Film Noir Mind Map, intial ideas and synopsis

OTS Planning on Prezi

Key conventions of Film Noir Titles

Film Noir titles always vary from sinister anecdotes, involving the use of blood or dark text within the display. Titles vary from; Double Indemnity, Blade Runner, Sin City, Mulholland Drive, etc... All of these titles convey a short recognition of their genre (Sin City being the most obvious).

You can see how the title contrasts to the background with a clear sense informing the audience what the film's genre is and how it is portrayed for other conventions, such as; certification (blood meaning it's obviously not as low as a PG). Film Noir always tend to use titles that seem demonic and contrast to the film itself, focusing all attention on the title, usually maybe covered with blood or involve slanders of text, like violence or sexual attraction.

This is another title which evidently shows the contrast of the title in comparison to the entirity of the poster itself. Your eye is attracted to the title and not anything else because of the colours and the fonts, sizes, etc... The title is a major concept within Film Noir, and should be conceived carefully, as it defines the film itself.

Ambience

In filmmaking, ambience (also known as atmosphere, atmos, or background) consists of the sounds of a given location or space. It is the opposite of "silence." This term is often confused with presence. Every location has distinct and subtle sounds created by its environment. These sound sources can include wildlife, hearing the wind blow, music, rain, etc...

Ambience from Daniel Hughes on Vimeo.

Here is a short clip of how ambience can be portrayed within film and moving images. You can clearly notice how some of the sounds, such as the typing, have been amplified for a deeper effect, plainly for notice and relevant to a realistic atmosphere.
Ambience should be used in moments of dialogue with multiple characters talking. My interpretation is that it doesn't work for most scenes within a film, such as; narration, fight scenes, romantic endeavours, etc... Ambience sometimes just removes the mood from certain films and their particular aims & genres. It's only in moments of dialogue that it would truly work, and within certain locations like pubs, gyms, and suchlike. Other than all of the criticism, ambience works extremely well in public locations.
Within my version of a Film Noir's opening title sequence, I would like to include an ambience sound effect, but only in a scene which involves a publicly filmed location. Ambience is not an effect which I think would improve a film's standard by far, it's a timid effect. Small amounts would be fine.

Copyright

Copyright is a legal concept, enacted by most governments, giving the creator of an original work exclusive rights to it. In this case, creating an original score, soundtrack, or foleyed sounds to a film, creating its exclusivity. Copyright ensures the correct usage of the following:
- Author's rights
- Related rights
- Moral rights
- Patent
- Utility model
- Trademark
- Geographical indication
- Trade secret
All of these shown are either adapted or comparable to the laws of copyrighting. Copyright law covers the creative or artistic expression of an idea. Patent law covers inventions. Trademark law covers distinctive signs which are used in relation to products or services as indicators of origin, as does (in a similar fashion), Trade dress. Registered designs law covers the look or appearance of a manufactured or functional article. Trade secret law covers secret or sensitive knowledge or information. I personally believe that copyright laws are overly exaggerated; if you're going to include information (or source) of where you received the particular tool used for self created films, etc... there should be no obligations to sue or ruin that person/s. If anything; this idea of not using copyrighted material excites me to stay true to the use of originality. And since this is a non - profitable task, I would have no concerns for using copyright laws, unless exploited publicly.

Foleying

Foley is a term that describes the process of live recording of sound effects that are created by a Foley artist, which are added in post-production to enhance the quality of audio for films, television,etc...

SoundWorks Collection: Gary Hecker - Veteran Foley Artist from Michael Coleman on Vimeo.

Here is an example of the foleying method used for films such as Robin Hood, which describes how the technique is used and, therefore, demonstrated. It includes carrying a variant amount of props or tools that will perform the relating sounds necessary. This is proved to be an amazing tool at a filmmaker's arson. I believe that foleying is the absolute method to master a film's expression and/or tone. It especially is suited well to providing realism to films such as; This is England and The Dark Knight. Also being very useful to massive mainstream companies like Sony Pictures (as shown in the clip). Foleying seems to be easy, but is described: difficult; through timing and choosing the correct objects to begin a sound's interpretation. I feel that this use of sound designing will prove to be most effective, to provide the realism within my opening title sequence. My consideration for linking this to my ideas has greatly affected my initial thoughts. The expanded vision of inputting foley sounds, I believe, would transform the OTS to a substantial piece from what began as an idea from scratch. I'm ecstatic to begin foleying with my own interpretation of sound designing.

OTS

Rules - max 2 mins.
Genre - film noir/ neo-noir/ parady. Or post modern homage.
Original sound track - Music
- Dialogue
- Effects.
With titles.
Remember - An OTS not a trailer.
An established enigma - provide a hook - introduce the plot.

OTS Sin City Presentation

http://prezi.com/zepblqduhifv/film-noir-ots-sound/

Film Noir OTS Sound on Prezi

Definitions of filming techniques

-Shot/Reverse shot - over-the-shoulder camera angles which switch backwards and forwards repeatedly within conversation

-180 rule - A rotational degree of two or more characters engaged in some circumstances of conversation or motion which contains camera angles within 180 degrees of that specific moment.

-Match on Action - Two or more multiple shots which demand action, and as of which synchronize, sampling the illusion that it was all captured in one moment.

Sound - (Understanding how to use it)

My intial thoughts about using sound on film, they are used for scores along the film to suit the atmosheric story, and they class the sutiability for the match of on-screen footage.
They also provide back-story to moments which may seem quiet or just completely blind to visual moments.
Dialogue, actions, music, etc...
They are indeed half of the story themselves, interacting with motion is a small segment of it's initial briefing.

20 minutes after analysing sound from an OTS of Sin City, I have determined the greatness of sound and it's amplified quality of film making.

Certifications BBFC

Suitable for all

It is impossible to predict what might upset any particular child. But a ‘U’ film should be suitable for audiences aged four years and over. ‘U’ films should be set within a positive moral framework and should offer reassuring counterbalances to any violence, threat or horror.

If a work is particularly suitable for a pre-school child to view alone, this will be indicated in the Consumer Advice.

Parental Guidance

General viewing, but some scenes may be unsuitable for young children.

Unaccompanied children of any age may watch. A ‘PG’ film should not disturb a child aged around eight or older. However, parents are advised to consider whether the content may upset younger or more sensitive children.

Suitable for 12 years and over

Exactly the same criteria are used to classify works at ‘12A’ and ‘12’. These categories are awarded where the material is suitable, in general, only for those aged 12 and over. Works classified at these categories may upset children under 12 or contain material which many parents will find unsuitable for them.

The ‘12A’ category exists only for cinema films. No one younger than 12 may see a ‘12A’ film in a cinema unless accompanied by an adult, and films classified ‘12A’ are not recommended for a child below 12. An adult may take a younger child if, in their judgement, the film is suitable for that particular child. In such circumstances, responsibility for allowing a child under 12 to view lies with the accompanying adult.

The ‘12’ category exists only for video works. No one younger than 12 may rent or buy a ‘12’ rated video work.

Suitable only for 15 years or over

No-one younger than 15 may see a ‘15’ film in a cinema. No-one younger than 15 may rent or buy a ‘15’ rated video work.

Suitable only for adults

No-one younger than 18 may see an ‘18’ film in a cinema. No-one younger than 18 may rent or buy an ‘18’ rated video work.

To be shown only in specially licensed cinemas, or supplied only in licensed sex shops, and to adults of not less than 18 years.

The ‘R18’ category is a special and legally restricted classification primarily for explicit works of consenting sex or strong fetish material involving adults. Films may only be shown to adults in specially licensed cinemas, and video works may be supplied to adults only in licensed sex shops. ‘R18’ videos may not be supplied by mail order.

Collage of Film Noir iconography

Film Noir (Questionnaire results)

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Film Noir (questionnaire)

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Double Imdemnity & The Killers (Do they follow Todorov's theory?)

This film 'Double Indemnity', does not follow the structure of Torodov's theory. As of when these films should begin with an equilibrium, this particular film begins at the end of the narrative. Therefore outlining any linear story-line.

The other film 'The Killers' does in fact follow Torodov's theory, though it may have non-linear aspects within certain scenes; these short sequences can be considered miniscule. The rest of the film remains linear throughout. (Equilibrium, disruption, recognition, reaction and new equilibrium).