Cinematography Treatment Example free essay sample

The Might of Spite Plot Summary The movie is about a guy (Antagonist) and a girl (Protagonist) living together that get turns to do the laundry. The guy (Thando) is very lazy, watches TV the whole day and refuses to do the laundry even after the girl (Carrie), tries to force him physically. Carrie is miserable after that but then finds another way to get him of the couch. She tells him that his car is being stolen and when he gets outside, Carrie locks the door behind him. Thando sees his car isn’t being stolen. He then sees the washing basket outside and sees Carrie through the window enjoying the victory and waving the key mockingly. Genre When filmmakers and movie critics refer to a film genre, they generally mean a specific style, or subject matter. While a movie may have elements of a number of different genres, it is often classified under a single film genre for reference purposes. We will write a custom essay sample on Cinematography Treatment Example or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Film genres include Comedy, drama, romantic comedy, action/adventure, musical and experimental. *(http://www. wisegeek. com/what-is-a-film-genre. htm, Michael Pollick). The Might of spite will classify in the comedy genre even though it is more of an everyday general situation. It is a very light hearted film with laidback comedic moments present, throughout the film. Binaries Primary event binary is Tactfulness VS Spitefulness, because Thando was being spiteful by just refusing to do the laundry after Carrie has been tactful. Carrie then outsmarts Thando giving him no choice but to do the laundry. The binary of the protagonist is Mind VS Body. Carrie thought it is a losing battle after she tried to force Thando physically to do the laundry. She then used brain power to manipulate Thando into going outside where the clothesline is and locks the door behind him. The antagonist’s binary is Selfishness VS Contribution, because Thando refuses to do his part of the housekeeping and only watches TV and making more of a mess in the house. He needs to stop being lazy and help Carrie by contributing in cleaning the house. Conceptual and Emotional Relevance The event problem in a story is when the character is put in a situation outside their normal environment. This is what happened to Carrie after Thando refuse to help her, because they obviously agreed to split some of the housekeeping duties. Conceptual Relevance is the event narrative structure in any story. It is the events in the narrative that will progress the story along. In all classic narrative the Conceptual relevance relates to a simple story line. *(Directing for film an introduction, p24, Brandon Oelofse, 2007). The conceptual relevance in this story is when Carrie tricks Thando into doing the laundry. At first she accepted defeat but noticed Thando’s car outside near the clothesline. She then came up with an idea and told him his car is being stolen and locked the door when he went out. This is relevant to the viewer because by outsmarting Thando she came out on top by approaching a problem with thought. Character problem within the narrative can be described with this question. Why does the character react the way they do with different events? We know that Claire is being ignored by Thando and that physically forcing him can’t work either. That is why she locked him out with the laundry until it is finished. Emotional Relevance is the heart of any story. It is the journey that the character will go through to achieve a sense of completion at the end of the narrative. (Directing for film an introduction, p22, Brandon Oelofse, 2007). The emotional relevance in this story is that Carrie gave up at first but got up and tried again. ETB The Establishment Problem Solution Priority Order We first see our antagonist Thando, a lazy guy drinking beer, sitting in front of the TV. We then meet our antagonist Carrie, a bright and hardworking girl, walking into the dirty living room, which she probably will have to clean, with a laundry basket in her hands. The First Explosion Carrie tells Thando that it is his turn to do the laundry and he looks at her ut returns his attention to the TV ignoring her. Problem Solving Vacuum Carrie gapes in disbelief because they always make turns. But she won’t give up yet. Problem-Solution Digits Thando still ignores her by just looking at the TV. New Problem Solution Priority Order Carrie shoves the washing basket in front of Thando, blocking his view of the TV. Second Explosion Thando ignores Carrie and just move into a different position to see the TV. Carrie blocks his view of the TV with the basket again, but Thando just reposition again. This happens again and again, until Thando stands up picks the basket up and put it on the floor out of his way and sits down. Carrie gives up and leaves with the basket. The Second Problem- Solution Vacuum and the Potential Problem-Solution Digits Carrie goes to the kitchen to think of a different way because by trying to spite Thando to do the laundry is clearly not going to work. But she gets an idea when she sees something outside. The Dramatic Climax Carrie quickly locks the door and laughing at Thando, shaking the keys of the door through the window. The Final Problem Solution Priority Order Carrie watches Thando from the kitchen wind while he is hanging up the laundry and she drinking a glass of wine. General Look and Feel of the Film Design and style are overlapping categories, and it is possible to have an effective design without a distinctive personal style. Style is primarily dependent on the needs of the story being told. * (Film directing fundamentals, Nicholas T. Proferes, p. 46, 2005). The general look and feel will be of an ordinary couple, in an ordinary house with an ordinary garden. The TV room will be a bit darker though with pale look and feel to it because it is the antagonist’s lair. The outside will have more of a bright contrast and colourful look to it, because the antagonist is out of his territory and that is where he will be defeated. The kitchen will have a more stable feel to it with some solid colours and shadows. Lighting Lighting shapes the realty in front of the lens, giving it depth or flatness, excitement or boredom, reality or artificiality. Light can fall on the scene in a variety of ways to create many different moods to help tell the story. (Kodak: the art of lighting-notes, 2003) To amplify this laidback light hearted comedy, soft lines and shadows will be used more. In a comedy high key-light is usually used to amplify the narrative. This is what I will be doing but also use mixed lighting at one location. The TV room will have a different light setting that is gloomier than the high contrast the kitchen and the garden will have. T his is because it is where the antagonist spends most of his time and there will be mixed light used that strategically falls on certain places. The sun coming through a window and or a lamp on a table will also be used as extras to get enough light on the subjects so that low key light won’t be made. With the face of the antagonist in a darker part of the room the flicker of the TV will slightly be seen by using a reflector board and moving it slightly on the subject’s face. Taken by GETY *(http://www. telegraph. co. uk/culture/tvandradio/5998253/One-in-six-Britons-too-lazy-to-get-up-to-change-TV-channel. html) The kitchen will be more brightly lit, also because this is where the protagonist spends most of her time and feel at home.