Summary A Level Film Studies Boyhood note package- scenes and spectatorship
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Course
FM2 - British and American Film
Institution
WJEC
This document encompasses in note form all information needed for those studying Richard Linklater’s ‘Boyhood’ for the American film section of the WJEC A Level Film Studies course. This document includes detailed scene analysis notes, with evidence divided into separate micro-elements ready ...
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mise-en-scene. dialogues
* soft establishes this mother/son pair a insighti nto their relationshipt a bout
we learn
masspersonality
masor's clothes, associated my childhood
* earthy tones of
& family care family theme notrich &
-
rich briant colours
cinematography,extreme close up on mascus see him in detail to immediately aligned a for shot
o fclouds also
grass and
of childline wonder. * naturalistic
sky: warm alians us wi mason & trackingshoto fOlivia and mason walking to car a snows how we will follow them
lighting-a nostalgia. * Olivia, youthful, long hair.
* mason, Clear spint
stripey top, very young exiting.I shot-reverse i n car draws
snot attention to him in the back a distanced relationship.A slow pace passive
spectatorship:alligned w/ mason, have an allegiance to him we parents evening. Factive -- is mason a good kid passive. We like mason and his relationship we his Mum.
Ideology:Childhood feminism + - single mother
weekend w/ bad ↑We like mason Sr, they have a good time to comparison to Bilistreatment
ofthe kids is key
sound:* no non-diegetic sound in car-realism. A dialogue heavy car scene, focuses on mason Sis pursuit
/
mise-en-scene. successful
of fatherhood cares about them. * cheery harmonica music as they play in park. Allegiance w/mason Sr
* Mason Si's 1968 GTOYC001 car, not a typical family car
* changing locations excitement adventure (park, butterfly cinematography,a mid shots in car depicteveryone equally family unit?* mide and lows as the three run around
gardentarenal private self memories. A warm natural the sculpture - exciting and plantly youthful memories of the private self. * 360 shot around sculpture Demotive -
lighting in park a nostalgic like the pad?A trope of bad
teaching latch, American suburbia a cultural self
passive
exiting:a montage editing-evones the idea of
a compilation ofhappy memories.
1
* Dad's aviators sleeve shirt-lineable + cool
short
-
spectatorship:passive we like the bad (intended response) active - is this organic or lasting, is he what's for them?
best
Ideology:fatherhood a weekend Dadx single parenting.
moving
sound:
/ a softintimate dialogue - do you still love bad's private self spectatorswho have divorced parents
mise-en-scene.
* neutral childline colours a symbolism of height cinematography.A m ason
close ups of alignmento ve r the shoulder mason shots on Olivia we are him ananment
chart-Devokes sense of nostalgia reflection
+
on growing * pou tracking a s he looks at
shot height
chart-aligned a camera on mason while Samantha is talking aligned
up *low key lighting in mason and Olivia convo-pintimate. exiting.I shot reverse shot, simple to observational, watching their conversation
spectatorship:passive - we like mason Active:will mason be disappointed by his Dad? -D aligned we him clearly
Ideology:childhood, fractured family pfatherhood motherhood.
-
-
Bill's abuse
sound:* ambients ound pleonastically heightened for tension eal cuttery, plates -
focus drawn to alcohol
/
mise-en-scene. with pleonastic glass-liquid sound. * peonastic sound oftableware smashing soldier boy hip hop rebellions
song -
-
* bous on bikes + shateboards - a new maturity -
youth-cultural self a song contrasted by Bill's agressive 'getoff the fucking floor Olivia partofnormality
suburbia.Olivia and
rebellious youth of Bill positioned
at opposite ends of table tension. Bill's performance slow cinematography,alians us with mason still once on him and Bill A
tracking shot
ofmason and bike to follows him
erratic movements - mason
calculated fast +
performance to garage -
we discover with him espectator positioned as partofthe mean over the shoulder Olivia shot - We
-frightened eyes, blinking in shock, tense body language feel an allegiance to her -- Bill is recognised as the antagonist -- dominates the frame. * Garage door half open
spectator sympathy--private self memories a house/kit -> can'ts ee Bill's face-pdenumanising -- representative ofthe men in Olivia's life.
-then
s et pinacle ofAmerican
=
Suburbia nuclear family.
-
exiting:a shot-reverse-shot in dinner scene, tension -
a spectator follows the direction ofBilis abuse
spectatorship:positioning allegiance -
to Olivia in this scene a passive -- Bill is bad Active -p Bill obviously has a drink problem
Ideology:American Suburbia -- not
as good as it
seems nuclear family
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ideology
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