of pressure being put on Shaun especially from Liz who wants Shaun to change. Liz denies to not liking Ed but in reality she does and she feels he's holding Shaun back. 

Shaun's relationship with Ed

Shaun and Ed are two 29 year old's trapped in a student inflected adolescence, playing video games and surrounded by sweet wrappers. At the end of the film we see a more mature Shaun, now living with Liz. After being dumped by his girlfriend Liz, and getting drunk down the pub, Shaun and Ed play music until late and revert to their adolescence as symbolized by their reversed baseball caps. Another example of Shaun resorting back to his adolescence is reminding people how Phillip [his stepdad] is not his dad. Scene repetition is used a lot such as Shaun walking to the shops except the second time Shaun is oblivious to everyone being zombies as he's still thinking he's living a romantic comedy. Another use of repetition is the montage of three hypothetical attempts to recue Liz with a different outcome are played out.

Shaun of the Dead- Narrative Structure

Shaun of the dead fits Todorov's Narrative Theory as the film begins with an equilibrium with Shaun and Liz  living their lives as a couple as usual. The 'girl in the garden' disrupts this equilibrium as this is the first time Shaun finds out about the zombie apocalypse and realizes he can't live his life as normal. Stage 3 is restoring the equilibrium. Shaun's flash-forward attempts are his plans to restore the equilibrium by saving Liz and his mum and going up against Pete who they believe is a  zombie. Stage 4 according to Todorov is the resolution as the equilibrium is restored. This occurs in Shaun of the Dead when the army rescue Liz and Shaun from the zombie attack. Stage 5 is a new equilibrium with some things  changed. This happens in the film when we see Shaun living with Liz while a Zombie Ed is living in the shed. Shaun of the Dead also fits Propp's character theory with Shaun playing the Hero role, Ed playing the Sidekick, Liz playing the princess and Dav playing the false hero. Shaun of the Dead also fits Joseph Campbell's Heroes Journey which states 1. The Hero departs his normal life- this happens when Shaun has to adapt to the zombie apocalypse. 2. They have to adapt to this new world and overcome the challenges- This happens when Shaun and the group have to act out being zombies so they don't get caught. 3, Returning to normal life with a new skill- For Shaun, its when he has decided to act is age and get his life straight. Binary opposites in Shaun of the Dead include Mature vs Childlike between Shaun and Liz. 

Trainspotting- analysis

Right at the opening, we are instantly dropped into he action with the main characters running from the police which sums up their characters as troublemakers and the rebellious type.  The first line of the film is 'choose life' showing you shouldn't waste your life and go live your life to the fullest. The music really fits into this scene as it's very fast paced. We get a freeze frame of our main character Renton, and we get a POV shot of the driver with Renton laughing at him. In the opening scene, the main characters are having a football match when we are introduced to them. We get freeze frames of the characters individually with their names appearing on the screen which uses very fast editing when doing this. Sick boy is arguing with them, Begbie is acting aggressively and violently towards the other players and even looks happy doing it which sums up his character nicely. When the character of Tommy is introduced, he is trapped in the corner, with none of his friends helping him showing his friends aren't going to look out for him for the whole movie and Spud is the outcast with him letting the ball past him and getting yelled at for being stupid. Renton gets a ball to his face, as he falls it quickly cuts to him falling back at his house.

Back at the house, the room is seen to be quite miserable and depressing with a close-up shot of Renton lying on the hard floorboards with no carpet on it. The wallpaper is seen to be ripping off and all grimy. However, there are seen to be some beauty and not all is bad as a nice artwork is shown on the walls. This contrasts with a huge hole in the wall right next to it showing although their house is a mess, their life isn't all bad and we shouldn't feel sympathy for them at all. There is light shining into the room from the windows showing their lifestyle isn't all that bad. When we see Renton back at his parents house where they're all sitting at the table, their house feels more miserable than the house in the other scene. Their table is crammed right into the corner of the living room, with the members very close together which makes it feel very claustrophobic. The wallpaper, although not peeling off like the other room, is very bland and no bright colours that make it stand out. There isn't even any light poking into the room with no windows being seen at all as the parents shadows are against the wall. The only bright room in they house is the kitchen. Even Renton has his back turned to the camera in the shadows with no light getting to him at all. The parents are also looking down looking miserable and disappointed.  There doesn't need to be an explanation as to why Renton despises it there as we can see it for ourselves. When Begbie says he won't take Heroin, yet he is seen smoking and drinking beer making him a hypocrite. 

I think this film was popular in the 1990s because the characters are a similar age to the target demographic which is late teens. It is relatable at times like when they say people are judging of drug addicts but what people don't understand is these characters take drugs for the thrill of it and it's really easy to become an addict and hard to come of it. 

In the overdose scene, when Renton falls into the carpet is a realistic scene as regardless of whether you've done heroin or not, you can at least relate to the feeling of sinking into the floor. We get a side view shot of Renton falling as he slowly falls into the carpet but when he is given the naloxone, he slowly comes back out. Renton is then taken into a cab and to the hospital shows the friendship and care that the dealer put n for him. This could also be because he wouldn't want a body lying on his floor as I wouldn't be good for business. Lou Reads 'Perfect Day' is played making this scene more haunting. In fact, Ewan McGregor read books about Heroin to prepare for this role and went to organisations with people recovering from heroin addictions. The Renton's parents are locking the doors, it shows Renton is notable and so ill he can't leave his room at all. He then starts to get restless legs and kick his coves around as the walls of his room start to move and seem like they're closing in on him showing his deteriorating state of mind. Renton hallucinates Begbie under the covers and then the baby on the ceiling showing how painful and frighting it is when you're recovering from a heroin overdose. A game show is then being played in the background with questions being asked about heroin showing Renton can't escape it. We then see Spud sitting on his door frame with chains round his ankle as Spud is in prison and he was the friend Renton cared about most and was the only good friend to him.

The song 'Lust for Life' introduces Iggy Pop. This is played over the monologue of Renton. There were multiple jump cuts during Spud's interview to create comedic effect. Renton narrates throughout the film, his foul mouth helps contract the exhaustion of Generation X. The film is represented through the eyes of Generation X.

Captain Fantastic and No Country For Old men analysis

How far do your chosen films demonstrate the importance of visual and soundtrack cues in influencing spectator response? Refer in detail to at least one sequence from each film 

A key scene from Captain Fantastic is the funeral scene. A binary opposite is created in this scene with a Christian burial vs alternate burial. The mothers funeral set in the church has Ben and his family walking in late and acting like they own the place. There is a bright light used behind them in this scene which contrasts with the dark and sad environment of the funeral. The bright light behind these characters may symbolise they were sent from God to save the mother from being buried in the graveyard and give her the funeral she actually wanted. In the funeral scene, Ben and his family are wearing bright, hippy clothes which contrasts with the dark suits that people are traditionally supposed to wear to any funeral. This shows they're separate from society and have their own beliefs and a different take on life from the others. Due to them wearing a different style of clothing, Jack's children stat to laugh at them which shows they weren't brought up in the correct way and Ben's children are well behaved and sensible which shows although Ben isn't living the traditional American suburban family life, he still brought them up in the right way. The allegiance with Ben is fair as we symphasise with him as these people are burins his wife even though it's not what she wanted. As they drag him out of the funeral, we feel sorry for him as he wasn't doing anything wrong but was only doing what he thought was right. The contrast is saying that traditional funerals are wrong as Ben comments 'she doesn't want to be stuck inside a rotting coffin' which adds a comedic effect to the film which is why they take her body and gives her the funeral she wanted. His children are the only ones to laugh when Ben makes that remark showing they are outcasts from society and don't know how to act the correct way in public. Ben's alternate funeral for her involves singing the song 'sweet child o mine' which is much more emotional than having it take place in the traditional funeral as it's personal to them and are giving her a good send off. They then go the airport and drop her ashes in a public toilet like she requested. This seems very strange to the audience as it's not what people request. At the end scene of 'Captain Fantastic', the family are nw living on a farm. There is still a lot of greenery around the house which links to the start when they are living in the wilderness. Although, he hasn't changed his lifestyle completely as they are still isolated from the rest of society and do not live right in the suburbs. Ben now looks like a normal American citizen which contrasts with him at the start with a full beard and muddy clothes. The tyres are also missing on the caravan which shows they're not going anywhere. When they're al siting down around the table, There is a close-up shot of each child with there homework or books. This shows the children are now at school which is what Jack wanted.

An ideological issue explored is Religion in 'Captain Fantastic' like Ben's ex-wife originally being a Christian but changing her religion to Buddhism when she married Ben. When Ben says they don't make fun of anyone, his daughter reminds him they make fun of Christians although both Leslie and Bo have a love for Bach which is supported by Christians. A social issue raised I this film would be child abuse as when they're rock climbing, one of the kids slipped and broke his wrist.

A key scene from 'No Country For Old Men' is the introductions of Chigurh and Moss at the start. When Chigurh is introduced, his back is turned to the camera the whole time and when he's in the back seat of the police car, his face is still hidden in the shadows which makes the tone of the film seem like a Horror. This contrasts with Moss's introduction where we get a close-up shot of his face and shot-reverse-shots between the desert and Moss's face. Moss blend in with the western environment with the use of brown clothing making him fit right in to the Wild West. This is different to Chigurhs clothing making him stand out. However, there are noticeable similarities between the two for instance, both Moss and Chigurh trying to kill something. Moss with the deer and Chigurh with the innocent bystander. They both say the words 'Hold Still' when they're about to kill. When the officer takes Chigurh to the police station, there is the use of a two-shot angle where Chigurh is hidden among the shadows while the officer is at the front to show dominance. This adds to the general tone of the film feeling like a Horror. When Chigurh strangles the officer, we do finally get our first close-up shot of Chigurh with a crazy, possessed look on his face while he's murdering the officer. This gives the audience's first impression that he's a lunatic and will be a huge threat to our protagonist. We see Chigurh again, cleaning up his wounds in the sink but the camera is purposely placed looking down in an Ariel shot. The camera is angled this way so we don't get a clear shot of Chigurhs face as if the camera is positioned behind him so we only see his back, we'll see his reflection in the mirror. 

The film subverts and challenges the conventions of a traditional western film by the hero of the story, Moss, being killed by the Mexican villains before we reach the climax which prevents a showdown and direct confrontation taking place between Moss and Chigurh, good and evil which is expected. Instead the showdown between Moss and Chigurh takes place halfway through the film and is inconclusive. Although the western landscape is familiar to us. Another way in which is subverts the traditional western genre is by having the villain the story- Anton Chigurh feel out of place in a western but he seems like he belongs to the horror genre scubas like when he's put into the back of the police car, hit face is hidden in the shadows which makes the overall tone of the film seem like a horror. At the police station, when he's hidden among the shadows while the officer is at the front to show dominance. When Chigurh strangles the officer, we do finally get our close-up shot of Chigurh with a crazy, possessed look on his face. The audience now aligns with Bell who we now expect to be the hero of the story who will confront Chigurh. However, when he returns to the hotel room but there is no showdown between the two but instead he sits down, confused and defeated. This creates a feeling of unease and suspense (another convention of the horror genre) as Chigurh is just a few feet away from him. The final scene has Bell talking to his wife about a dream he had with a man and a boy, on horseback, venturing into darkness. This symbolises Bell's despair at the darkness of modern crime and provokes the audience to debate their own interpretations. 

Evaluative analysis

My short film 'Switch Off' centres around an inventor who is being chased by an unknown figure in a dead forest. We are instantly dropped into the action with Terry running from the strange figure in the woods. The film is a horror, sci/fi and thriller with the dead forest adding to the sci/fi element. This is because before the events of my film, there could off been a nuclear war going on which resulted in the forest becoming devastated and dead. There is certainly a horror element especially towards the end when the android tears some skin off Terry's shoulder to reveal a switch proving he too is an android. I will use fake blood when this happens and fake skin. Right at the end of the short film, there is a reveal that there is a whole army of androids instead of just three with them all looking alike. There is then a mysterious hand shown to be burnt that grabs the lever to release all these androids. The mystery of who the hand belongs to is open for interpretation as it could be Stevie as he was supposedly killed by the Androids laser or it could be that he's in-fact a traitor and was working for these androids all along.

One of the short films I took inspiration from is the 2006 film 'High Maintenance' directed by Phillip Van. I used a twist ending similarly to the one from the film where we find out one of the characters is an android. There will also be hints along the way like the clunking of metal. I included a twist ending in my short film very similar to the one in 'High Maintenance' with a switch on the necks to show the film's antagonist is an android. There are several close up shots in 'High Maintenance' of mouths while the characters are eating. This is to hint at them being androids with the clunking metal noises of the fork. In my short film, there will also be a close up shot of Terry's mouth when he speaks a short line of dialogue to hint he may not be human. An effect will be added, perhaps by slowing the dialogue he speaks or by not quite having the dialogue match the way his mouth is moving. For my reveal of the switch on Terry's neck I will have it buried underneath the skin so the Android has to tear some skin away to reveal it. This is to avoid any questions in the viewer wondering why Terry does not suspect he may be an android.

Terry is our main protagonist as he's the one who is creating these killing machines and the one having to try and escape from them during the course of the film. It is Stevie who is shown to have the hero role as he saves Terry from being killed by the android pursuing him and comes along when Terry is most in danger and in need of help. Stevie takes him away to a hideout in the woods to escape the android. The android is the antagonist here as its only desire is to kill anything different from itself. 

David Lynch's 1970 short film 'The Grandmother' also inspires my short film with the use of colours. The bright red lips of the boy from 'The Grandmother' against the dark background makes it stand out and makes you focus on this character more. This idea will be transferred to my short film as there are three androids in total and they have to wear different coloured hoodies [one is yellow, one is red and the other one is purple] to distinguish them from each other. This will contrast very well with the dark forest and the eerie background. The reason I'm making these androids wear hoodies is to not conform to the usual design of an android. Instead, these androids look more human and trendy. It could also take place in the future with these androids having a more futuristic look. At the start of the chase scene, strange, spooky noises will be played over the sequence in the same way disturbing and sinister sounds are heard at the start of 'The Grandmother' when the boy is coming up through the roots underground. 

The 2011 short film 'Pitch Black Heist' directed by John Maclean is another influence on my short film 'Switch Off'. It involves a group of bank robbers planning a heist. The complete heist is done in darkness and a lot of the atmosphere in 'Switch Off' is created by shooting the film at dusk, at night and at dawn: when Terry and Stevie are planning to escape the android it is set at night, in the woods and this adds to the unease they feel as the android could be hiding in the dark in the trees or undergrowth. 'Switch Off' has a twist ending in that the protagonist of the film ends up being used as part of a setup. This is also true of my short film, in that Terry is unaware that he is an android and is the created, not the creator. We may even suspect that he has been led to the woods thinking he is escaping when really he is running to his own death. The character of Stevie is also ambiguous as there is a chance he may be part of the conspiracy. There is a hand flicking a switch to release the androids at the end of my short film, and this could belong to Terry, Stevie or another android as it is burnt from what could be the use of a weapon. The twist endings in my film 'Switch Off' can be left open to interpretation. 

I want to leave the twist endings uncertain in my film as it makes a bigger impact on the viewer. One major twist in 'Switch Off' is that Terry is an android. This is not ambiguous and is a fact as we see the switch buried under his skin being revealed. Another twist comes after the first android is destroyed and another follows. There is a third android as well and so the idea of an army shown in the film's final scene is hinted at by these initial plot establishing scenes. Having a more ambiguous ending allows the viewer to make up their own minds abut also leaves the ending open to be made into a feature length movie which is often the purpose of short films. The idea that the android or androids in my short film keep coming back despite being destroyed is similar to the character of Jason Vorhees in the Friday the 13th movies which also has a woodland setting and has also been of some inspiration to 'Switch Off'.

A binary opposite in 'Switch Off' is Humans vs Machines. It could also be Humanity vs Technology as shown in the sequence where Terry is shown to be an android: here technology is revealed to exist within organic human flesh and blood. This reveal is the major twist of the movie but also the central shock sequence that takes the mystery and sci-fi themes into horror. This technique was also used by Robert Rodriguez in the 1996 movie 'From Dusk Till Dawn' where a crime thriller turns into a vampire horror movie halfway through. 

A cinematic influence on the ending of my short film was the ending to 'The Texas Chainsaw Massacre' when the character of Leatherface is dancing and waving his chainsaw about with the sun reflecting off the surface of the chainsaw. This links to my film with the androids walking out of the bunker collectively as an army and the sun is reflecting off their armour. This contests with the rest of the film, within the dark forest. The twist at the end of my film with Terry being revealed to be an android and was actually created by these androids is similar to the tv series and film Westworld and the Terminator films. For the effect of the laser beam striking Stevie, I could use a torch in the Androids sleeve to give the illusion there are laser weapons as part of the Androids design with sound effects from my phone being played over it.

The location of my short film will be set in a woodland area in Westerham. There is a cave with a locked gate by the entrance. I will show Terry and Stevie running into this 'underground bunker' to escape the Android following pursuit. The cave will be used again, at the end when we see the army of android caged in, waking up from their long rest which could of been years since there has been no one to reactivate them... until now. The hand will release the switch an we'll see the army marching out of the cave. I will use a side view shot when they begin to march as I can't show the gate coming up. Since there's a whole army of androids all in one place instead of just three, it will become harder to get more actors to play these minor roles so I could just hire friends to play them. The sound of traffic and background noise will confirm that it is set on Earth in a public place and not on an alien planet where none of the characters are human. This is an advantage as if I decide to extend the film, the androids could bump into dog walkers or members of the public.

If this film was made feature-length, I could have flashback scenes in Terry's laboratory where he first designed these androids. As well as Stevie researching Terry's past work in a flashback scene as he already knows about his previous creations. It could also have the androids marching Into town and smashing shop windowsAn example of a short film that was developed into a feature length is the horror movie 'Lights Out': the short film version directed by David Sandberg was made in 2013 and the feature length released in 2016.

Ending scenes

 The way in which Moss's character arc ends happens offscreen. We see Bell approach the motel talking to a woman by the pool. The screen then fades to black to show quite a lot of time has passed since Bell was last at that location. We et a POV shot of Bell in his car with the thugs getting away. Bell doesn't chase after them which shows he's quite a coward. Bell approaches the motel rom and we get a shot of Moss's dead body on the floor. A shot-reverse-shot is used to show Moss's dead body sprawled onto the motel floor so it is confirmed for the viewer that Moss is really dead. As Bell approaches Bell's wife no dialogue is needed to explain his death except him taking his hat off in a sympathetic manner.

Later on, Bell returns to the motel room in search of Chigurh. Eerie music is played as we get a close-up shot of the missing lock to show Chigurh was here before. Bell's shadow is used a lot here to add to the creepiness and making it feel more like a horror movie. When Bell has searched the house but no sign of Chigurh he rests on the sofa. By this point the eerie music has stopped playing as well as him taking his hat of. Intimate, warm lighting is used to show Bell getting comfortable. Right at the final act of the film, Bell at home with no sheriff hat or badge which shows he knows he failed his father and failed to live up to him and his legacy.

When Carla Jean enters the room with Chighrh, it is right to believe Chigurh was waiting upon her arrival and ready to play the coin toss game with her. I think shes the hero of the story as well as Bell because she's the only one who can get to Chigurh and make him think about what hes doing. She refuses to play the coin toss game with her so when Chigurh kills her she won. Although her death was offscreen, it is implied he killed her as he does the ritual of checking his shoes for blood after leaving the house. 

Opening scenes

 When Sheriff Tom Bell is introduced, we hear a voiceover being played over Chigurh being arrested. He talks about being proud to follow in his fathers footsteps of being a Sheriff and that the role of the sheriff to him is to die in action and as a hero. As he's arresting Chigurh, hes in a position of power above Chigurh with the glasses giving him authority and the blank, intimidating expression on his face.

When Chigurh is introduced, only his back us shown. Even when he's at the back of the car his face is hidden in the shadows which makes the overall tone of the film a Horror. At the police station, there is a use of a two shot angle where  Chigurh is placed in the background, hidden among the shadows while the officer is placed at the front of the screen to show dominance. As he's strangling the officer, we get a quick glance of his face with a crazy, possessed look on his face. In the bathroom scene, the camera is facing down so we still don't get a clear shot of his face. The camera is angled that way as if the we could only see the back of him we would still see him in the mirror.

When Moss is introduced, we see him hunting the deer. Unlike Chigurh's introduction we get to see Moss's face as a close-up shot is used. This is very different to Chigurh's introduction as we hardly see his face and his back is always facing the camera. Moss is seen to be blending in with the western environment with the brown clothes making him feel like he belongs here and fits right in to the wild west. A camera angle that is used a lot is a shot-reverse-shot where it cuts from a close up shot of Moss to the stretching miles of sand and then back to Moss. Although, both Moss's and Chigurh's introductions are quite similar as they both say 'stand still' to whoever they're trying to kill.

No Country For Old Men Ending Scene.

 Ending to 'No Country for Old Men'

I do not think this film has a satisfying conclusion as right from the start we can guess there's going to be a epic showdown between  Chigurh and Moss but 20 minutes before the film ended, Moss was killed offscreen by secondary characters who haven't had that much screen time which is a disappointing end to his character. We then thought we would get a showdown between Chigurh and the Sheriff but that didn't happen at all and these two haven't actually crossed paths at all. The film does not conform to the traditional western genre with the showdown which happens between two opposing characters. Another way in which it doesn't conform to the western genre is that it doesn't take place in the Wild West as it is set in 1980 even though, most western films in the 40s and 50s are set in the late 19th century. I also found it strange that throughout the film, Chigurh is an unstoppable killing machine who even causes an explosion just to rob a pharmacy to fix himself up but at the last few minutes of the film he is not stopped by a bullet but a car crash leaving him with a broken arm and a bloody face. This is quite an anti-climatic ending as I would've expect a thrilling showdown between the Sheriff and Chigurh. He even bribed the kids to not tell any of them but being the only witnesses to the crash, I believe they're bound to tell someone eventually. 

I believe the main villain was killed offscreen so we get that scene with Moss's wife and Chigurh as at this point she has lost everyone: her Husband, her mother, so now she's got nothing else to lose and isn't afraid of confronting Chiguegh and is the only character that has kept him talking for long enough and put a stop to his coin toss by saying 'he cannot pass blame to luck' as his coin toss trick decides who will live and who will survive. Although as Anton Chigurh leaves the house and checks the soles of his shoes for blood, it is implied that he murdered her even if it wasn't shown onscreen as the has already lost her husband and mother to Chigurh so has nothing else to lose. This has been done before with the accounting guy where we don't know if he's been killed or not but I believe he, unlike her, did not get murdered as he would've admitted he didn't see him there. I believe the showdown did not take place between Anton and Sherriff Tom Bell as it sets up the final emotional scene between Bell [now retired] sharing two dreams with his Wife. This is the final scene and leaves us with Chigurh, still alive even if he's damaged really, really badly, he lives to kill another day. 

Meshes in the afternoon

 Reality             

- A hand is shown to place a flower on the ground.

Thee is a shadow around the garden. 

In the film, death is shown to be a silent killer always behind her. This 'mirror-like person could be her husband. Some events are repeated throughout the film which suggests it's a dream. The establishing location for this is a 1940s garden with the old fashioned telephone giving the setting away. The film ends with the woman dead and the ending is open up to interpretation as we are left wondering 'Did she commit suicide? or did the strange figure murder her?'. Originally there was no soundtrack to it at all but later on after the film had been released, they added in a soundtrack. This is an experimental film as it pushes the boundaries of filming. Lynch was inspired by this short film and went on to direct classics like 'The Grandmother' in 1970 and 'Blue Velvet' in 1986. This inspired the Grandmother with the use of black and white in these films.  There is a binary opposite of the nightmarish vs the ordinary in this film and this contrast would be seen in Lynch's films. When we get a close up shot of the women's eyes they slowly close as we get a POV shot of her eyelids closing. This is the point where it turns for being reality to a dream. W e then get  shot of a figure with mirror for a face which adds to the dreamlike state she's in. We then get a shot of a knife on the stairs. We see she is being blown away in a claustrophobic, trapped like position. This links to the title with mesh being used to trap things in it. We get another POV shot off the woman looking down at her sleeping body from above. This is known as an out-of-body experience for the character. We then see the mysterious cloaked figure walking up the stairs but very slowly as he places a flower onto her bed. This could represent the mirrored figure as a grim reaper or as someone coming to mourn her on her deathbed. I believe the crisis occurs when she falls asleep and that cloaked figure is walking up the stairs slowly. The whole point of this was to get an emotional response out of the viewer or make them feel trapped or claustrophobic which links to 'meshes' in the title which is used to trap things in it. They use subjective camera editing with POV shots throughout when she is looking down at her sleeping body.

 Subjective filming is :

focusing on one character central to that scene. We are immersed into the characters perspective with the use of POV shots so the audience can see what the character is seeing, the use of character movements like causing a spin to show a character is dizzy and camera angles such as a close up shot of the character so his face fills up the screen and we can get a sense of what he's feeling. This is done effectively in 1998 'Saving Private Ryan' to show the after effects on shell shock. Sound is also used in that film to show he can distinctively hear what's going on around him like the explosions and but the other shouting at him 'what do we do?' sounds completely muted to him.  An extreme close up can also be used and this highlights the character facial expressions even more. The soundtrack is used to show the character's perspective like in 'Apocalypse now' with 'The End' by the doors plays over him having a mental breakdown.

westerns

 The western genre is usually set in the mid 18th century until about the early 19th century in the old west. It can be found in other countries and other genres such as science fiction, comedy and horror. The popularity of the genre took of in the late 1930s and the 40s when major studios started to have success with these westerns with the peak era in the 50s. All western films began to get more violent in the 60s and 70s and developed themes where the hero motive's were not as heroic as it was in the early western films. Recent popular films include Quentin Tarantino's Django Unchained and the hateful eight and the film No Country for Old Men. The typical setting for a western is with a mountain, desert known as the wild west.

In most Westerns, two binary opposite characters have a showdown in the middle of the desert. A close up shot is used to show there hand hovering over their holster ready to shoot. A close up shot is also used to show their eyes as they are ready to shoot. 

The Grandmother work

 In the grandmother, a young boy is trying to escape abusive parents by planting a seed that turns into an old Grandmother. The boys parents are constantly barking at him and have an animalistic behaviour. A few times in this film, the Father comes in and grabs the boy violently to rub his face in wet patches on the bed. This leads him to plant a bag of seeds on the bed and a shell is formed leading to the Grandmother being born. She cheers the boy up until the end when she suddenly dies.

The film takes place on a very dark film set. On lynchnet.com, the director said he painted walls in his house black to film 'The Grandmother'. By having a dark background he was able to contrast this with bright colours to make it more  disturbing like the boy having red lips and a red patch on the bed to show that he's wet the bed.

The film is silent but there are whistling sounds and barking sounds. The sound effects were done by Alan Splet who worked with Lynch on many other films. The location of the house is really dark and unsettling which makes it look like it's seperate from reality especially with his parents constantly barking when he's around. The boy's face is very pale and dresses in a black suit throughout which foreshadows the funeral scene at the end. The pale face may suggests he's emotionally dead as he's received so much abuse from his parents for so long.

How does David Lynch portray ordinary life as nightmarish?

Lynch has presented this with a naturalistic setting although the location of the house feels very claustrophobic as if it's seperate from reality with the disturbing an unnerving sounds especially at the beginning with the growling and animalistic behaviour of the parents making it feel very surreal and dreamlike. Lynch uses animation against live action to show the boy being grown through the roots makes it feel very grotesque and disturbing. The father rushing over to the boy as soon as he was born could suggest he doesn't want him here and he's taking his anger out at the boy. The walls of the set were painted black by David lynch and mixed with the gloomy, pale expressions on their faces makes it feel very disturbing. The pale face of the boy contrasts nicely with the bright  red lips to make the bright colour stand out and the pale, zombie- like expression could represent that he is 'emotionally dead' on the inside and that there is no hope for him as he has received abuse for a long time. The use of colours is also done with the red patch on the bed interpreting the boy has wet the bed which comes into the plot later on with the father rubbing the boy's face in it.

As soon as the boy sprung up from the roots, he has a suit on. This could foreshadow the funeral of the Grandmother at the end of the film as he was very close to her and she was the escapism for his constant abuse. It could also be a premonition that she is going to die later on. The film ends with the boy still getting the abuse from his parents and he has not escaped it and represents that the boy has nothing left to lose as his Grandmother, who cheered him up is now dead.

An example of surrealism would be the boy living with his parents as normal until we find they are anything but normal as they start making animalistic grunts and sounds so the boy is actually living in constant fear from them. Another example of surrealism would be the boy seeming normal and much more humane than his parents but perhaps this boy really is strange and abnormal as we see him wearing a suit as soon as he was born. Then the funeral scene comes at the end and we find out the reason for this boy wearing a suit is that it's to mourn for his 'Grandmother'. Lynch might be putting the message across that the Grandmother was distracting him from the violent way his parents are treating him and was form of escapism from the abuse. Now that the Grandmother is dead, Lynch puts across that the abuse will carry on. The parents are acting very violent and at the beginning are shown tone crawling on all fours like animals. The contrasts with them being human but their grunting and growling suggests they are not at all human on the inside.

Captain Fantastic: Ending Scene

 Throughout the film, there has been an ongoing conflict between Ben and Jack.  Jack is more used to the traditional American lifestyle while Ben is living the alternate lifestyle in the wilderness. At the end of the film, this has been resolved as they both get what they want. Jack wins as the children are now safe with them living with Ben at a farm house and Jack get's his children back after Jack was going to file for custody over them. At the end, they are now living on a house on a farm. This is shown with the chickens in their coop and the two daughters collecting the eggs. Their is still greenery around the house which links to the beginning with them in the wilderness. This is to show even though he now lives in a house, he has not completely changed his lifestyle as they are still isolated and do not live right in the suburbs. Ben now looks like an ordinary American citizen which contrasts with him at the start with muddy clothes and a full beard. The tyres on the caravan are missing which could imply that he does not intend to leave and is intent on staying there from now on, especially since all the children are at school now and Bo has gone to college. The children are seen doing their homework and are showing a real interest in their studies which goes to show Ben was a good father and was raising them the right way. Even  the son was giving Ben his breakfast which is prove he was raised in a good way. 

There is no voiceover in this scene and no one is talking but are instead just sitting quietly and getting on with their studies.  For each child, there is a close up shot of either their homework or what they're reading wThis is a good ending and it shows the children are at school and live in a proper home which is what Jack wanted. Although, it might not of worked out for Ben as the final shot is of him looking out into the caravan perhaps to show he's going to miss his old life of living in the wilderness and traveling around but now the children are at school he knows  this is where he's gonna stay now on which is a reason for why the tires are off the caravan.