6/FISCS. Film cover sheet: Independent study

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1 PDF forms are not compatible with the Google Chrome PDF viewer plug-in. Chrome users should save the form, then reopen and complete with Adobe reader. Film cover sheet: Independent study 6/FISCS Arrival date: 30 April / 30 October Session: School number: School name: - Please retain a copy of this form either using the Save As function or by printing a copy. - Complete this form in the working language of your school (English, French or Spanish). - Complete one copy of this form for each candidate. Subject: Film Level: Candidate name: Candidate session number: Instructions to candidates: Please check the following to show you have included: Rationale Script List of sources Number of script pages (HL12-15, SL 8-10): Title: Cultures examined Films studied

Shaw 001065-0040 Documentary Film Script Beauty and the Beast The

use camera angles and lighting to create unease surrounding

2 Shaw Documentary Film Script Beauty and the Beast The Formalist Theory in Films A comparative study of how directors use camera angles and lighting to create unease surrounding protagonists. Hunter Shaw Southeast High School Frankenstein

3 Shaw Rationale The use of shot types and lighting are important in film. In my independent study, I will analyze the use of lighting and camera angles using the formalist theory in order to show how unease surrounding protagonists is brought out through the use of these cinematic techniques. In order to do this, I will analyze Beauty and the Beast and Frankenstein. I chose these films because both revolve around mysterious characters that entice unease within the story and within the audience, due to their roles as monsters in each film. Word Count: 90 Film Director Country Year Beauty and the Jean Cocteau France 1946 Beast Frankenstein James Whale USA 1931

4 1 INT. ROOM - NIGHT: Extreme close-up of film reel beginning to turn. Cut to screen on wall; Grainy, old movie countdown begins Fade to black after one second mark. Fade in from black screen to Extreme Wide Shot (EWS) looking down empty road. "We welcome you on this journey" on screen in white letters. Fade to black. Sound effect of film reel begins. Old movie countdown sound effect. Frightening, opening soundtrack from introduction of Frankenstein (00:01:00-00:01:30. INT. STAGE - NIGHT: Cut to opening Wide Shot (WS) from Frankenstein (00:00:00-00:00:58). Fade to black. Introductory dialogue from Frankenstein narrator. Voice fades out. Crackling of microphone turning on. (VOICEOVER) Tonight, we journey down a path that takes us in many different directions throughout the history of film. Jump Cut to flash of montage of clips of Beauty and the Beast and Frankenstein. Cut to Beauty and the Beast (00:37:24-00:37:31). Dissolve to video montage of small, 18th century German village. Jump Cut to shot of THE BEAST S castle in Beauty and the Beast. Cut to image of DisCina logo. Cut to image of Universal Studios logo. Which we see through these two peculiar films and their mysterious characters. No matter where the stories take place. No matter where the film is produced. Whether in France, Or the United States, The use of similar cinematic techniques are frequently used to reach the filmmaker s intent.

5 2 Fade into shot of Star Wars creeping title card. "Welcome to the Analysis of the Formalist Theory. Known as the theory of analyzing the technical elements of film. Today we focus our eyes on analyzing two historic films. These films are none other than Frankenstein and Beauty and the Beast." Cut to image of Dutch Angle (DA) shot from Frankenstein. Cut to clip from Frankenstein (00:33:35-00:33:38). Cut to split screen. Close-up of S face with a dim light flickering off of it on the left, Paused image of TONY MCKIBBIN on the right. Left box of split screen with freezes, right side un-pauses. Ludwig Van Beethoven s 5th Symphony in C minor fades in. Ah, yes, the formalist theory. The focus of the technical elements in film. Analyzing the deeper meaning within film. So the formalist theory is rather important, one could say. As Tony McKibbin, professor of film at the University of Edinburgh has said- TONY MCKIBBIN Very loosely, formalists are those who regard cinema as predominantly a manipulative medium. Out of inchoate reality the filmmaker needs to shape the material into a clearly cinematic form, and it is this shaping that allows film to be an art. EXT. GRAVEYARD - NIGHT: Camera pans right with as he walks through graveyard with Wide Angle, Profile Shot. Fog sits low to the ground. Low-key lighting casts shadow of on a wall behind him. Cut to Medium Shot of gate opening by itself. Cut to Behind-the-Back Shot. stops walking and is framed within an arch. Crow chirping in the background. Creaking graveyard gate. Bach, Toccata and Fugue in D minor begins playing.

6 3 Cut to Medium Close-up (MCU)of S face from High Angle (HA) shot. Dissolve into High Angle shot from Frankenstein (00:01:51-00:01:53). Camera tilts up to man digging the hole. This is the story of how lighting and camera angles are used to create unease surrounding protagonists. With this, we must take note of our first example of the use of camera angles as we come across the burial of a body. The body that will make up the body of Frankenstein. Sound of shovel hitting dirt. Shovel sound becomes more muffled. Cut to screenshot of High Angle shot from Frankenstein (00:01:51-00:01:53). Jump Cut to close-up of FRITZ and DR. FRANKENSTEIN in Frankenstein (00:02:35-00:02:38). This High Angle shot gives the audience a sense of comfort and power at this time. Yet, this only contradicts the terror that this body will cause as the film continues. DR. HENRY FRANKENSTEIN Down! Down, you fool! Bell ringing. Fade to black. Cut to Close-up of in graveyard glaring into the camera. Cut to Frankenstein (00:02:38-00:02:42). And we finally come across Dr. Frankenstein. Now note the low-key lighting. We see the shadow cast across Dr. Frankenstein s face causing uneasiness in our audience already. The shadow splits his face into two telling us that he is hiding something rather sinister.

7 4 Cut to Dutch Angle shot from Frankenstein (00:02:45-00:02:53). Cut to Frankenstein (00:14:10-00:14:14). Flash of lightning brightens screen. As we see here, the use of the Dutch Angle shot only adds to this uncomfortable sense related to the doctor at this time. As the camera pans left the Dutch Angle continues as we follow a priest holding a bell and walking out of the graveyard. This Dutch Angle creates this skewed view of the setting, hinting at these skewed views of Dr. Frankenstein. Crack of thunder. Wind whooshes and the thump of a heavy rain is heard hitting the ground. The rain. The thunder. The wind. These all add to this theme of uneasiness. But what is that we can draw from the form of the shot that also provides the audience with this feeling? Cut to Medium Wide shot of sitting on a bench in the graveyard as rain pours down on him. (Yelling over pouring rain) Sure the elements add to it, but its the angle that really makes this shot. Note the low angle shot as we look up at this dark and mysterious tower where Frankenstein becomes alive. Crack of thunder. INT. SCIENCE LAB - NIGHT: Follow shot of walking towards a table of vials and various tools. Cut to Low Angle (LA) shot of looking down into the camera. The use of the Low Angle shot to cause the audience to feel inferior and nervous at this time continues.

8 5 Cut to Frankenstein (00:24:35-00:24:38). Fade to black. With this Low Angle, we stand below the body of Frankenstein as he is lowered down into the lab, now alive. The camera s use of the LA shot puts the audience in an edgy position at this time as we look up at the body of Frankenstein, who holds the power due to the angle. This build up and anticipation has finally been met as the monster now becomes alive. DR. HENRY FRANKENSTEIN Its alive! Montage of villagers marching in a mob. Cut to Frankenstein (00:59:47-01:00:29). Cut to in graveyard. Extreme Wide shot. Follow Shot as walks towards large, burial vault. Cut to Point of view (POV) shot as the jumps into the burial vault. Finally, it is important to note the way in which this angry mob is shown as it marches to kill the somewhat misunderstood monster. At 01:00:25, we see the mob from a Low Angle perspective, as they hold the power in this situation rather than Frankenstein. Yelling of narrator fades away. EXT. GARDEN - NIGHT: Cut to Wide Shot of garden with a brick wall covered with flowers in the background. falls, center screen, from the top of the frame into bushes in the bottom of the frame. Yelling grows louder. Loud thud. Rustling of bushes.

9 6 Cut to Medium Shot as stands and wipes off dirt. Cut to Low Angle shot of with wall of flowers and vines in background. Fade to Beauty and the Beast (00:11:26-00:11:30). As we have seen in Frankenstein, the use of camera angles and lighting can greatly impact the interpretation of events that unfold in a horror. However, the power of these particular cinematic techniques are not limited to the horror genre only. Take Beauty and the Beast, for example. In this unusual tale of love, we see the genres of romanticism and fantasy come into play. Yet, we know that the beast, while misunderstood, is a powerful and mysterious creature that is quite frightening at first glance - and Cocteau uses lighting and camera angles to create unease. INT. DRESSING ROOM - NIGHT: Fade in from black screen to two men, the and GEOFFREY O BRIEN, sitting in arm chairs with dimly-lit overhead lights. The two men s shadows are cast along the floor. Cut to Medium Shot of the two men sitting in the chairs. Inaudible discussion and laughter. We are here with Geoffrey O Brien, editor in chief of the library of America. Mr. O Brien, what is it that makes Cocteau s use of cinematic techniques so special in showing this unease about the Beast?

10 7 Cut to Medium Close-up of O BRIEN as he prepares to speak. Lights grow dimmer as the camera focuses on him. Camera tracks out and the screen begins to blur. Cut to Beauty and the Beast (00:16:35-00:16:53). GEOFFREY O BRIEN Cocteau makes all the more uncanny the discovery...of the Beast s realm. It is like the breaching of a seam, and we are carried through every part of the process: through the misty forest and up a deserted staircase, through the great door and, in the most otherworldly use of the camera. Soundtrack from Beauty and the Beast begins playing. BELLE S FATHER (worried shouting) Is anyone there? As Belle s father approaches the door to the Beast s castle, we see his shadow cast against the door due to the low-key lighting incorporated - not only highlighting or unease, but the unfamiliarity that her father faces as he enters this imposing castle. Cut to High Angle, Profile Shot of picking a red rose from a plant. Cut to Beauty and the Beast (00:22:52-00:23:10). BELLE S FATHER looks at the BEAST with a terrified look. Camera slowly turns into a Dutch Angle. Cut to Close-up of S face. And as her father soon learned; picking flowers can take a turn for the worst. BEAST You steal my roses, the things I love most in all the world. Your luck has gone from bad to worse. As we are introduced to the Beast, the use of the low angle shot tells us the power he possesses - especially in this particular situation, as we, the audience, can imagine looking up to this bellowing monster. And the Beast gives him an ultimatum. Death -

11 8 Cut to Beauty and the Beast (00:23:11-00:23:20). Cut to standing beside an old marble water fountain with chunks missing. Slight Dutch Angle is used. Cut to Profile Shot as leans over a balcony overlooking a forest. Jump cut to Low Angle shot as walks over the camera. Cut to Beauty and the Beast (00:28:30-00:28:39). High contrast lighting shines down on BELLE through holes in barn. Cut to Beauty and the Beast (00:28:50-00:29:26). BELLE riding through forest lit with low-key lighting. BEAST Unless one of your daughters agrees to pay your debt and take your place. Loud roar heard. So, here is the dilemma. As we soon find out, Belle sacrifices herself. It is important to note the shadows cast around the barn as she enters, and the light that glitters off of the Beast s horse that awaits her in the barn, creating this mystical, yet uneasy, feeling of uncertainty. It is the high contrast lighting that creates these shafts of light that contrast the darkness; causing nerve-racking uncertainty of what awaits her. Note the rapid change in lighting from the brightly-lit farmhouse where her father resides to the darkened, low-key lighting as she rides through the forest into the unknown. Fade to black. Cut to the standing in front of the large door at the opening of the Beast s castle. High Angle, Wide shot used. The stands in center frame. Cut to an image of the BEAST with a menacing look. The largest shock still awaits Belle, however. Sound of woman shrieking.

12 9 Cut to Beauty and the Beast (00:33:20-00:33:53). Camera tracks in to reveal the BEAST speaking to BELLE. BELLE faints. Black silhouette of the BEAST moves into frame. BEAST Where are you going? Here is the moment we have been waiting for. The lighting is used perfectly as it shines up from the ground onto the Beast s face, creating this terrifying look of anger, eventually causing Belle to faint. Cocteau s use of backlighting creates this dark and imposing silhouette of the Beast, only furthering the uneasiness associated with the monster. Beauty and the Beast soundtrack (00:35:18-00:35:52). Beauty and the Beast (00:35:56-00:36:11). As if just to make sure we received the unease before, we now watch as Belle awakes from a High Angle shot, putting her in an inferior position. We see the shock - the terror, in her face. Everything about the Beast makes her uncomfortable, and she even admits it to him. BELLE I don t feel at easesound is drowned out. Beauty and the Beast (00:40:10-00:40:20). And as the Beast exits her presence, we have one last reminder of that lack of ease, as Belle sits slumped over, head in hand, high contrast lighting showing the drama - and the Beast, yet again, with backlighting, casting his silhouette above Belle.

13 10 INT. ROOM - NIGHT: Medium shot of sitting in a arm chair, smoking a pipe. As our journey comes to a close, I would like to thank you for joining me. We can conclude the importance of the formalist theory in film and how the cinematic techniques within it can alter how we perceive a film - as evident with the significance of camera angles and lighting in creating uneasiness. Black screen with white letters read: "Fin."

14 Shaw Annotated Bibliography Written Sources McKibbin, Tony. "Formalist Theory." Tonymckibbin.com. N.p., n.d. Web. 26 Feb This website was used to provide a deeper understanding of the formalist theory as well as provide a quote on why the formalist theory is so essential to the filmmaking process. Electronic Sources Bach, Johannes Sebastian, perf. Toccata and Fugue in D Minor, BWV 565. Breitkopf & Härtel, Web. 16 Jan I wanted to use this in order to add a dramatic piece of music into the film. At the time in the film, the narrator is in a graveyard and this adds to the overall atmosphere of the scene. Beethoven, Ludwig Van. Beethoven's 5th Symphony Web. 24 Jan I added Beethoven s 5 th symphony as a dramatic introduction for the audio side during the opening title card of the film. Frankenstein Digital image. Blackandwhitemovies.com. N.p., n.d. Web. 21 Feb This photo from Frankenstein was used for a descriptive photo of the film on the cover page. I chose it due to it being in the graveyard. LA BELLE ET LA BÊTE JEAN COCTEAU RE-IMAGINES FAIRYTALES. Digital image. lisathatcher.com. N.p., n.d. Web. 15 Feb This site was used for a picture from Beauty and the Beast that was used on the cover sheet of my independent study. O'Brien, Geoffrey. "Beauty and the Beast: Dark Magic." Criterion Collection. N.p., n.d. Web. 22 Feb This essay described the dark magic that Cocteau involved within the film. It also provided me with a quote from O Brien on the camerawork in the film.

15 Shaw Filmography Beauty and the Beast. Dir. Jean Cocteau. Perf. Jean Marais, Josette Day, Mila Parély. DisCina, DVD. This was the second film that I chose to analyze in my independent study. I chose this due to its overall use of lighting and angles; however, it contrasted my first film as it is in the fantasy genre. Frankenstein. Dir. James Whale. Perf. Colin Clive, Mae Clarke, Boris Karloff. Universal Pictures, DVD. This was my first chosen film to analyze. I chose it due to the genre, which is horror/thriller, and how it relates to the cinematic techniques of lighting and camera angles. Star Wars. Dir. J.J. Abrams. Perf. Harrison Ford, John Boyega. Walt Disney Studios, 2015 I chose to incorporate the running title card from Star Wars into my film in order to catch the audience s attention and draw them in with the famous title card.

1 EXT. STREAM - DAY 1

FADE IN: 1 EXT. STREAM - DAY 1 The water continuously moves downstream. Watching it can release a feeling of peace, of getting away from it all. This is soon interrupted when an object suddenly appears.