Nicholas Hatzer

Nicholas Hatzer00-3258-054

oGweilot Commentary

Name: Nicholas HøtzerSchool: South Is\and SchoolCandidate Number: 00 3 2 5 8-0 5 4

Subjectr Film Studies (Higher Level)Assessment : Film Commentary

Nicholas Hatzer00-3258-0s4

Film Rationalee a Film Noir within an Oriental context, which

m'to reveal the opposite representation of the Orientwas the chosen style, as it was a suitgble mediumdue to similarities between thetrvf.The use ofkey to communicating this objec_tive/vision, alongato graphi c and editing dev i çalS oundtrack als o

contributed to the tone and the visual imagery and

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Trailer RationaleThe purpose of this trailer was to market the film, thus appealing to many audiences, to

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is was done in a variety of waSrc, many conventignal.m as k i n g c h a racte r i d entifiK and the narr a$t{w as

ence closure, eek closure byence closure, eeK closure by

, yfiúingthe film. The style was indicated throug ong with theYnderlying Tone oþþrailer, to attract the genre audien f the four mainstreamtrailer quad 7up(1"r" anpe2lyLto,romaryÂcfind enirtus attracting a

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Pre-ProductionMy original stimulus stemmed from Said's

Considering thisþention, classic s

communicatig{ due to the shared ingour group's initial brainstorming of genres/s

Development and Production

considering o up lacked an ofhcial writer, this avoided the need to compose acomplexplgf, e to classic Film Noir's linear narrative structures.

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My suggestion acceptedschemes andlike Double I

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were inspiration. Visuals, sounds and edits, where written into the

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script. So, during þíoduction and post-production, each member had an understanding ofthe film's construct, making editing and frlming simpler in terms of communicating theintentro{.É.quipment was discussed as well, to ensure the script was realisticallyachieúble.

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- Fatl¿ into lasbot- 7l* seltitg slottdbe wdan, exchtsivq østem üd fui*. Tk pdcttc slanV be dat*, s@ ot vibrøt. netm slþttdb¿ oÍsimilat gøàrglþwvq Aíø bniruþ{ ùpwesfø oryls slanV bc sbmítir.- ÐaI cluûtqbeid.sCEQ FFaú MC luv&slzùvd!æidly- MC wÆs a si4. y¡t CgO wos wdthl alli¡e, ffiwøs a Cliwùas

l. Trtcking shot flows ifuilÊþlhc chS irkuc into lhr clrå, wrwirgtluoughlt!crowds, % wty tluogþ t nü iûltrædn md wclks in tlr frme with lhô cmrh lowü&MC, cmcro stçc frmingM0 in a two-T sl¿

- thè ob¡at¡v¿ ¡s þ e:tù¡¡sh lt? dtb ùú¡ts n&m, daft adcoûØpwl ld qûn alnosÉw, as wdl as bâto &vebp IIC'schtactet ùl s¡ù¿¡nt thusttninghe Øieúd¡n ü ¡îslø¿

- Club cnkacc dær çoæ julbcôrc cmøc gm thou6þ;itis opaedbyu rxirrlcrving thc club

. M m Àclùnwl?dgæ MC in t danemirg woy- MC is loucd ogirst û wdl stùirginlo tþ didncc, lhcrc slurld bc r fair spacr

wouding hir¡ brckr !o hin. Mwic is nufilcd oulsid¿ of club akmcc sdbæmc cleu or¿ ü¡e c&?lô 6¡trFclub- Thuo i¡ stm&¡dtunm ó¿Èor ud æmotion

2- Close ç, frmcs *rq¡lda mdhcld of MC ü:npæ inlo m wcr-lhe-shorldrr *rolth¿ ðl¡næ to tlE qfub is thc focw of ud lhc shol- MC takos arl ciguc[, md Fts it in his nouût- Hwu chatÞr ud comot¡on stüt to rire flStly

d¡aw tudicnft's italim. 7le ob¡eû¡w ¡ t þ h¿il d ry þni ü

Script Exa

All frlming was then scheduled to be done within one week to maximize efficiency and toavoid actor, equipment and location changes.

Monday 20rh

- Pre-rhoot ret-up (Stanley, 10 00am)- Sctup rooms for scencs

- þatmeat sccna @retcr housc, '12 0þm)- Make sue dragon oræmcnls {e brough!

- Brdoom rccnc (Exe!¿r housc, co¡tmu¿ aftø prcvrow sceoe)

- Pre-shoot s¿!-ùp

- Sct up cquþmcnt for scenc (Caweway bay, ? 00pm)- Â.llcy sccnc (Causeway bay, 8 00pn)

- El.varor sceûc (Caueway bay, 10 00pm)

Thwsday 23r- Pre-shoot srrr4 (SIS, l0 30am)

- Sctr.Þ equÞmrnt for sccn¿

- Mqdq sccnc (SIS. 12am)

Friday 24ü- Boat þ; (Aberdceo, 12 3þm)

- A¡filgc boal, get ¿vrrtonê tnto posit¡on

- Il¿rbor sccnc (Âberdceo, contrnue aftcr prevrou sceæ)

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The ProductThe film's intent was well rcalized, mainly through the dialogue and narrative metaphor,

film's semiotics could be interpreted. Theowever, the original ending lacked overall

nsate for this. I decided to removlthemore dramatlcuby j uxgp*o rinfthe end' s

silence with the previous auditory energy, to some extent acti4g in@Beóh1ian fashion,causing the audience to reflect upon the film as a con$1$fihus, thì-m-ade up for thequality of the extra footage used, since re-filming in the ðorrect conditions would have

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been implausible.

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The Aparlmenl

- Narahor starts before lhe fi¡st shot

- MC: Comrng was bad idea, she's manied, bul I had to, I had to see her agarn, to tastê

the rllusron one more lime,- MC walks into the room, and looks a¡ound

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- FF: Il's a Long, a dragon- She walks in fresh ou! olthe showe¡

- MC looks up, drinking her in, volceover

- MC Looks pretty evil for a house décor

- FF: Only with your'Western interpretation, MrJameson, here lhe dragon rs an

auspicious figure, neither good nor evil, beyond it, doing what it will

-MC ¡úfds evil to me

F: And that's why you¡ Western ideals will see the death ofyou here, lhrngs are

diff¿rent in the East

Working Søipt Example

esterner stands in, implies that he is entraplin fact it cages him. The use of the femme-

Westernercaged within the

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Nicholas }latzer00-3258-054

The26t"g@Anthing shots of;he sampan, clearly establish the status between the

$l'lsterner atrl the enyironment\hóis in. For th make the sagpany/ésterner afd tne en)Eonment\.ae ls ln. t or th maKe me saglpar

3pp:ul insienifpyú in contrastto the massive gthe OJþlt..The

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heighte@ontraM strengthens this. The nightcluo scene acnreves t-tìls too, thrõugh theWesterner's isolation from the parLy and the way he bashed into purpg:ely.

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However, the theme of the film may be interpreted differentþ. For although the frlmattempts to tw!¡tOrientalism's conventions and the Westerner is metaphor ofexpansionffias signified by his barbaric, aggressive and selfish actions, the ideologythat the Orie¡t is 'bad' larly /) /audienp¡Íhe setting i 'bad' W /'/e< t i,'--shots olthe Westerner m to be perceived as a victim, rath l4 / û c/,.r,,-)

"""' : evil and l'' /t'/e/¿ l,;the text, ashegemofficrzlvhere females art

rely on men to achieveias indicate d by the femmece rs embellished to be gratiffing canconsidering the femme fatale's

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actions, a post-femiró1zÁigntread the textindependen t femal{,lsing her intellect and

The cinemato ghtingcast heavily d de thebrightness we The tr

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---The cinematography's success is partly because of choreograp4yfhe sets were

would capture the correct shadows or the actors woulding the ending temple shot or tracking shot during

s were dirty and affected the quality oI the lootage, thls should have been colrected

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signiher in connoting the coarse and abhorrentmairrtajñhe narrative immer s i o n and c onventi on)pScontributed thematically, representing another inversion of Western semiotics, as

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The incorporation of shot variations of the original cut helped in crealing-xroversions of the scenes throughout the film, particulrrly with hidingldlntities

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where provided, through the enigmatic nature of the fralþx1Thus, three of the fourmainstream audience quadrants where targeted, except for comedy, consideringthe;qof the filmiÑapp"uiing to a wide mainstream audience, as well as a more "i,r@ercIaTedgle.

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The three of the four mainstream tr alludedto through the voice-over and imag actionwhere signified through the promis ystery

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The Trailet ¡The trailer had to be a teaser, so it could not set the premise for the nanativg^Ko,instead Idecided to market the film, by using the trailer to reveal the tone of the filK andits style.This would appeal to audiences attracted to Film Noir, as they 2tgflù-assume, through thestylistic icons present, the style, lor example the chiaroscYWtine.

enigmatic voice-oyerthe film's rpr{.This

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,at ,r';"rLJo-vJ=ts forlune in Chiwá. but in the V/est is a symbol of daWlffini$,ing to the

-t-'-1: t The ¿s many scenes were outsi¡klSo, re-recording11;, ¡l',oi was

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i scenes, essentiaj-for short films, lorþ¿t- /(- '/'' ( 1< t environme$-and a warning to the p

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sential for the audience, as well as providing fore-ene. However, with the third scene, no effectiveintentions, so to control this, we emphasized the

romantic relúdnship in the previous scene, and more so in the final scene through theirsound¡yøKs.

nq;rftive was simple, although meant for a feature hlm. This ma$æertain sequences{ffioviding not enough time to relay character developmç¡fdespite the narrative

the mixed blessing, both the danger and benefits the protagínist will encounter.

þression techniques used, such as monologues and media rez.

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The


Production

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Post-Production

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Nicholas Hatzer