Cinematography and Sound in The Avengers

How do cinematography and sound create meaning and generate response in the ‘Subjugation’ sequence in The Avengers?

Be sure to only watch the first half! Part 2 will come later.

 

Joss Whedon’s superhero sci-fi blockbuster The Avengers (May, 2012), distributed by Marvel Studios, uses micro-elements such as a variety of cinematography techniques and diegetic and non-diegetic sound in the ‘Subjugation’ sequence to generate the required response from the sinister feel of the sequence from the spectator. This five minute sequence, which occurs roughly 45 minutes in, shows Loki (Tom Hiddleston) as he reveals his plans for world domination and human subjugation before he surrenders to Captain America (Chris Evans), Iron Man (Robert Downey Jr.) and Black Widow (Scarlett Johansson).

 

The sequence begins with an establishing shot of the location of the gala which makes it obvious where the action is going to take place. The shot is accompanied by non-diegetic orchestral ambient sound to create a regal, relaxed atmosphere. However, the tone of the music is slightly disquieting and almost too calm which suggests this is the ‘calm before the storm’ and subtly warns the spectator that something is about to happen. It is followed immediately by a reverse zoom that reveals the source of the music and the non-diegetic sound is suddenly made diegetic. The music continues, subtly getting higher and higher in pitch to build up to the inevitable oncoming action, and a series of small panning shots are used to show the number of people there, although the amount of noise the people are making is oddly disproportionate to their numbers. Any noise from the attendants of the gala is muffled and no distinct words can be made out. This shows that they are still blissfully unaware of the danger that the spectator knows lurks nearby and makes it seem like their opinions are unimportant and will not be able make their voices heard once the action has passed.

The sequence is linked together using close-ups of the violin strings as the music is currently the most important aspect of the sequence so far. It creates a bridge as the sequence transitions to a new location. A subjective shot is used to show a man walking into a room and a tracking shot is used to follow him in. However, when the man moves to the left of the camera and the stars-and-stripes of the uniform is revealed it becomes clear that this man is Captain America, and will be directly involved in the impending action.

The now non-diegetic sound of the violins continues as the sequence yet again transitions to a different location to a two shot of a pair of guards standing on watch. The quick selective sounds of the arrows hitting their targets give the action finality and a series of cinematographic techniques comprising of: a close-up; a pan; a zoom; and a high shot are used one after another to emphasise the guard’s confusion as to where the arrow came from. The first guard to be hit by an arrow was off camera at the time and the second, although aware of the archer’s presence, was unprepared for his arrow. It is clear, from this, that the archer is a highly skilled assassin and has had much experience in this field from the cool and collected manner he released his arrows and how effectively he killed the guards from such a long distance. Even though this is the first bit of action in the sequence the continuation of the contrapuntal music suggests that this is not the action it has been building up to.

 

The soft, relaxing tone of the music contrasts sharply with the violence of the action and, after, the shot tracking the movements of the plane. The music makes these shots seem less dramatic than it should be which makes it clear to the spectator that the worst of the danger has not yet come. However, this changes when the music momentarily takes a dramatic turn as the camera tilts up from a person’s walking stick to his face - revealing the antagonist, Loki. Through a series of low and high angle shots it is noted that Loki believes himself superior to those in the room. For example, one shot shows him looking down at the people gathered in the hall from a balcony; they are made to seem inferior to him and he is put into a position of power that shows he will have the upper hand in the upcoming action.

The asynchronous sounds of the violins and the synchronous sounds of the sound effects have been used to reinforce the effect of the beginning of the action and give the sequence more impact. As asynchronous and synchronous sound has not yet been used in the sequence the spectator is instantly sure that this is the start of the action. The tempo of the music picks up and the sound becomes more dramatic and sinister to reflect Loki’s plans for the man he is attacking. There is a brief close-up of the metal instrument he is holding to state it’s important to the sequence until the camera cuts away and focusses on a similar instrument in Hawkeye’s (Jeremy Renner) hand. This leaves the spectator in little doubt that the two are working together and makes the spectator feel confusion as to why an Avenger is working alongside the antagonist of the narrative. The question is soon answered when the camera cuts to a close-up of Hawkeye’s eyes; they are the same colour blue as the light from Loki’s staff and are quite expressionless; that forms the conclusion that he is having his mind controlled.

Part 2 

 

The music fades to silence as they take the metal but almost immediately picks up again into something much more dark and sinister as Loki’s armour materialises. The fact he is now wearing armour makes the spectator think that he is now unstoppable. We watch this from a low angle to support the idea that he has power, superiority and status. Also, the camera tracks his movements with a slow pace to match his own calm and collected manner then cuts to a low angle of everybody’s feet but still moves at the same slow pace. Instead of feeling frightened like the attendants of the gala it makes the spectator empathise with Loki. The camera stays low to track the urgent movements of the peoples’ feet as they are all united in the same panicked state but tilts up on Loki as he is the only one in the crowd unafraid. The shot continues by panning around 90° to show the large number of people he has frightened and makes the spectator wonder how one man has managed to cause so much mayhem.

The sequence continues by using a series of selective sounds to emphasise Loki’s suddenly unearthly appearance, such as the sound effect of the blue beam of light hitting the police car, the sounds of the clones appearing and the echoing sound of the staff hitting the ground. However, each of these sounds is relatable to the spectator so make them seem more realistic. For example, the sounds of the beam and clones are similar to sound effects from Star Wars (George Lucas, 1977); the beam like the sound of the Death Star lasers and the clones like the lightsabers. As soon as the staff hits the ground and the group of people are enclosed in light the sequence is given a claustrophobic feel even if the spectator is watching from a safe distance. This allows the spectator to become emotionally involved in the film without being directly in the action.

The music quietens drastically as Loki raises his voice to demand subjugation to put even more emphasis on the already enhanced volume of his voice. It remains quiet and subtle whilst he is talking to make the spectator listen and to put emphasis on his sinister words; the camera cutting between the frightened looks on the crowds faces and the reverse tracking shots of Loki walking between the kneeling people. The camera tracks back at the same pace as Loki so the spectator never feels he gets unnervingly close but always feel they are at a safe distance.

The dark, sinister music turns into something more hopeful and patriotic as Captain America arrives and Loki falls from a position of power to a weaker position through the use of an extremely brief tilt down. The positions of superiority and status have been temporarily reversed so low angles are used for Captain America and high angles for Loki. However, this only lasts for a few brief seconds until the camera falls back to eye level for both characters. This evens the playing field slightly and gives no hints to who will come out on top in the impending fight.

The ensuing fight sequence mostly uses a steadicam to smoothly follow the quick pace of the fight without placing the spectator too close to the action like a handheld cameras movements would. It also makes the action easy to follow; a technique, I have noticed, that is used in many other films of the Marvel superhero genre like Captain America (Joe Johnston, 2011) and Thor (Kenneth Branagh, 2011) to capture the audience’s attention and to fulfil the spectator’s wishes of wanting to see ordinary people with extraordinary powers – one of the main reasons people like to see superhero films. This technique satisfies those needs by never letting the spectator miss a moment of the action.

Throughout the fight sequence there are subtle hints that determine who will be victorious, like the use of Captain America’s theme music and the close-up of the determined look on his face before he rejoins the fight. Although, the use of a brief tracking shot from a low angle on Captain America’s side to a high angle on Loki’s, shows Loki is in the stronger position so makes it seem as though he will be the victor. Also, the purpose of the low angle when Loki is trying to subjugate his opponent is used to make him seem he is as tall as the building behind compared to the somewhat insignificant height of Captain America. These allow the spectator to draw their own conclusions about who will win, however, the predestined rules of the Marvel superhero films means that the protagonist will always prevail in the end.

The sequence concludes with the arrival of Downy Jr.’s, Iron Man. This confirms that the protagonists of the narrative will be victorious and allows the spectator to relax for the rest of the fight. The audience is made aware of Iron Man’s presence with the use of the song ‘Shoot to Thrill’ by AC/DC blaring out of the plane’s sound system. The use of heavy metal music has always represented the character and a similar technique was used at the beginning of Iron Man (Jon Favreau, 2008) where the song ‘Back in Black’ by the same band was used as the army trucks drove through the Afghan desert. The fight is well and truly won when the camera focusses on Iron Man’s guns and projectiles to emphasise that Loki is out-gunned and has lost. The sequence finishes with a two shot of Iron Man and Captain America looking down at the camera and, for the first time, the spectator is put in Loki’s point of view (POV) as he finally surrenders – putting the audience both actively and emotionally involved in the sequence.

 

Whedon’s use of cinematography and sound in this sequence clearly evokes a feeling of unease and excitement from the spectator but without ever getting the audience too actively involved in the action to create a more pleasant cinematic experience.

Documentary Techniques used in Jesus Camp (2006) and The King of Kong: A Fistful of Quarters (2007)

Compare how different documentary techniques are used to engage and create impact for the spectator.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

There are five different forms of documentary; observational documentaries are often used to follow a narrative and view what is happening from an unobtrusive, ‘fly on the wall’, perspective; investigative documentaries introduce a problem or question and then seek to solve it; ethnological or educational looks at the lives and culture of a particular group and seeks to educate the spectator of it; drama-documentary dramatizes an event and uses fiction film techniques as well as, sometimes, using ‘voice of God’ narration and mockumentaries are, often comical, fiction films that use documentary forms and techniques to suggest reality in its content. Even though each documentary type has its own set of distinct rules and techniques, a documentary that only complies with one of these forms is rarely seen. Neither of my two documentaries, Jesus Camp (Rachel Grady and Heidi Ewing, 2006) and The King of Kong: A Fistful of Quarters (Seth Gordon, 2007), both primarily observational documentaries, comply with only one form.

As both documentaries are observational they set out to inform the spectator of a particular subject and allow the spectator to form their own opinions on the matter. However, techniques that are expected to force biased opinions upon the spectator are still used. In Jesus Camp, the spectator expects an in depth deconstruction of the beliefs and opinions of Evangelical Christian children and an explanation into why they behave how they do and believe in what they do. Controversy, politics and religion and indoctrination were also expected. The King of Kong, the story of a man trying to break the Donkey Kong world record, was made to be a much more light-hearted, entertaining story with the use of certain documentary techniques to get the spectator to sympathise with the main character, the Donkey Kong challenger, Steve Wiebe, and dislike the champion, Billy Mitchell.

To get the spectator to sympathise with the children and understand the seriousness of the documentary’s subject, the directors have used techniques such as unsettling music and extreme close-ups on the children’s faces, particularly in the unnerving scenes of ‘possession’. The close-ups show the children’s tear streaked faces and pulling grotesque faces as they talk unintelligibly, seemingly possessed. One particular shot of a young girl no older than ten, clasping her hands together in prayer with a reverential expression on her face and tears running down her cheeks was used for the promotion of the film and created a shocked and sad spectator response. The use of these images enforces the saying “scare, get people to care” The brainwashing and indoctrination of these children, shown through the use of extreme close-up shots, eerie non-diegetic sound and the use of biased interviews with opinionated parents and the pastor, Becky Fischer, exposes the use of children in religion, shows the influence these people have in society and, most importantly, shows the dark side of religion which generates a strong emotional response from the spectator.

 

In complete opposition to Jesus Camp, The King of Kong allows the spectator much more freedom to develop an opinion on the subject. However, techniques to generate biased opinions are still used. The central character, Steve Wiebe, is depicted as a family man and a secondary school science teacher, which makes him almost instantly likeable and relatable to the spectator, whereas Billy Mitchell, the record holder, is shown as “a bragging, cocky and meddling gamer who won’t give Wiebe his due”. The spectator’s dislike for him is heightened when he refused to accept Wiebe’s challenge to a game, making him seem cowardly. The editing techniques used in these scenes give the spectator the impression that this documentary has a protagonist and antagonist.

 

 

In my opinion, the use of the interviews with Becky Fischer (Jesus Camp) and the clips of her speeches were the most effective way of provoking my anger, as I knew she was one of the main sources of the children’s indoctrination. As for The King of Kong, the film convinced me that Billy Mitchell was an unpleasant character when actually, as I soon realised, the footage, chosen from the many hours of footage available, was purposefully cut that way to force that biased opinion on me. Both films have been very successful in generating the required response from the spectator, shock and enlightenment from Jesus Camp and enjoyment and happiness from The King of Kong.

How has Avatar changed the way film is made?

How has James Cameron and specifically the film Avatar changed the way film is made?

 

James Cameron’s sci-fi blockbuster Avatar has become the biggest film ever made, with a budget of $273 million and grossing more than $2 billion. With a budget so large it has allowed Cameron to use the most advanced film making technology such as virtual and 3D fusion cameras, by far surpassing the film making technology of pre-Avatar cinema.

The use of motion capture in Avatar allowed the actor to act out the scene whilst being filmed by a virtual camera. A computer creates a skeleton of the actor and the alien is created around it. The alien’s appearance can be altered but the movements of the actor stay the same. As it is almost impossible to capture emotions on a completely computer generated being, full CG emotion capture technology was used. This allowed Cameron to change the acting without changing the actor. Most of the performances were done in front of a mixture of virtual (green screen) and real set designs. This meant that Cameron was not restricted in the amount of space he had to shoot and could achieve a world that seemed infinite. These techniques and effects could not have been achieved back in 1995 when the idea of Avatar first came about as the technology did not exist so a world so rich and diverse could not have been created from nothing but a green screen.

Even though the film is set on a fictional planet (Pandora) Cameron has tried to make the environment as relatable to the spectator as possible. Although it is not obvious at first, certain details of the landscape are familiar. For example, the dense forests of Pandora have been inspired by the rainforests of Venezuela and the floating mountains inspired by the cliffs and mountains of China. These environments could almost be plausible if it wasn’t for the eerie, other-worldly quality of the floating mountains and luminescent botanic life. However, Cameron thought that it was feasible for the plants to light up as the low levels of light would mean that the plants would have to evolve luminescent. At this Cameron has shown that each detail of the ecosystem, however insignificant, has been carefully thought through and is important to create a world that is as realistic as possible. Cameron has managed to create a world that has a perfect balance of fantasy elements and realistic environments you might see on Earth.

Not only has the environment been created to feel realistic but also the props, costumes and performances as well. Cameron wished to make the people of Pandora different from anything we had seen in cinema before. However, this meant starting from scratch. The costumes and props were all hand made out of materials like wood and hair and bone; materials that the natives would be able to find in a richly forested world, to give them an authenticity that could not have been achieved had they been created by computer. To make the performances more authentic Cameron put the actors through a series of physical and language training exercises to make sure they were moving and talking in a way that reflected the natives way of life and matched their appearance. It was clear to Cameron that their feline features and tall lean bodies meant that they would move silently and gracefully, so he put all his actors through workshops to develop their movements into something that would both distinguish the aliens from anything we have seen before and work in motion capture.

Cameron’s use of advanced technology, authentic props and performances and relatable environments all combine to make a film that is rich in science-fiction and has influenced film making in the four years since it was released.

The Lord of the Rings: The Fellowship of the Ring (2001) - Review

The Lord of the Rings: The Fellowship of the Ring

“You Shall Not Pass!”

If I don’t successfully convey just how epic I believe this trilogy of films to be I will consider it a personal failure on my part. Now, let’s talk some epic business!

The Lord of the Rings films are the movie adaptations based on the beloved fantasy books written by J.R.R. Tolkien. It follows the story of young Hobbit, Frodo Baggins, who acquires an evil ring of power and goes on a journey across the mythical land of Middle-Earth, to destroy it, thus destroying evil forever. Accompanying him from his comfortable little hobbit-hole (want one!) in The Shire are his three curly-haired friends; loyal gardener, Samwise Gamgee, troublemakers and comic relief Merry and Pippin and the iconic Grey Wizard, Gandalf, played superbly by Sir Ian McKellan.

Slightly contradicting the film’s own title, the Fellowship is only formed in the second half of the movie. Usually, when a film has a long introduction, I start feeling impatient; however, the first half of the film has events entertaining enough among very good character development to keep the spectator’s interest piqued. The incredible prologue describing the history of the ring, Bilbo’s (Frodo’s Uncle’s) birthday party and a thrilling chase between a she-elf and the formidable Nazgûl are amongst the attention grabbing scenes.

When the Hobbit’s reach the safety of the elf haven, Rivendell, a council is formed to decide what they must do concerning the Ring. There is only one choice. Enter the lion’s den of evil, Mordor, and cast the Ring into the fires of Mount Doom (could have been given a more imaginative name, I feel) – the only place it can be destroyed. And so, the Fellowship is formed, which includes the four Hobbits, Gandalf, Gimli the Dwarf, Legolas the Elf, Boromir, a Human warrior and the Ranger, Aragorn.

Aragorn is a key member of the Fellowship as he is destined to be the King of Gondor, but strayed from that path, afraid of following in his ancestor, Isildur’s footsteps, who did not destroy the Ring when given the chance. If director Peter Jackson had cast the wrong actor to play Aragorn, this series of films really would have crumbled. Luckily, Viggo Mortensen smashes it!

Even though the CGI was much more limited when the film was released in 2001, Peter Jackson has done a good job at creating realism with his computer generated sets and creatures. Although most of the locations seen in the movie are real, viewed by awesome, sweeping, aerial shots, one of the most memorable sequences in the trilogy comes from the computer generated Mines of Moria. The spectator admires the vast halls and caverns of the underground city and marvels at the realism of the cave troll and the enormous Balrog of Morgoth; a formidable opponent for Gandalf the Grey.

At this point in the review I feel as if I need to mention Howard Shore’s score. He has created, in my opinion, one of the most memorable and moving soundtracks I have heard; from the chirpy Concerning Hobbits theme, to the epic Fellowship score everybody associates with these films, Howard Shore never disappoints. Gandalf’s Fall, coupled with Frodo’s anguished cry of “NOOOOOOO!” drawn out in slow-motion had the tears falling, thick and fast.

The movie wraps up with Frodo and Sam leaving for Mordor alone, Gandalf and Boromir dead and Aragorn, Legolas and Gimli searching for Merry and Pippin, who had been captured by Uruk-Hai (orcs on steroids). This is the perfect place for the movie to finish and I know that most people are probably ready for the three and a half hour long film to end at this point (the extended version is over four hours!).

The Lord of the Rings: The Fellowship of the Ring is a strong start to a very epic trilogy of films that has created an army of rabid geeky fan boys and girls, as I predicted when I first watched it, and who would watch the whole twelve hour extended experience with big smiles on their faces.

Warrior (2011) - Review

Warrior

I will admit, to my ever-lasting shame, that I had never seen Warrior until a few months ago. After experiencing almost every possible emotion you could want from a film, I am frustrated that I did not watch this movie when it was first released in 2011, so, as recompense almost, I will write a (probably incoherent) review.

The film is focused on two brothers who both enter the mixed martial arts competition, Sparta, to win the $5m prize (sound familiar?), whilst also dealing with their own strenuous lives and coping with their, honestly, quite crappy childhoods. Tommy, played by the ever-watchable Tom Hardy, is an emotionally damaged ex-marine gone AWOL who epitomises Andrew Spicer’s ‘Angry Young Man’ (and also sports a pack of six extremely defined abdominal muscles – I happened to notice). Meanwhile, Tommy’s brother Brendan (Joel Edgerton), the lead character – and all round nice-guy – is immediately depicted as less-than-manly as the spectator’s introduction to him see him having his face painted becoming a princess. He is the family man with an average job who needs that prize money to pay the mortgage.
 

 

I love broken and damaged characters, and none in this film is more broken and more damaged than Strepsil-proof, razorblade gurgler, Paddy Conlon, wonderfully acted by Nick Nolte. As the spectator soon discovers, Paddy represents the warped side of patriarchal authority and subjected both his sons and wife to physical abuse, but is a thousand days sober when we are introduced.

 

There are a few tear-jerking moments in Warrior, all provided by Nick Nolte, including one particularly touching moment (a personal favourite!) when Paddy breaks his sobriety in the aftermath of an especially vicious argument with Tommy, and is cradled, childlike, in the arms of his youngest son as he realises the true extent of his failure as a father and as he mourns the lost opportunity to be loved by his children.
 

 

Despite the generic plot idea, Warrior is a film about hope and family and redemption, with fighting and not vice versa – as so many people who have not seen the film have complained. So between the moments when even guys will feel the man-tears flowing and those that make you jump off of your sofa, punching the air and shouting “Hell yeah!” you have an exquisitely acted movie that shows, once more, that Tom Hardy is a genius.