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FIELEN LEE0032s8-093SOI]TH ISLAND SCHOOL003258

ROLE: EDITORGWEILO FILM PRODUCTION PORTFOLIO

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Helen LeeCandidate Number: 003 25 8-093

r'r-,,,{ l:,'t^Film RationaleFilm Noir, if defined as a genre rather than a visual ;ryIe, is one of the most well-established and popular geffes within film histoglFilm Noir often depicts a mood ofpessimism; traditionally it mirrored changthis film, this mood is modemiznd andappli

the visual imagery to distract the audienceWord Count: 100Trailer RationaleThe trailer is designed to portray the slowUntike conventional Hollywood trailers, this

and the use of shots which has symbolica wide target audience of both sexesost of the plot is withheld to add toWord Count:98

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Film CommentarvPreproductionFor my independent study I studied British and Frehbbthis stimulus, including Hollywood-style RomanceNoir might be most suitable foroir might be most suitable forexample the typical femme fata to the theory ofmale gaze (Laura Mulvey), her can-be tp:"P

Helen LeeCandidate Number 003258 093

E bafs SdYow seeye levd or hgh mgle'st|,

charactezation, which is very important due to the time constraints of a seven minute

-FF'Coms'ou'oftedoorapproaing'him'fron'b ehidfg-FF:'C'I'gae.light?lI-MC'lools'oyc'shouldc-'a sbde'bildmot''1-MC:'Yhlf-Ligbts'ha'cigucttetr.'rhe'l'ova'seductivdy'prning'theciguatc'intotheddl

she s-u so close so beautifil. she ;melt lite roses.d'hold hs''fq-MC:Dos')'owhubud'als'ays'la'ym'go'off'ud'moke'lrugegnei'louh?'f3

e staf s $'alkiug uoud'him sloNlYmd seduclilell'ud'stafs 10 @lp hiro'iu smokerI-FF:Yao.i'M-,-,'f

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to the usual image of Western dominanceWthe colonial exPloration in

4fle.nIo pUSnfllS o > plesena[m of Agtt]l-Ste.is.shol-wih a l s.l s sho{ trorn eye levd or'hgh flgle shd,this sardynolicealle ffThc.AlLyl-Eslblisherpoweroverhin rulgh lghflg > as te drl approales, her shar dlshe s vefbl sPfhg'llmatd nforce her'PoYtrovr'hl-!As she tallG she Hlks amrdrigaffte soke to symbolzetr ating a web alMd-stdjsrnfot frm ey levd tr hgh mgle shd,

Hor-ADsrr.ntl-Wle walks h,lerejs e dagmommsl to renfre'the dagm idea above > shethm ters, the tagon crt6 a sutiect to slrt theirtonvelslim th dagm 6 belked to morality s welt

@,tc'/t _,-1J,.( l, _q h,-r 7"J"c -t/a4n[r*taw. -l,l.^ .ths isaftiyfl oliceade tlmT-the)' hss, nod anElim{o1-Slp isfWe discussed camera shots and symbols. The directorand I incorporated the use of shobe lighting the shadow

to the script shown in blue,into consideration bY thef first brainstorm dePicting ourinitial stimulus.

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tm, crvntmof Fm lldr she cm trmtit andSh s sho{-witl a lolv mgle $lot ltereoshtrhai

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Helen Lee

r6etwe;feathless (Jean-Luc Godard, 1960), inspired me to use a janingtransrtlyr6etwyrytlle bedroom's attention towards the cut iffiSubsequentlylly inviting the viewer to ackowledge the severity

Jarring cut within Breathless

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Helen LeeCandidate Number 003258 093The\Iurder(4{wouds)f' The's atinE i s' a' din g,' gritl -off c er-Tne'p alctte- sho u Id' b e' dk,'ro ugh,'harch' md' gri t'-' Thc tone - shoal d'supP ort'thi d- IheJ igh rin - sh ou Id' b e' hd' md sl' rp't ith' lo ts'of shod ov s,' m d' th e-

c entral' I gh t'sh o u ld' f i c k' o n' m' ofr r-' ]lC'u ws'the's u it'see' in- the'Pt' io ls- s c e,' C EO -w e m' o.)c34 Ii+'altirerJI-.Mid-or.'fruc'MC'Aon torsotp' + - I)ne objectnae 'to'sho\''IIc'te ofmind-nd'commitmf'MC'is'nm'ot s'md'ustadily points'a' gu'at'thedhecrion'othe'mra2-.Frontal.nid-shot'of'CEO*'ho is'bchind'his'dslf-Tne objlie- is'to'itth the' them6'md'conflic E,' -vel l' -c h a c ter ize' FF in' a' n r'r','ts h i s t'fo re hadov- ing!-CEO'srs line'l'udto'lauBfu sudonielly:'rherSgaulul+t1'.li't'e'''srrreppedl'cbrof.J3-Md-sbor.'frue'''all'*'hich'has'both'MC ud'CEO' 5'silhouett6'est'agaist'ir'- Ihe' o bj e t u' e' is o'frh er t h e' them ' t' c onJl k *'' u'v d l' 'charact e'FF in -a'n ar'i' ot- t v'hils -/o ruhadow tng' d shot ing' )u{'s'foll' an d' u h imate- subm k s ionr-.Nmation'ocus'-trtB 'Nt!'c.tu-llov.d-h. 5 loD'5'5h!-srrair,-I-could'bc hep'.'I-ll-do-e4ing'forlr,cstbsrf

-CEO'laugbs'wdoilcell'CEO.says 'ilhEioD off'oGaigrfobpPirs.b.! r sn' lotr'ou!-'ot'to'black'rs he laucbsrExample of written withinitial

ProductionI was present at all shooting sessions, so I could ensure I h@ the shots I required for the editingproce;s. I also tried to minimize continuity errors which can occur between shots. However, somestill occurred in the editing process.

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gmetoinitiale

Thutd.23'd'l-'Bort.hie.(Abado.'12.30m.) - rJ + -'A!ilgeboat,'ga-cv1'oeinrogositi'-Harbscoe (Abado,'cmirueaft a1roiru'socf-Prc-rhoot's{p'(ABC- 6.oQf ).- - -'SdaP'equiPmot for'scod- - Extr'orguiatio+ +'6'6.in.thcmd.dtadt"(ABC,'7OOfmF* -Nightdubscoe(ABc.'7 30gD).aFrid4-'24'r

Example ofschedule andpractice

- -Prerboot.sc+p.G,fS,.l0.3OpF+ + -.S{D.lipmat.tlq.scoer

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Helen LeeCandidate Number 003258 093Post-Production

fra\ii;:iw:;!i:::w"lu1i,,'w;lTl'ffJi/ n4-/t I'hir th'Knyct (/ l't-4 /rt-g

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I was inspired by the use of colour withihighlight the importance of the ,qfifd I wanted to incorporate a similar gffecttole o t[e protagonist during their frst encgrafr. Rll

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rr (f.Irtltulry rvliu[r, tt+ I ).

footage was ft*rg, in colour for this purpose. The ubackgrougffie seqggnce is produced using the Coshade of the dregidithin the sequence, and then the

O,A(xcr/(e- /[

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Helen LeeCandidate Number 003258 093

implement rute of tl)tffind concentrate on focs {oigy.ome shots were lacking to produce thredit I visualized, foielample there was a lack of reacion shots from the;@xaracter from theapartment scene, so I changed the script slightly to match available u)

t

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Helen Leented onsconcncerns were the ending which the audiencewith the end of the first cut, the passive -/esperate hand actions looked overdratpa{tc andwith a still shot in which he is framed by columns,

reading is that hVtryarcly is still trapped inarlier on int,fr

at the end shouldlack of soundactresg I wase. I tried to match the sound to the visuals as much

Productl"t ,1, ., ,/ t . --,zi ^--.-, ThemovieisdominantlyofaFilmNoir '/ " " '' t^' 'z: ^--'--hlyJ The movie is dominantly of a Film Notrl^t t, FilmNoir:.cIt7 help attracl1,, evidencedLl /1 protagonist is important, moral'tft'tt'r"' ", *hii;;,";tJ,t3t:'f" iencel,tot .( Entrapment, a conventional theme within Noi, frmsrffi shown semio ,i"ffishadow of' ' the mainhe mainr predatory

by placingention of film noir movies as it depicts antion of film noir movies as it depicts a

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First two images were from the old ending, the lastimage from the new ending4lthich is more

\ I

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Helen LeeCandidate Number 003258 093

I

'lt t ^'ypy': :iql11_"1" :1i111"1'- :-,^-#L

that this is modernizecf in our film perhaps from a Western perspective by contradicting /.-"

oltlfiamera and by keeping the shot long in length'fI d^,'n

The soundtrack helps esblish the genre, the use of jazzmusfior example adds to the seduction inthe alleyway t"qu"tg{fimprovements were to he-nade- fwould sussest that traditional chineseinstruments can be utilized to help establisTrailerThe ediTffiis relatively fast to increase hype and to provide snapshots of the movie in aryigmaticstyrfoieve1 the ust>2ffre jazzmusic reflects the slow-moving nature of the m 'tt adds tothe theme oGenre needs to be established to the audience withtries to engage a wide audience, theages of rompositivelytodisplaygf-emotig2{whereaspromis

l rn r* *t

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Helen LeeCandidate Number 003258 093

through the dark p the dark apartment 6lock which isforeboding of,g

as the ones shown below, which gives him a mo

The femme fatale is not seen clear until the;dof the t "l^{this is reflective of her mysterious chargz(T\e main claracter

ot /^/,'f

Finally, I included the coloured sequence within the film; these are woven within the2Zrfely.sustain audience's interests. I emphasized the use of colour within the title seque}Iusefto produce the titles, to keep them quite simplistic and to match the calmness of the sou

Word Count t749// ^ (ct^1-.

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BibliosranhvResearch ResourcesBreathless, 1960, Jean-Luc Godard. FranceDetour, 1945,Edgar G. Ulmer. USADouble Indemnity, 1944, Billy Wilder.USASin C,2005, FrankMiller. USAThe Cutting Edge - The Magic of MThe T Men,1947, AnthonyTouch of Evil, 1958, OrsonFinal Cut ProColourMotion

ie Editing 2004, Wendy Apple. USA