Blog Assignment #6

In the scene from Wall-E the director did not break any of the rules.

Let us first look to the Rule of Thirds. In each shot the focal points clearly met up with AT LEAST one of the four intersections created by the imaginary divisions., or were framed by theThe 30 degree rule is hard to stipulate on, mostly due to the scene cutting to different areas. It wouldn’t be hard to believe that we’re only seeing Eva every five minutes. The background she is in is so general and so unspecific that we can’t tell whether or not the camera is moving 30 degrees or just changing locations all together. The second and third shots are continuous, and they do follow the 30 degree rule.

The 180 Degree Rule is followed in all instances. In shots two and three it is followed, but just barely, as the camera movies exactly 180 degrees or maybe slightly less. Between 3 and 4 it is followed because we cut away to a Wall-E who is watching silently from behind garbage. Because these are all mostly cuts to something outside the scene (as we couldn’t see Wall-E before shot 4, so we broke no lines to see him, and we can’t truly even tell exactly where he would have been), the 180 degree rule is followed.

I think the directing talent in the scene is spectacular. Besides being visually appealing to watch, the cuts and the mysteries angles, as well as the moving in and off-screen really set up a sense of mystery. We’re just as curious as Wall-E is by the end of the scene of what Eva is. Could the rules have been broken? Maybe, but it wouldn’t really have accomplished much except continue to tangle up the shots, which due to the cuts are already pretty tangled. Also if the rule of thirds was not followed, then we might have lost Wall-E and Eva in the trash. So the director’s choice to follow the rules was not only to make the movie more visually appealing and make the story flow in order to peak our curiosity, but it was also mandatory in order to better see the characters.

Blog Assignment #8

I'm sorry it's partially in Spanish...

STEP TWO:

While 500 Days of Summer has many themes, but one of the main ones that I pick up on is how your expectations do not always meet reality. Tom has so much hope and love in his relationship with Summer in the beginning, but by the end, the reality is that they are not together, will not be together, and Summer has moved on. As this is not a movie for children, the theme is very active, since most over the age of 14 have some experience (no matter how seemingly insignificant) with failed romantic hopes. This scene is all about expectations vs. reality, as the screen is even split down the middle to show each of these instances.

STEP THREE:

Line is of HUGE importance in this scene. Besides continually directing the viewer to both the faces of Tom and Summer, the biggest thing that it does is separate expectations from reality. The stark line down the center represents the stark difference that expectations may have from reality. Tom goes up there intending to win Summer back, and in the beginning of the scene, even though the screen is split, the images are very similar. You think, yeah that’s what’s gonna happen, they’re gonna fall back in love. But as the scene moves on and you see one side spiral into a less happy ending, you know it’s the reality. You just KNOW. They don’t have to tell you because you know from your own personal baggage that sometimes that’s the real reality—life is not a sappy chick flick.

Movement is also key in the scene as it is what keeps the scene going along, and allows it to get away without much dialogue, making it more artistic and sink in. After all, sometimes when you’re in a situation where your expectations do not meet reality, it doesn’t even seem real—like it’s moving so fast, and your just staying still (which as the viewer, you are).

The combination of this scene allow it to be an active, not didactic movie, as the theme is illustrated artfully, but not shoved down our throats. This contrast that we learned from week one is supplemented by another contrast from week one: Tension and release. From the moment reality splits from expectations you just want the scene to be over—for Tom’s sake. You want the awful tension and heart sickness he’s been feeling to be over. So when he walks out and becomes animated in the street and is no longer “real” you breathe a sigh of relief, because for right now, his tragedy is over. These contrasts reflect the scene.

Blog Assignment #7

One of my all time favorite movies is Disney’s The Little Mermaid. No really, I dressed up as Ariel from ages 2-9 before my parents finally made me branch out of the mermaid genre. So when asked to do an assignment on animation, it only made sense to choose this movie, since I know absolutely everything (or at least I did at one point) about this magical movie.

So first, let’s look at The Little Mermaid underwater.

When under water the foreground colors are cooler, making a warmer colored Ariel, advance in the frame. The colors making up Ariel are brighter and more saturated then the murky colors in the background, not only making Ariel advance, but also putting her, and her brightly and saturated colored cohorts advance too.

The lighting is full of shadows illustrating the murkiness of where she lives, and when you see the land frame, you’ll see that it gives her undersea home mysticism and danger. It sets a mood, that especially for younger viewers, of mystery and wonder, capitalizing on the imaginations of the viewers.

Now to the frame of Ariel on land.

In this frame the colors of the rocks are warmer, and the ocean is even a less cool green than it was in the above shot. This makes the land appear cramped and less vast (as it should) than the ocean. The yellowish hue hints at one of the main elements of the story: Ariel having until sunset to get true loves first kiss from Prince Eric. The colors are also very saturated, which can also contribute to making land seem less mystical and full of space than it’s watery counterpart.

There are shadows in the horizon, but we know they are the receding storm, so for now, our fears are placated. But, upon further thought, this darkness also indicates the darkness that Ariel is about to feel when she deals with the Evil Sea Witch. But with the sun shimmering off of the water, we see something beautiful in the true, unwavering love that Ariel and Eric share. This creates and overall happy mood to the frame, because let’s be honest—what’s happier than true love?

In comparing the shots, we see that the animators went to careful lengths to differentiate between land and sea in their manipulation of color and lighting.