《教父1》-開場長鏡頭分析----表演、設(shè)計(jì)、燈光、音效、音樂、dramatic-function、評價(jià)(英文)

1、精選優(yōu)質(zhì)文檔-傾情為你奉上精選優(yōu)質(zhì)文檔-傾情為你奉上專心-專注-專業(yè)專心-專注-專業(yè)精選優(yōu)質(zhì)文檔-傾情為你奉上專心-專注-專業(yè)Zhuoyan LiuDRAMM0009_2013How films and Television programmes workAssignment 1Sequence analysis GodfatherWord account: 2871TimePicture action Shot description PerformanceLightingDesignEdit point Sound 1- DialogueMusicDramatic functionComm

2、ents00.01.1700.01.20Black scene.Picture begins at second sentence instead of “I believe in America”.An often-used opening method. Has a subtle ironic effect under this situation.A mans low and slow voice: I believe in America.He Presents his age, non-American(accent), and his mood(negative)Brief and

3、 strong opening sentence.Silent background.The man is talking about serious topics with a heavy heart.Establishing a heavy and brooding mood, a sense of painful deception and self-mockery.The Black scene indicates Bonaseras complex emotion of America. The tone of his lines and the black scene hints

4、a negative tone while the content of the line saying I believe in America, shows a more positive aspect. Therefore a dramatic contrast exists and the characters inner conflicts are built.00.01.2000.02.4500.03.3500.04.07Bonasera is talking.ZOOM-OUT FROM Bonaseras close-up (point-of-view shot)Narrow e

5、ye-line to the camera giving a full impact of Bonaseras emotion, including a strong empathy.Big talking head in the centre of picture, so Bonasera occupies absolute emphasis of the picture.Many details on facial expression could be witnessed: slightly frowning, tensed up muscles, he seems to speak w

6、ith his teeth. He gives the impression of trying hard to suppress his strong painful feelings.Sort of hard light comes from the up-front of Bonaseras head so that gives Bonaseras face a low-key, strong contrast tone. Shadow on eyes and chin creates a texture that strengthens his haggard, depressed,

7、even a little scary face.And two streams of lights reflecting from his eyes indicate imperceptible tears in them.His suit merges with the black background, which is too dark to see any detail. Flat set of light builds a dull， depressive atmosphere.Lack of exposure, a broad grayscale without subtle g

8、radations all along, gives an unpleasant sense to viewers.Bonasera wears a dark-coloured suit with a white collar, he has a gold tooth is in his month. He has a strong accent. These traits describe his identity: a rich immigrant trying hard to integrate into the American way of life and becoming an

9、American.A smooth cut after Bonasera ends his whispering, which is the point audience feeling willing to look the face of the shadow because their curiosity has accumulated for along time.This shot keeps zooming (enlarge) for nearly 3mins without introducing any main characters. This however contrib

10、utes to the sense that a complicated story is slowly unfolding. This accompanied with the zooming in, gives audiences a growing feeling of Godfathers world, which has different rules and orders from the world Bonasera (and also our) lives.Moreover, the slow camera movement establishes a slow pace, w

11、hich indicates the dignified, stately, calm and patient character of Don Corleone.(Monologue)America has made my fortune. And I raised my daughter in theAmerican fashion. I gave her freedom, but - I taught her never to dishonour her family. She found a boyfriend; not an Italian. She went to the movi

12、es with him; she stayed out late. I didnt protest. Two months ago, he took her for a drive, with another male friend. They made her drink whiskey. And then they tried to take advantage of her. Self statement about his identity (Italian immigrant) and social status (rich, observance of law)No music,

13、no sound effect, no background sound.Sound and music are effective elements to exaggerate emotions. In this shot the director chooses mute to conform to the sober narrating style of this film, and also makes a strong contrast to the lively grand wedding ceremony outside the dark office.Dark tone ind

14、icates that things happened in this room, that there are skeletons in closets, and it also creates a heavy and serious atmosphere.Lack of depth of field, low-key lighting confines the performance of actors to a small movement, which require them focusing on inner world of characters and give a preci

15、se performance. Close-up and medium scene, which keeps audiences in arms, highlights the notion of performance, too.The strong contrast lighting imitates Rembrandts paintings, bringing a sense of the theatrical, nameless despair and also religious majesty and mystery.Apart from the end, Bonasera is

16、the emphasis of this shot and his monologue dominates the pace of the shot. But audiences can continuously feel the vibe from the back figure sitting in the shadow because of the subtle but effective movements from him. This is most apparent in the end of the shot; Don Corleone easily robs the domin

17、ating role of the talk with even tones and movements as soon as he decides to.The long monologue is splendid in both its form, which imitates the brilliant opening speech shot in the film Patton, and its content, which introduces collisions last in the whole piece of film, such as justice and rules,

18、 old world connection and American dream, etc.The Director spends a long time telling how Bonaseras daughter gets assaulted and how the criminals get off the punishment because they are from good family. Along with a close-up of Bonaseras sadness and a narrow eye-line, the director deliberately buil

19、ds a strong empathy with her. Therefore three goals are achieved:tell audiences that the gangster in this film is not something we could judge. To some extent, they play a part in the American justice system.Break the stereotype of the ruthless Italian killer of the Mafia.Build abundant and dimensio

20、nal characters of godfather: an American businessman, a murderer, and also a notable and accommodating gentleman.Bonasera keeps talking, gradually becoming more emotional during the talk and ends with him sobbing.ENLARGE TO Medium shot(point-of-view shot)Eye-line becomes wider so that audiences pers

21、pective tends to be more observational and objective.Bonasera is composed on the right-centre of the screen. Figure is semi-profile, not particularly close. Emphasis on Bonasera is decreasing.Expression on face becomes more agitated and use of body language increases:Slightly turning his head aside,

22、 his frown deepens, his lips and throat tightens up, his nose slightly sniffs once. When going through some difficult parts, he hides his face in the dark. Indicating that he is trying his best to control his rage.Same aboveSame above(Monologue)She resisted. She kept her honour. So they beat her, li

23、ke an animal. When I went to the hospital, her nose was broken.Her jaw was shattered, held together by wire. She couldnt even weep because of the pain.But I wept. Why did I weep? She was the light of my life - beautiful girl. Now she will never be beautiful again.Telling the tragedy of his daughter.

24、 An offended and helpless Italian immigrant.Same aboveSame aboveDon Corleone slightly protrudes a hand and another man brings Bonasera a glass of wine.Bonasera drinks the wine, narration continues, and asks Don Corleone for help.ENLARGE TO Over-shoulder ShotBonasera moves more to the right of the sc

25、reen. Don Corlenoe becomes seen in the foreground, larger and larger till he occupies half of the screen. Therefore Don Corlenoe instead of Bonasera becomes relatively emphasized.Eye-line between Bonasera and Don Corlenoe is horizontal.The eye-line to lens is narrow so that we can only see the back

26、of Don Corleone. Focus is on Bonasera and he is still the one who keeps talking.Bonasera:In emotional instability, rigid gestures and movement.Recovers himself from sadnessGetting irritated when a suspended sentence is mentionedWhen mentioning his purpose to be here: business negotiation gesture: ba

27、ck straight, and holding his head erect.Don Corleone: elegant and relaxed gesture, subtle but effective movement:His right hand rests on his chinElegantly protruding his hand to his right side, signalling over his assistant without words, these gently move levelled actions point to Bonaseras. Polite

28、, modest nature but also demonstrates his authority and power.Casually and calmly tickles himself while Bonasera is getting irritated. No sympathy or pity is shown.The sort of yellow and orange light drops on the brown wide desk, giving the room a feeling of warmth and safety.Still in the dark tone.

29、Don Corlenoe is a vague black silhouette with a slim bright fringe, giving a mixed sense of mysterious, secretiveness, and of being a saviour.A wealthy mans elegant den: neat brown wide desk, only with pens, a telephone and a box on it.Sophisticated den indicates that the owner is an elegant gentlem

30、an.Neatness: the owner is organized.The wide desk hints the magnificent and stable character of the owner.(Monologue)Sorry.I-I went to the police, like a good American. These two boys were brought to trial. The judge sentenced them to three years in prison - suspended sentence. Suspended sentence!Th

31、ey went free that very day! I stood in the courtroom like a fool. And those two bastards, they smiled at me. Then I said to my wife, for justice, we must go to Don Corleone.Through the monologue, it foreshadows the culture of Italian and some fundamental information about characters, for example, It

32、alians family honour and attachment, and Don Corleones role a judger/ a policy maker outside the law.Same aboveIn this scene, it offers a first time glimpse at the Corleones seductive and secretive world: the set is designed in an elegant and elaborate way; light is still sombre, but constructs a co

33、sy room complemented with orange and brown color. The contrast between these elements produces a feeling that you carry an initial trepidation of entering the gangsters world but discover that your fears are unfounded, therefore surprised (Lewis, 2010).Horizontal eye-line contributes to an objective

34、 and sober visual style, which is the fundamental of the language in this film.A growing vibe from the back figure is passed through several small movements that successfully attracts the audiences attention and establish several characters of Don Corleone: powerful, but also accommodating.Don Corle

35、one waves his hand, questions him and asks what he can help him withBonasera walks to Don Corleones side and whispers to him.STAY AT over-shoulder ShotCamera stops zooming just before Don Corleone touches his moustache and begins to talk.Focus still on Bonasera. But when Bonasera leaves the focus po

36、int and walks to Don Corleone (and camera doesnt follow), the emphasis of the picture turns to Don Corleone.Both Don Corleone and Bonaseras range of body movements become extended but Don Corleone stays calmer, he achieves a dominating persona by doing little.Don Corleone:He changes into a straight

37、gesture, implying that he is ready to dominate the talk. Staying polite and calm when Bonasera is acting rude and disrespectfully.Bonasera:He is aware of godfathers indifference therefore acts urgent and impatient, trying to pursue what he wants from the talk. Thats the reason why he is the one maki

38、ng a move.Same aboveSame above-(Pause) Why did you go to the police? Why didnt you come to me first?Interrogatory and strict, big-parent style.Leads the talk to another direction. Implying that he doesnt care what a tragedy it is or how sad Bonesera is. What he cares about is being respected and ref

39、using to be controlled.Subtext: I cant believe your first visit in years is to make me murder for you and moreover I am your sub-optimal choice.-What do you want of me? Tell me anything, but do what I beg you to do.Impatient, trade-like, subconsciously arrogant and despises the Mafia. Subtext: why d

40、o you ask such a bullshit question? All I want is a deal for murder. Give me a price.-What is that?Nonchalance, acting like a God.Subtext: I can do whatever I asked to do but I wont do it under any kind of force. Tell me anyway, but I will decide whether or not to what extent I will fulfil it.Same a

41、boveStopping zooming just before Don Corleone begins to talk passes a subtle hint of Don Corleones influence by producing a holding-breath effect.The intense atmosphere built by incongruous dialogue and the change on pace made by different talking tempo of the two persons make the scene climbing to

42、a sober climax, in which godfather is going to play the game to require what he wants.While audiences have a strong sympathy with Bonasera, Don Corleones indifference indicates his ruthless part as a murderer.Rationale:As one of the most acclaimed works of American cinema, a perfect work, the Godfat

43、her isnt only an epic that provides muti-perspectives to deconstruct almost a century of American life and culture and even human social order, but also achieves remarkable and creative breakthrough in terms of film language and the American crime film. Early in its opening shot we can taste its aud

44、acious visual style. The shot, which is a zoom-out long scene, accomplished three functions in only 3 minutes: foreshadowing background information, establishing thematic contradictions, and building nostalgic and sober visual style.Foreshadowing background information:During the long monologue of B

45、onasera, we could uncover enormous amounts of information besides a story of tragedy, such as the Italian sense of family honour, which is the driving force of several essential turning points in the story, and American society and the immigrants life situation at that time. The latter is the main r

46、eason why this film can be called epic. Bonaseras miserable story is not only about a girls assault going unpunished, but also about an Italian immigrant trying his best to get rid of his “old world” and become an American, but he unfortunately finds out that he is still an Italian American who need

47、s to rely on “old-world connections” to gain justice. In other words, it is about the disillusion of American dreams.Establishing thematic contradictions:All clues in the whole story, which established in the first shot, could be connected with each other in chain:Family-Fortune-Business-Crime-Justi

48、ceIn this chain, business is the core, through which Corleone made his fortune to take care of his family. Violence is the dark side of business whereas it is also “A constituent part of a scheme of justice rooted in social necessity” (Browne, 2000). In conventional American crime films, violent ele

49、ments such as reports of guns, police whistle and chasing scenes composed the signature of this genre, and the opposition between gangsters and laws is the main contradiction. However, the heart of Godfather appears to be the family as it is the cause and the drive force of the business while violen

50、ce is just the rational strategy and expense of the business or punishment to the betrayal of family, in other words, a tool. The change of violences role and attachment among family members constitute the distinctive part of Godfather and therefore moves the thematic contradictions from a sanctione

51、d frame up to a level of human nature, for example, conflicts between business and affection, personal will and family honor.In the opening shot, the director tries to undermine violences salience by strengthening audience identification of businessman and accommodating gentleman of Corleone, who is

52、 dressed elegant, patiently listening to Bonasera, and gains the respect he wants and adjusts the revenge to an even level in the game with Bonasera.Building nostalgic and sober visual style:Director chose a sober presenting method instead of expressionistic techniques in this film. He used a long s

53、cene shot instead of intercuts between inserts, close-ups and medium for the opening shot to achieve a realistic and subtle feeling towards characters. Theatrical set, still shots with characters entering in/out of the screen and output a sober and nostalgic old films quality. Most of the shots are

54、still shots filmed from a horizontal angle, constructing an objective perspective and sober narrating style. The dramatic function tends to be achieved mainly by audaciously used low-key light, which imitates Rembrandt paintings lighting and fitting well with the nostalgic and subtle style of the fi

55、lm. The films charm is partly due to its chosen way to tell a story in a nicety and sober way and could therefore stand up to scrutiny, rather than continuous high lights and climaxes but turns out insipid in the end.Besides, Godfather, which achieved great box office success, could be treated as a

56、case study for classic Hollywood film form in terms of typological characters, story structure and cutting style, as well as for post-1960s Hollywood studio system, Mafia culture research, film music, etc. Reference:Jon, L., 2011, The Godfather,London: PALGRAVE MACMILLANNick, B., ed., 2000. Francis Ford Coppolas The Godfather Trilogy.Cambridge: Cambridge University Press女人，應(yīng)該活出自己的自信和精彩，不能把賴以生存的東西寄托在他人身上，不管他多么愛你，終有一天會(huì)厭倦你的依賴和無所事事。越有能力的女人，越自信；越有能力的女人，越可愛；越有能力的女人，越值得擁有和疼惜。愛情，充滿了熱烈和激情，在熱情戀愛中的男女，都會(huì)忽略掉對方的缺點(diǎn)，看到的都是優(yōu)點(diǎn)，甚至失去理智和冷靜。倘若戀愛時(shí)候，太過于理智和冷靜，可能就不叫愛情。再熱烈的愛，都有冷卻的時(shí)候，冷卻后的我們，始終