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In Visual Production you will watch and analyse the first few scenes of the film WALKABOUT by Nic Roeg, in terms of how Roeg used SYMBOLISM to convey meaning.
In Visual Production you will watch and analyse the first few scenes of the film WALKABOUT by Nic Roeg, in terms of how Roeg used SYMBOLISM to convey meaning.
If you wish to watch the whole film, you can do so on BoB:
If you wish to watch the whole film, you can do so on BoB:
The film contains strong language and scenes that some viewers may find upsetting
SYMBOLISM
SYMBOLISM
Selecting and placing images and/or sounds together,
Selecting and placing images and/or sounds together,
to act as clues, or
to act as clues, or
SIGNIFIERS
SIGNIFIERS
for an audience to consider and read,
for an audience to consider and read,
which results in the audience understanding
which results in the audience understanding
what you want them to understand and/or
what you want them to understand and/or
feeling what you want them to feel.
feeling what you want them to feel.
Placing images and sounds in JUXTAPOSITION to each other,
Placing images and sounds in JUXTAPOSITION to each other,
for them to be READ
for them to be READ
is called
is called
MONTAGE / EDITING / CUTTING
MONTAGE / EDITING / CUTTING
Alfred Hitchcock directed many film and TV thrillers from the 1930s to the 70's.
He is most famous for Psycho, The Birds, North by Northwest and Rear Window - films which continue to influence other directors, to this day.
But, though this process is brought together in editing, in POST PRODUCTION, it is conceived at the point that you start to imagine and develop the story/script.
But, though this process is brought together in editing, in POST PRODUCTION, it is conceived at the point that you start to imagine and develop the story/script.
So, editing starts in the script writing process.
So, editing starts in the script writing process.
Direction starts in the script writing process.
Direction starts in the script writing process.
As does Sound Design, Lighting, Cinematography.
As does Sound Design, Lighting, Cinematography.
The writer has initial control over how the audience will experience the final film (TV show, Commercial, Music Video etc)
The writer has initial control over how the audience will experience the final film (TV show, Commercial, Music Video etc)
Because you, the writer, imagine and place the visual and aural elements together.
Because you, the writer, imagine and place the visual and aural elements together.
The Director, DoP, Sound Designer, Editor and Actors - in fact everyone involved in making the film, work from
The Director, DoP, Sound Designer, Editor and Actors - in fact everyone involved in making the film, work from
YOUR SCRIPT - YOUR VISION
YOUR SCRIPT - YOUR VISION
Consider the following image from WALKABOUT...
Consider the following image from WALKABOUT...
Can you see, when we add the different elements back in, that they go together
Can you see, when we add the different elements back in, that they go together
like clues that we connect
like clues that we connect
to create a meaning.
to create a meaning.
When you write your first script we often insist that you do NOT include dialogue, or music.
When you write your first script we often insist that you do NOT include dialogue, or music.
This is so that you have to consider how you can use SYMBOLISM / SIGNIFIERS to give your audience the visual and aural clues that they will need to understand your story.
This is so that you have to consider how you can use SYMBOLISM / SIGNIFIERS to give your audience the visual and aural clues that they will need to understand your story.
Films, Radio and TV that rely on dialogue and music to tell the story become very boring for an audience, and at worst, can come across as ridiculous.
Films, Radio and TV that rely on dialogue and music to tell the story become very boring for an audience, and at worst, can come across as ridiculous.
So it is essential that you learn how to use visual and aural signifiers.
So it is essential that you learn how to use visual and aural signifiers.
Exposition
Exposition
'Show, don’t tell
'Show, don’t tell
Although it’s easy to simply have a character monologue for a bit and explain things for the audience, it’s often more engaging to convey exposition in context.'
That is, have the expositional dialogue supported by relevant situations and actions (characters 'doing stuff') that can take the burden off the dialogue having to explain everything to the audience...'Show, don't tell'.
That is, have the expositional dialogue supported by relevant situations and actions (characters 'doing stuff') that can take the burden off the dialogue having to explain everything to the audience...'Show, don't tell'.
A strong exposition example takes place in “The Lord of the Rings: The Fellowship of the Ring.” Bilbo Baggins’ birthday party provides necessary context about
characters,
relationships,
and the dangers of the ring - no monologuing necessary.'
Task.
Task.
In the following clip, apart from the dialogue, make a note of what the supporting information is,
In the following clip, apart from the dialogue, make a note of what the supporting information is,
and how it is conveyed concerning:
and how it is conveyed concerning:
characters,
characters,
relationships,
relationships,
and the dangers of the ring
and the dangers of the ring
And remember your M.E. List
And remember your M.E. List
Although there are well established, and cliched ways of telling visual stories,
Although there are well established, and cliched ways of telling visual stories,
you do not have to revert to these.
you do not have to revert to these.
Find your own signifiers, from your own experience, and you will find that very often your audience will recognise the reference from their own lives - and people will applaud you for your 'unique vision' or 'clever observation', they will appreciate the feeling of connecting, personally, with what they are seeing - it will 'resonate' for them.
Find your own signifiers, from your own experience, and you will find that very often your audience will recognise the reference from their own lives - and people will applaud you for your 'unique vision' or 'clever observation', they will appreciate the feeling of connecting, personally, with what they are seeing - it will 'resonate' for them.
For example, in Harder, I needed to convey that something bad had happened in the house, but the boy didn't know, yet, what it was.
For example, in Harder, I needed to convey that something bad had happened in the house, but the boy didn't know, yet, what it was.
There are many over-used ways to do this - hearing screams or something smashing behind closed doors, seeing things smashed, seeing people wounded - not forgetting the use of creepy music or audio drones.
There are many over-used ways to do this - hearing screams or something smashing behind closed doors, seeing things smashed, seeing people wounded - not forgetting the use of creepy music or audio drones.
Instead, I researched my own experience and imagination and in so doing imagined the boy getting home from school to find his mum in the kitchen, preparing tea, wearing her rain coat.
Instead, I researched my own experience and imagination and in so doing imagined the boy getting home from school to find his mum in the kitchen, preparing tea, wearing her rain coat.
This indicated that something was bothering her, something had happened previously that had overwhelmed her normal procedure of taking her coat off inside the house -
This indicated that something was bothering her, something had happened previously that had overwhelmed her normal procedure of taking her coat off inside the house -
Your Mum only wears her coat to go out, but she's cooking your tea, like she normally would but she's wearing her coat (JUXTAPOSTION and CONTRAST) - 'What's going on'?
Your Mum only wears her coat to go out, but she's cooking your tea, like she normally would but she's wearing her coat (JUXTAPOSTION and CONTRAST) - 'What's going on'?
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