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Forms and Convetions


Sean Usher

on 8 March 2011

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Transcript of Forms and Convetions

Developed Conventions Highline Taxi Driver In my reasearch the opening of
the film 'Taxi Driver' present the
protangonist as deep, complex and
alienated character who views the
world differently. Scorsese shows
this though close up of his eyes and
P.O.V shots in slow motion. In my film I used shots of the protangonist
looking out of the window also, with the passing
trees in the reflection to show film looking out
on the world differently, he's have a crisis and
thinking deeply about his life. I also used P.O.V
through lots of mirror shots to demonstrate this
self reflective analysis. Titles I developed the conventions of
the films i reasearched by using
inter-titles and credits to introduce
the cast and crew and entitlement of
the film 'Highline'. Soundtrack Through out the sequence I adapted to the convention
of using an orginal non-diegetic soundtrack from garage
band. I also learnt from my research that silence works
more effective sometimes more than music. Challenged
Conventions Transitions I used lots of crossfades like in the
research I studied films like 'La
Haine' that also used the following...
Straight Cut
Fade to Black
Cross Fade
Audio Crossfade The reason challenged conventions was to
specifically make the film appear different
and ultimately disorientating. I begun the
narrative with a character awaking in a field
to create instant engima and question the
characters state of mind, like films of Scorsese,
it almost questions their morality. Authority I wanted to establish the anonymous approaching
jeopardy that the character was in, like by showing
shots of authority that was higher that him. For
example the last shot of the neighbour hood watch
sign is highly significant for a narrative that consists
of two house buglers. An evident homoage/ reference to 'Taxi
Driver' through mise-en-scene because my
protagonists costume is the same to Travis Bickles. Window Reflective Shot The shot from oustside of the window was to establish the
characters state of reflective inner search, he's looking out
of the window but reflecting on his ego.

The shot was delibrately (gorilla style) duck taped onto the side
of the car wing mirror and recorded to achieve this interesting shot.
His emotion is shown through upset facial expression but
the shot on a polysemic sensiblity shows the character is looking
at his state of life and loss of diginity.
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