See also:  -[SF Lit]- (in literature)
           -[Film Literature]-

           -[Film Studies]- 
            -- break this out here and then xfer from mac 2001
                [Schultze Gets the Blues]

See also:  [Actores]

On this page:   {Camera Work}
                    {Establishing Character Relations}


                       {Sherman's March}
                       {THe Grace Lee Project} by Grace Lee
                       {Born Rich} by Jamie Johnson
                       {The Alchohol Years} by Carol Morley

{
Camera Work

Using Camera views/motions to create a richer
aesthetic - despite over-use and viewer expectations
of "classic" methods.

In this section:  {Establishing Character Relations}



Establishing Character Relations

   Using Camera views/motions.

Not only what the character says establishes
their order in the plot/drama hierarchy, but
can be used to establish the dynamics of the
interactions between characters. 

For example, in "2001" in the "Explorer Discovery One"
phase, the camera finds one character climbing down
the ladder into the main "stage" for this "Act".
Also, to echo the isolation of the situation, the
two astronauts sit far apart - hardly interacting.
This is echoed by the fact that then interact with
the computer (or view screen) more than with each
other.

Note the use of "distancing" - in this case: The
classic Dispationate View. This view of an intense
scene (mastered by Hitchcock in the long pull
back leaving the main action so small on the screen
as to be indiscernable; eg, "The Birds" during the
"Gas Station" scene - contast this with "blood, gore,
and explosion" of a similar scene in RoboCop. 
 
In the scene "replace the AE-35 unit", the camera
establishes the procedure: One man in the control
room, the other performs the EVA (Extra-Vehicular
Activity). But, again they are physically appart
-- separated by the circuit board (mystery element).
Then, when they confer, the back-forth movement
between them (in close up and frontal views) with
the appropriate pauses for each to reflect on what
the other has said. This establishes the mutual 
respect for each other - note how this contrasts
with most action-adventure formats. Once the problem
has been identified (the board isn't bad, is the
computer ok?) then then the working out of the
alternatives takes on the character of deep discussion.

This can be used with the closeup as well as the pan
around can be used as each person presents their 
ideas/analysis of the problem at hand. This occurs
nicely in "Star Trek: Insurrection", as all of the 
pieces of the puzzle are placed before us - meanwhile
the camera circles the three protagonists set in 
B/G of the very puzzle which confronts them: And
hence the *major* reveal of the over all plot by
the antagonists.

Again, this "deep thought" is contrasted to a quite
emotional outburst by the antogonists - and this
establishes the basic character of the conflicting
individuals. Contrast in "DieHard" the calm analysis
and preditory thinking of "Hans" (Alan Rickman) who
at first has control of the situation compare to
the shoot from the hip reaction of "McClain" (Bruce
Willis) - he has to keep telling himself: "Think,
McClean. Think!" -- thus, showing that despite his
ability for quick/violent action he IS capable of
the same rational (although no where as dispationate)
thinking as the antaogonist. In this case, the
"connection" is made via a walkie talkie - a common
techno trick in modern work.

Note that this plays against the "master plan" of
the antagonist and is used inject acknowledgements
by the antagonist of the protagonist's prowess and
worthiness as an adversary. Classic to this the
phrase uttered by the antagonist: "I under-estimated
you."

Again the emotional message (and therefore various
measures of the actors/extras/etc) is taken directly
from their reaction to the events - parallel to the
protagonist or antagonist as depending on their 
alignment. It also allows for the "hot headed"
over-reacting character who is sent out "knight
like" as a foil against the protagonist. In some
cases of course, a "reconning" occurs in each camp
to show who "thinks they are in charge", and of course
they are almost inevitably (in most forumlaic action
adventure films) proved wrong. This leads later to
the again classic response by the protagonist:
"I hate it when i'm right." in ironical response
to "I under-estimated you" this reads as "Yeah,
but i *didn't* under-estimate you."



  

Sherman's March

[imdb entry]

Try to find the extraordinary in the ordinary.

Metaphorical movement:

"Finally i headed south to see my family" (voice over)
Parallel to this, he walks out of frame (stage right).

If the text or the view that is shown is interesting (or
intricate), then DON'T use a lot of camera movements
or zooms (in or out).




  

The Grace Lee Project

  [imdb entry]

Interchangeable drones.

Doomed to a life of perfection.

Loss of idenity. And yet the sense of being cast from some sort
of archetypal superstruct. 




  

Born Rich



[imdb entry}



  

Carol Morley


{imdb entry}

Cutting back and forth..

Use of a repeated prop (the duck or the horse on a stick) 
Voice over from one person (a woman)
Video of a man (supposedly one of her lovers)
and then cutting over to the duck