ENC 1102 Film Analysis Paper

Film Analysis Assignment

Write an essay which details a character’s transformation (e.g., innocence to experience).

Analysis Focus:

· Choose the best 2-3 scenes which visually show the character transforming.

· Take notes on the specific scenes. Look for visual support. Although some summary may be necessary, be careful not to turn your analysis into merely a summary. You must SHOW the selected scenes in vivid, concrete detail. Recreate the scenes for the reader using descriptive language (be a writer !) and demonstrate the transformation through the scenes you describe. Show rather than tell.

· Remember, you are making a claim ( this character undergoes a transformation from XXX to XXX) and your descriptions of scenes must SUPPORT and PROVE your claim.

· Vividly describe your character the first time s/he appears on screen, so the reader can picture her/him before the analysis. Show height, build, face, hair, how s/he carries him/herself, etc.

· Include 5 different technical terms about drama and film from the handout.

· Include at least 5 direct quotes from the film (mostly full quotes rather than partial quotes). What does your character say that reveals his/her trait or transformation? What do other characters say about this character which reveal transformation?

· Cite the film one time at its first mention in the introduction to indicate it as the primary source. Use present tense for film action and your comments /analysis.

· Integrate two additional outside sources ( reviews of the film are fine) in the introduction

HANDOUT

ambient light

the natural light surrounding the subject, usually understood to be soft.

backlighting

lighting cast onto the figures from the side opposite the camera. It creates a thin outline of light on the figures' edge.

camera angle

the position of the frame in relation to the subject it shows. A high angle is when camera is looking down, low angle when looking up.

camera movement

onscreen impression that the framing is changing with respect to the scene being photographed. This is usually achieved by actual movement of camera but also by a zoom lens or special effects.

cinematography

a general term for all the manipulations of the film strip by the camera in the shooting phase and by the laboratory in the development phase.

close-up

a framing in which the scale of the object shown is relatively large, most commonly a person's head seen from the neck up, or an object of a comparable size that fills most of the screen.

dissolve

a transition between two shots during which the image of first shot gradually disappears while the image of the second shot gradually appears; for a moment the two images blend in superimposition.

establishing shot

a shot, usually involving a distant framing, that shows the spatial relations among the important figures, objects, and setting in a scene.

extreme close-up

a framing in which the scale of object is very large; most commonly, a small object or a part of the body.

extreme long shot

a framing in which the scale of the object shown is very small; a panoramic view of an exterior location photographed from a considerable distance, often as far as a quarter-mile away.

fade-in

a dark screen that gradually brightens as a shot appears.

fade-out

a shot gradually darkens as the screen goes black (or brightens to pure white or to a color

framing

the use of edges of the film to select and to compose what will be visible onscreen.

full shot

a shot of a subject that includes the entire body and not much else.

hard lighting

lighting that creates sharp-edged shadows.

long shot

a framing in which the scale of the object shown is small; a standing human figure would appear nearly the height of the screen.

low-key lighting

lighting that creates strong contrast between light and dark areas of the shot, with deep shadows and little fill light

medium close-up

a framing in which the scale of the object shown is fairly large; a human figure seen from the chest up fill most of the screen.

medium long shot

a framing at a distance which makes an object about 4 or 5 feet high appear to fill most of the screen vertically.

medium shot

a framing in which the scale of the object is of moderate size; a human figure seen from the waist up would fill most of the screen.

pan

movement of camera from left to right or vice versa on a stationary tripod. On the screen, it produces a mobile framing which scans the space horizontally.

reaction shot

a shot that cuts away from the main scene or speaker in order to show a character's reaction to it.

soft lighting

lighting that avoids harsh bright and dark areas, creating a gradual transition from highlights to shadows.

SAMPLE ESSAY

The Ultimate Independent Woman

The Transformation of Elizabeth Tudor

Released 1998, the historical drama, “Elizabeth” is according to Variety magazine, “Brimming with royal intrigue, court conspiracies, sex, violence, treachery, bloodshed and even a touch of cross-dressing. "Elizabeth" is a superior historical soap opera that shrewdly sidesteps all the clichés of British costume drama with its bold, often modern approach. Propelled by Shekhar Kapur's muscular direction, by Michael Hirst's witty script and, perhaps most significant, by Cate Blanchett's remarkable performance as the Virgin Queen who ruled England for more than 40 years, this richly entertaining saga is accessible enough to go beyond upscale crowds and possibly find wider appeal,” (Rooney). According to Roger Ebert, “The England of the first Elizabeth is a dark and sensuous place; the court lives intimately with treachery, and cloaks itself in shadows and rude luxury.”(Ebert). This where in 1554 a 24 year old Elizabeth Tudor, daughter of King Henry VIII, is thrust into power after her Catholic half-sister Mary dies. After her sudden ascension to the throne, this naïve, spirited, young girl in love with a man she cannot have (Sir Robert Dudley), transforms into a jaded, monarch whose only concern is for her country.

In the first scene in which Elizabeth appears, the view of the camera is blurred then clears to reveal a group of young girls dancing and frolicking in a grassy field. As the camera pans out, we see a man riding on a white stallion accompanied by a young girl. As the camera zooms in on him, we see that he is quite handsome and that all his attention is on one girl in particular. As camera moves in the direction of his gaze, we see a very fair, redheaded young maiden in a flowing blue dress, regarding him as she dances gracefully with herself. Amid all the girls chattering in the background, he sees only her and requests, “May I join you Milady?” In the following reaction shot, she looks at down at him almost shyly; the ambient back lighting lending her an angelic aura, highlighting very fair skin, spritely blue eyes, rosy cheeks, and red lips curved into a coy smile as she responds, “If it pleases you sir.”

As the scene progresses, the couple is in her room dancing very flirtatiously (almost sensuously) when they hear a knock at the door and a man shout “Princess Elizabeth!” Here, Elizabeth walks to the door where guards await her. Bewildered, she listens to the charge of treason against her due to her Protestant beliefs and ailing of her half-sister’s health. She remains surprisingly, very composed refusing to avoid her fate, although she obviously frightened. In parting, the man with her (her lover, Lord Robert,) gives her these words of courage before she is taken to the Tower, “Remember who you are. Do not be afraid of them, Milady.” She then faces her captors with a quiet determination and strength and is taken to the Tower.

A scene that truly that truly depicts her naivety comes when she was released from the Tower after severe interrogation and begging her sister for mercy. The high angle of the camera that opens the scene shows the viewer that it takes place in a confessional, where Elizabeth is confessing. As she kneels down and the door opens, she realizes that it isn’t a priest that she was going to confess to, but her trusted friend Sir William Cecil. As the shock registers on her face, Sir William explains to her the reason of their meeting, “Listen to me carefully Milady, all things are moving in our favor… but listen to me carefully. Your life remains in danger; therefore you must not say anything or meet anyone whose visit may compromise you”. “No one?” asks Elizabeth. “No one not even Lord Robert.” he replies. Elizabeth then exclaims, “But he is a trusted friend!!”

Sir William then bows his head and admonishes her, “Child, listen to me, you are most innocent in the ways of the world. We must do all we must do to insure the security of your throne.”

Later in the film, as she is thrown into a time of political and religious unrest, her transformation begins in the scene where she must confront the bishops that had the power to remove her from her position as Queen. After losing an extremely bloody battle against Mary of Guise in Scotland, she must prove herself worthy of the throne. Distraught over losing the battle, she is unsure if she can rule. In one part of the scene, as she attempts to rehearse her speech, the camera alternates between a medium close up of her in her nightgown exasperated at the words that do not seem to come out correctly, and the sight of the bishops, that as the camera zooms in on them reveals their grim accusatory faces with the low-key lighting effect adding to their sinister look. As she takes her throne amid the outcries of the bishops, the camera is at a high angle, looking down at her almost reflecting the way the bishops looked down at her. She then attempts to speak, only to be interrupted and drowned out by the clamor that they make. Unfazed, she continues to speak, when suddenly one of her most trusted advisors, Sir Walshingham enters the scene, bolstering her confidence. With her strength renewed, she continues her speech, capturing the attention of the bishops, and answering their questions and allegations quite coolly and at times even with the dry humor oftentimes attributed to the English. Her defining moment comes at the ends of the scene, when she declares with great authority that had not been seen before in the movie, “Each of you must vote according to your conscience, but remember this: In your hands, upon this very moment lies the happiness if my people and the peace of this realm. Let that be upon your conscience also.”

Throughout the film, Elizabeth is pressured as queen to be married and produce an heir to her throne. She rejects various suitors including the King of Spain, and the Duke D’Anjou of France. Towards the beginning of the movie, she seriously considers Lord Robert’s hand in marriage, but alas she finds out that he was married, killing her only chance at happiness with her true love. After she discovers this, and that he had been toying with her and putting her reputation at stake all this time, she confronts him while they are dancing together. He begins by asking her why she wouldn’t see him, and one can tell that he is visibly hurt by her rejection. She refuses to respond to him, ignoring him and waiting for an explanation. He then implores her, “You must let me explain. Others will take advantage of this. Don’t believe what they tell you. They are jealous and envious because I am nothing to them and everything to you.” She then without any eye contact whatsoever and an air of seeming indifference asks him, “Do you love her?” To this he responds, “No, I love you. I always had loved you. I was afraid of losing you because I am not free.” The Queen refuses to respond to him, her anger and hurt clearly showing on her face although their eyes do not meet. In one final moment of exasperation Lord Robert exclaims as he thrusts her up and down quite roughly in accordance to the waltz, “For God’s sake! You are still my Elizabeth!” At this, the Queen’s indignation truly manifests itself as her eyes lock on his; revealing a fiery rage that was kept in check due to her social standing but that is now permeating through every pore as she retorts scornfully, “I am not your Elizabeth! I am no man’s Elizabeth, and if you think to rule, you are mistaken. ” She walks away clearly enraged and in front of the whole court, she declares, “I will have one mistress and no master.” This scene depicts as her love for Lord Robert dies, her repugnance for marriage comes into full fruition. She as a result of this becomes intent on proving that as a woman she is very capable of handling the affairs of her country with a man’s assistance or authority.

After multiple assassination attempts, the heartbreak of discovering the love of her life is married, and the treachery of many members of her court, Queen Elizabeth’s final metamorphosis is seen in the end of the movie. The scene begins with a high angle close up of the Queen’s head, and slowly lowers to reveal her whole face. Her once rosy, expressive, youthful countenance has become pale and expressionless. One can tell that she has aged beyond her years by her steely expression. As her most trusted lady in waiting, Kat, gathers her hair together, we suddenly hear snipping, followed by the sound of sobbing. As Elizabeth’s beautiful long red locks are being snipped off, dropping either to the floor or into her lap, the Queen’s face is almost mannequin-like, her blue eyes as cold as ice. The only part of her that belies any emotion are her hands as they caress the hair that has fallen in her lap. They grasp the hair almost reverently as if they were a lost treasure. Suddenly as the camera alternates once again from her face to her hair and back, there is a brief montage depicting everything that transpired during the movie. Her confrontation with the bishops, the treachery she suffered, her coronation, and even her vicious interrogation at the Tower come flashing back to her. Suddenly the montage slows down replaying the scene where she is dancing with Lord Robert before all these events changed her life. As she remembers her feeling of love and contentment, in seems that for a split second, under her stony expression, there is a hint of longing in her eyes. After all her locks had been cut off, she wipes her hair of her dress almost as a gesture of leaving the past behind. As the camera moves to show a close up of her face, and she is presented for the first time with her hair extremely short. Then in her final expression of vulnerability she bravely declares through the tears, “Kat, I have become a virgin.”

As the scene progresses, it fades into two curtains and an extremely bright light from where the Queen emerges in a full body shot, presenting her in all her majesty. Then the camera pans out to show all her court gaze at their queen in awe as they kneel before her. As she enters through the exceedingly brightly lit aisle, the hard lighting technique makes her face extremely difficult to see. As she walks down aisle, she stops suddenly extends her hand, and in an oddly powerful voice, that is as cold as steel, she declares, “Observe Lord Berly, I am married. To England.” She then assumes her seat at her throne with an air of total royalty. She is the rightful Queen of England regardless of people’s claims of her being a bastard, or a heretic. She is independent. No man will control her. She loves her country and will fight for it to the end. She is indomitable. She is Queen Elizabeth Tudor I, daughter of King Henry Tudor VIII and Anne Boleyn. Most importantly, she is the Queen, and head of her country, and is the original Independent woman.

Works Cited

Ebert, Roger. “Elizabeth.” Roger Ebert.com 20 Nov. 2008. Accessed 8 Feb. 2009.

http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19981120/REVIEWS/811200303/1023

Elizabeth. Dir. Shekkar Kapur. Perf. Cate Blanchette. Geoffrey Rush. Universal Pictures, 1998.

Rooney, David. “Elizabeth”. Variety.com. 19 Sept. 1998. Accessed 8 Feb. 2009.

http://www.variety.com/review/VE1117477818.html?categoryid=31&cs=1