Monday, March 23, 2009
chapter 8
They use the vampire Selene as the voice-over narrator because she is in the core of the action. We feel as though we are getting special insight on they story as she is talking directly toward us. We use body language and other past information we know to fill in the gaps between her narration. We get even more insight as we travel through the memories of Selene through flashbacks. The story is realistic in the way that they want the story to be real but in our minds we know it would not be realistically possible. We like the action of the story and the unrealistic story line. The story does well with making the characters human like and we can relate to them well.
Chapter 9
Both films are told from the perspective of Selene, the death dealing vampire heroin. She give us back stories and current feelings. Since the vampires are so old and the werewolves were slaves of the aristocrats, most of the characters talk pretty articulate; not too literate but just right. There are no lengthy dialogue except for when Selene gives back stories; which I think is perfect for the film. The writers let the dialogue of the characters conversing to take you through the film rather than giving a whole lot of information at one time.
Monday, March 16, 2009
Chapter 2 - Mise en scene 15 questions
Underworld
1. the blue lightining
2. low key-very dark
3. most of the time its a full shot but close enough to see the action
4. sometimes looking up other times eye level
5. blue and green/brown color
6. standard lens, no filter
7. the watchers, the man being followed, and the followers
8. the desity is moderate, all is know is the characters are fighting though there is a lot of details like the pilars in the subway
9. left, center, right, and bottom, showing the antee of the fight
10. open, the charaters are not isolated
11. loose, the characters can move freely
12. there are many layers because they are in a subway so the forground and background compliament the midground well.
13.the characters are filling the fram from all sides when together, when shot by themselfs they are regularly on the right
14. normally parellel to the camera or looking diagonally
15. there is a good bit when they are shooting at each other and chasing but when regular fighting they are closer
Underworld - Evolution
1. dark cave
2. low key, dark
3. eye view and from below
4. full shot mostly, the camera is right there in the action
5. green
6. standard lens, no filter
7. the character and his fire
8. density is low but detail is high
9. mostly centered
10. closed, the characters brother is locked in a tomb inside an underground cave
11. loose the character moves freely
12. there are many planes displaying, the tunnel and the midground is complimented by the background and the foreground
13. center, there is only one character
14. back toward camera and facing the camera
15. there is only one character
1. the blue lightining
2. low key-very dark
3. most of the time its a full shot but close enough to see the action
4. sometimes looking up other times eye level
5. blue and green/brown color
6. standard lens, no filter
7. the watchers, the man being followed, and the followers
8. the desity is moderate, all is know is the characters are fighting though there is a lot of details like the pilars in the subway
9. left, center, right, and bottom, showing the antee of the fight
10. open, the charaters are not isolated
11. loose, the characters can move freely
12. there are many layers because they are in a subway so the forground and background compliament the midground well.
13.the characters are filling the fram from all sides when together, when shot by themselfs they are regularly on the right
14. normally parellel to the camera or looking diagonally
15. there is a good bit when they are shooting at each other and chasing but when regular fighting they are closer
Underworld - Evolution
1. dark cave
2. low key, dark
3. eye view and from below
4. full shot mostly, the camera is right there in the action
5. green
6. standard lens, no filter
7. the character and his fire
8. density is low but detail is high
9. mostly centered
10. closed, the characters brother is locked in a tomb inside an underground cave
11. loose the character moves freely
12. there are many planes displaying, the tunnel and the midground is complimented by the background and the foreground
13. center, there is only one character
14. back toward camera and facing the camera
15. there is only one character
Wednesday, March 4, 2009
Cinematographer - chapter 1
Tony Pierce-Roberts is the Cinematographer for Underworld. He was born in 1944 in Birkenhead, England. He emigrated to Africa when he was 11 and worked for the Central African Film Unit on wildlife documentaries and assisted BBC crews. He returned to England in 1966 and became a freelancer. He was then fired by the BBC in 1967 where he worked for 4 years as co-assistant working with Brian Tufano. He left the BBC in 1980.
Pierce-Roberts is perhaps best known for his work on the films of Merchant-Ivory. He won his first Oscar nomination for the sumptuous compositions and Venetian locations of "A Room with a View" (1986) and earned a second nomination for "Howards End" (1992), which effectively blended lush pastoral landscapes with scenes of dingy urban confinement. He also photographed Ivory's trendy urban comedy "Slaves of New York" (1989) and the well-received "Mr. and Mrs. Bridge" (1990), "The Remains of the Day" (1993) and "Surviving Picasso" (1996).
His work has also ventured from the delicacy of Merchant-Ivory, however. George Romero's "The Dark Half" (1993), shot in Pittsburgh, was a moderately-budgeted thriller, while Joel Schumacher's "The Client" (1994) was shot in the South and Barry Levinson's "Disclosure" (both 1994) took audiences into corporate boardrooms. Among Pierce-Roberts other credits are the hair-raising thrillers "Copycat" and "Haunted" (both 1995), the comedy "Jungle2Jungle" (1997) and the Italian romance "Something to Believe In" (lensed 1996).
He has been nominated for oscars, ASC awards, and many other British awards. He has also won best cinematographer from the British Society, Evening Standard British Film Award, and New York Film Critics Circle Award. He has also worked on films such as Made of Honor, Doom, Home of the Brave, Separate Lies, and The Importance of Being Earnest. He is now working on Sweetwater and Vivaldi, which are due to come out sometime in 2009. He has worked on The Bone Collector doing camera and electrical.
Simon Duggan is the Cinematographer of Underworld: Evolution. He was born in 1959 in Wellinton, New Zealand. He was nominated for Best Achievement in Cinematography for the Australian Film Institute and won the Film Critics Circle of Australia Awards for Best Cinematography; both for "The Interview"(1998). He worked on "Risk"(2000), "Garage Days"(2002), "I, Robot"(2004), "Live Free, Die Hard"(2007), "Restraint"(2008), and "The Mummy: Tomb of the Dragon Emperor"(2008). He is now working on "Knowing" coming out in 2009.
Pierce-Roberts is perhaps best known for his work on the films of Merchant-Ivory. He won his first Oscar nomination for the sumptuous compositions and Venetian locations of "A Room with a View" (1986) and earned a second nomination for "Howards End" (1992), which effectively blended lush pastoral landscapes with scenes of dingy urban confinement. He also photographed Ivory's trendy urban comedy "Slaves of New York" (1989) and the well-received "Mr. and Mrs. Bridge" (1990), "The Remains of the Day" (1993) and "Surviving Picasso" (1996).
His work has also ventured from the delicacy of Merchant-Ivory, however. George Romero's "The Dark Half" (1993), shot in Pittsburgh, was a moderately-budgeted thriller, while Joel Schumacher's "The Client" (1994) was shot in the South and Barry Levinson's "Disclosure" (both 1994) took audiences into corporate boardrooms. Among Pierce-Roberts other credits are the hair-raising thrillers "Copycat" and "Haunted" (both 1995), the comedy "Jungle2Jungle" (1997) and the Italian romance "Something to Believe In" (lensed 1996).
He has been nominated for oscars, ASC awards, and many other British awards. He has also won best cinematographer from the British Society, Evening Standard British Film Award, and New York Film Critics Circle Award. He has also worked on films such as Made of Honor, Doom, Home of the Brave, Separate Lies, and The Importance of Being Earnest. He is now working on Sweetwater and Vivaldi, which are due to come out sometime in 2009. He has worked on The Bone Collector doing camera and electrical.
Simon Duggan is the Cinematographer of Underworld: Evolution. He was born in 1959 in Wellinton, New Zealand. He was nominated for Best Achievement in Cinematography for the Australian Film Institute and won the Film Critics Circle of Australia Awards for Best Cinematography; both for "The Interview"(1998). He worked on "Risk"(2000), "Garage Days"(2002), "I, Robot"(2004), "Live Free, Die Hard"(2007), "Restraint"(2008), and "The Mummy: Tomb of the Dragon Emperor"(2008). He is now working on "Knowing" coming out in 2009.
Intro - chatper 11
Intro
I would like to be part reviewer and part critic. I would like to focus on realism.
Chapter 11 Questions
Underworld and Underworld: Evolution are great films. They illustrate a new twist on Vampires verses lycans(werewolves). They also show triumph through dedication and perspiration, though if you don't pay attention you may get lost in all the action.
Underworld explores the idea that vampires are bad, but lycans are even worse. The movies both show the transformations of the vampires and the lycans, but Evolution furthers the traditional concept and gives one ancient vampire wings and old non-evolved lycans the incapacity to change at will. Both movies also uses codes such as the characters names, to show the link between their personalities and good or evil. For example, Lucian, the leader of the lycans, is just another name for the devil and Michael, the human that turns into a hybrid, is the name of an angel. The films stay pretty close to others in it genre; they are dark and leave you feeling cold. This is defiantly one of the better films in the action/sci-fi genre.
Some may love these films and some may hate them, it all depends on some one's interest, the movies story line, and sometimes the lead characters. Both movies play on our fears of traditional vampire and lycan stories; vampires sucking human blood and menacing destructive werewolves. But in the end, the public asks for the fear. Underworld shows we have not lost our obsession with myths and shows that maybe our youth wishes it to be reality. There are many young people today who walk around with fake vampire teeth and yellow like dog contacts.
I would like to be part reviewer and part critic. I would like to focus on realism.
Chapter 11 Questions
Underworld and Underworld: Evolution are great films. They illustrate a new twist on Vampires verses lycans(werewolves). They also show triumph through dedication and perspiration, though if you don't pay attention you may get lost in all the action.
Underworld explores the idea that vampires are bad, but lycans are even worse. The movies both show the transformations of the vampires and the lycans, but Evolution furthers the traditional concept and gives one ancient vampire wings and old non-evolved lycans the incapacity to change at will. Both movies also uses codes such as the characters names, to show the link between their personalities and good or evil. For example, Lucian, the leader of the lycans, is just another name for the devil and Michael, the human that turns into a hybrid, is the name of an angel. The films stay pretty close to others in it genre; they are dark and leave you feeling cold. This is defiantly one of the better films in the action/sci-fi genre.
Some may love these films and some may hate them, it all depends on some one's interest, the movies story line, and sometimes the lead characters. Both movies play on our fears of traditional vampire and lycan stories; vampires sucking human blood and menacing destructive werewolves. But in the end, the public asks for the fear. Underworld shows we have not lost our obsession with myths and shows that maybe our youth wishes it to be reality. There are many young people today who walk around with fake vampire teeth and yellow like dog contacts.
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