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6/FISCS
Film cover sheet: Independent study
Arrival date: 30 April / 30 October Session:
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Rationale
Script
List of sources Number of script pages (HL12-15, SL 8-10):
Title:
Cultures examined Films studied
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Shaw 001065-0040
Documentary Film Script
Beauty and the Beast
The Formalist Theory in Films
A comparative study of how directors use camera angles and
lighting to create unease surrounding protagonists.
Hunter Shaw
Southeast High School
001065-0040
Frankenstein
Shaw 001065-0040
Rationale
The use of shot types and lighting are important in film. In my
independent study, I will analyze the use of lighting and camera
angles using the formalist theory in order to show how unease
surrounding protagonists is brought out through the use of these
cinematic techniques. In order to do this, I will analyze Beauty
and the Beast and Frankenstein. I chose these films because both
revolve around mysterious characters that entice unease within
the story and within the audience, due to their roles as
monsters in each film.
Word Count: 90
Film Director Country Year
Beauty and the
Beast
Jean Cocteau France 1946
Frankenstein James Whale USA 1931
VIDEO AUDIO
1
INT. ROOM - NIGHT:
Extreme close-up of film reel
beginning to turn.
Sound effect of film reel begins.
Cut to screen on wall;
Grainy, old movie countdown
begins. 5-4-3-2-1. Fade to
black after one second mark.
Old movie countdown sound effect.
Fade in from black screen
to Extreme Wide Shot (EWS)
looking down empty road. "We
welcome you on this journey"
on screen in white letters.
Frightening, opening soundtrack
from introduction of Frankenstein
(00:01:00-00:01:30.
Fade to black.
INT. STAGE - NIGHT:
Cut to opening Wide Shot
(WS) from Frankenstein
(00:00:00-00:00:58).
Introductory dialogue from Frankenstein
narrator.
Voice fades out.
Fade to black. Crackling of microphone turning on.
NARRATOR (VOICEOVER)
Tonight, we journey down a path
that takes us in many different
directions throughout the history
of film.
Jump Cut to flash of montage
of clips of Beauty and the
Beast and Frankenstein.
Which we see through these two peculiar
films and their mysterious characters.
Cut to Beauty and the Beast
(00:37:24-00:37:31).
No matter where the stories take place.
Dissolve to video montage of
small, 18th century German
village. Jump Cut to shot
of THE BEAST’S castle in
Beauty and the Beast.
No matter where the film is produced.
Whether in France,
Cut to image of DisCina logo. Or the United States,
Cut to image of Universal
Studios logo.
The use of similar cinematic techniques
are frequently used to reach the
filmmaker’s intent.
VIDEO AUDIO
2
Fade into shot of Star
Wars creeping title card.
"Welcome to the Analysis of
the Formalist Theory. Known
as the theory of analyzing
the technical elements of
film. Today we focus our eyes
on analyzing two historic
films. These films are none
other than Frankenstein and
Beauty and the Beast."
Ludwig Van Beethoven’s 5th Symphony in
C minor fades in.
Cut to image of Dutch Angle
(DA) shot from Frankenstein.
Cut to clip from Frankenstein
(00:33:35-00:33:38).
NARRATOR (V.O.)
Ah, yes, the formalist theory. The
focus of the technical elements in
film. Analyzing the deeper meaning
within film.
Cut to split screen. Close-up
of NARRATOR’S face with a dim
light flickering off of it
on the left, Paused image of
TONY MCKIBBIN on the right.
NARRATOR
So the formalist theory is rather
important, one could say. As Tony
McKibbin, professor of film at the
University of Edinburgh has said-
Left box of split screen
with NARRATOR freezes, right
side un-pauses.
TONY MCKIBBIN
Very loosely, formalists are those
who regard cinema as predominantly a
manipulative medium. Out of inchoate
reality the filmmaker needs to shape
the material into a clearly cinematic
form, and it is this shaping that
allows film to be an art.
EXT. GRAVEYARD - NIGHT:
Camera pans right
with NARRATOR as he walks
through graveyard with Wide
Angle, Profile Shot. Fog
sits low to the ground.
Low-key lighting casts shadow
of NARRATOR on a wall behind
him.
Crow chirping in the background.
Cut to Medium Shot of gate
opening by itself.
Creaking graveyard gate.
Cut to Behind-the-Back Shot.
NARRATOR stops walking and is
framed within an arch.
Bach, Toccata and Fugue in D minor
begins playing.
VIDEO AUDIO
3
Cut to Medium Close-up
(MCU)of NARRATOR’S face from
High Angle (HA) shot.
NARRATOR
This is the story of how lighting and
camera angles are used to create unease
surrounding protagonists.
Dissolve into High Angle
shot from Frankenstein
(00:01:51-00:01:53). Camera
tilts up to man digging the
hole.
NARRATOR (V.O.)
With this, we must take note of our
first example of the use of camera
angles as we come across the burial
of a body. The body that will make up
the body of Frankenstein.
Sound of shovel hitting dirt.
Shovel sound becomes more muffled.
Cut to screenshot of High
Angle shot from Frankenstein
(00:01:51-00:01:53).
NARRATOR (V.O.)
This High Angle shot gives the audience
a sense of comfort and power at this
time. Yet, this only contradicts
the terror that this body will cause
as the film continues.
Jump Cut to close-up
of FRITZ and DR.
FRANKENSTEIN in Frankenstein
(00:02:35-00:02:38).
DR. HENRY FRANKENSTEIN
Down! Down, you fool!
Bell ringing.
Fade to black.
Cut to Close-up of NARRATOR
in graveyard glaring into the
camera.
NARRATOR
And we finally come across Dr.
Frankenstein.
Cut to Frankenstein
(00:02:38-00:02:42).
NARRATOR (V.O.)
Now note the low-key lighting. We
see the shadow cast across Dr.
Frankenstein’s face causing uneasiness
in our audience already. The shadow
splits his face into two telling us
that he is hiding something rather
sinister.
VIDEO AUDIO
4
Cut to Dutch Angle
shot from Frankenstein
(00:02:45-00:02:53).
As we see here, the use of the
Dutch Angle shot only adds to this
uncomfortable sense related to the
doctor at this time. As the camera pans
left the Dutch Angle continues as we
follow a priest holding a bell and
walking out of the graveyard. This
Dutch Angle creates this skewed view
of the setting, hinting at these skewed
views of Dr. Frankenstein.
Cut to Frankenstein
(00:14:10-00:14:14). Flash of
lightning brightens screen.
Crack of thunder. Wind whooshes and the
thump of a heavy rain is heard hitting
the ground.
NARRATOR (V.O.)
The rain. The thunder. The wind.
These all add to this theme of
uneasiness. But what is that we can
draw from the form of the shot that
also provides the audience with
this feeling?
Cut to Medium Wide shot
of NARRATOR sitting on a
bench in the graveyard as
rain pours down on him.
NARRATOR
(Yelling over pouring rain)
Sure the elements add to it, but its
the angle that really makes this shot.
Note the low angle shot as we look up
at this dark and mysterious tower where
Frankenstein becomes alive.
Crack of thunder.
INT. SCIENCE LAB - NIGHT:
Follow shot of NARRATOR
walking towards a table of
vials and various tools.
Cut to Low Angle (LA) shot
of NARRATOR looking down into
the camera.
NARRATOR
The use of the Low Angle shot to cause
the audience to feel inferior and
nervous at this time continues.
VIDEO AUDIO
5
Cut to Frankenstein
(00:24:35-00:24:38).
NARRATOR (V.O.)
With this Low Angle, we stand below
the body of Frankenstein as he is
lowered down into the lab, now alive.
The camera’s use of the LA shot puts
the audience in an edgy position at
this time as we look up at the body of
Frankenstein, who holds the power due
to the angle.
Fade to black. This build up and anticipation has
finally been met as the monster now
becomes alive.
DR. HENRY FRANKENSTEIN
Its alive!
Montage of villagers marching
in a mob.
Cut to Frankenstein
(00:59:47-01:00:29).
NARRATOR (V.O.)
Finally, it is important to note
the way in which this angry mob is
shown as it marches to kill the
somewhat misunderstood monster. At
01:00:25, we see the mob from a Low
Angle perspective, as they hold the
power in this situation rather than
Frankenstein.
Cut to NARRATOR in graveyard.
Extreme Wide shot.
Follow Shot as NARRATOR walks
towards large, burial vault.
Cut to Point of view (POV)
shot as the NARRATOR jumps
into the burial vault.
Yelling of narrator fades away.
EXT. GARDEN - NIGHT:
Cut to Wide Shot of garden
with a brick wall covered
with flowers in the
background.
Yelling grows louder.
NARRATOR falls, center
screen, from the top of the
frame into bushes in the
bottom of the frame.
Loud thud. Rustling of bushes.
VIDEO AUDIO
6
Cut to Medium Shot
as NARRATOR stands and wipes
off dirt.
Cut to Low Angle shot
of NARRATOR with wall
of flowers and vines in
background.
NARRATOR
As we have seen in Frankenstein, the
use of camera angles and lighting can
greatly impact the interpretation
of events that unfold in a horror.
However, the power of these particular
cinematic techniques are not limited to
the horror genre only.
Fade to Beauty and the Beast
(00:11:26-00:11:30).
NARRATOR (V.O.)
Take Beauty and the Beast, for example.
In this unusual tale of love, we see
the genres of romanticism and fantasy
come into play. Yet, we know that
the beast, while misunderstood, is a
powerful and mysterious creature that
is quite frightening at first glance
- and Cocteau uses lighting and camera
angles to create unease.
INT. DRESSING ROOM - NIGHT:
Fade in from black screen
to two men, the NARRATOR and
GEOFFREY O’BRIEN, sitting in
arm chairs with dimly-lit
overhead lights. The two
men’s shadows are cast along
the floor.
Inaudible discussion and laughter.
Cut to Medium Shot of the two
men sitting in the chairs.
NARRATOR
We are here with Geoffrey O’Brien,
editor in chief of the library of
America. Mr. O’Brien, what is it
that makes Cocteau’s use of cinematic
techniques so special in showing this
unease about the Beast?
VIDEO AUDIO
7
Cut to Medium Close-up of
O’BRIEN as he prepares to
speak. Lights grow dimmer as
the camera focuses on him.
GEOFFREY O’BRIEN
Cocteau makes all the more uncanny the
discovery...of the Beast’s realm. It
is like the breaching of a seam, and
we are carried through every part
of the process: through the misty
forest and up a deserted staircase,
through the great door and, in the most
otherworldly use of the camera.
Camera tracks out and the
screen begins to blur.
Soundtrack from Beauty and the Beast
begins playing.
Cut to Beauty and the Beast
(00:16:35-00:16:53).
BELLE’S FATHER
(worried shouting)
Is anyone there?
NARRATOR (V.O.)
As Belle’s father approaches the
door to the Beast’s castle, we see
his shadow cast against the door
due to the low-key lighting
incorporated - not only
highlighting or unease, but the
unfamiliarity that her father faces
as he enters this imposing castle.
Cut to High Angle, Profile
Shot of NARRATOR picking a
red rose from a plant.
And as her father soon learned; picking
flowers can take a turn for the worst.
Cut to Beauty and the Beast
(00:22:52-00:23:10).
BEAST
You steal my roses, the things I love
most in all the world. Your luck has
gone from bad to worse.
BELLE’S FATHER looks at the
BEAST with a terrified look.
Camera slowly turns into a
Dutch Angle.
NARRATOR (V.O.)
As we are introduced to the Beast,
the use of the low angle shot tells
us the power he possesses - especially
in this particular situation, as we,
the audience, can imagine looking up to
this bellowing monster.
Cut to Close-up of NARRATOR’S
face.
NARRATOR
And the Beast gives him an ultimatum.
Death -
VIDEO AUDIO
8
Cut to Beauty and the Beast
(00:23:11-00:23:20).
BEAST
Unless one of your daughters agrees to
pay your debt and take your place.
Cut to NARRATOR standing
beside an old marble water
fountain with chunks missing.
Slight Dutch Angle is used.
Loud roar heard.
Cut to Profile Shot
as NARRATOR leans over a
balcony overlooking a forest.
Jump cut to Low Angle shot
as NARRATOR walks over the
camera.
NARRATOR
So, here is the dilemma. As we soon
find out, Belle sacrifices herself.
It is important to note the shadows
cast around the barn as she enters,
and the light that glitters off of
the Beast’s horse that awaits her in
the barn, creating this mystical, yet
uneasy, feeling of uncertainty.
Cut to Beauty and the Beast
(00:28:30-00:28:39). High
contrast lighting shines down
on BELLE through holes in
barn.
NARRATOR (V.O.)
It is the high contrast lighting
that creates these shafts of light
that contrast the darkness; causing
nerve-racking uncertainty of what
awaits her.
Cut to Beauty and the Beast
(00:28:50-00:29:26). BELLE
riding through forest lit
with low-key lighting.
Note the rapid change in lighting from
the brightly-lit farmhouse where her
father resides to the darkened, low-key
lighting as she rides through the
forest into the unknown.
Fade to black.
Cut to the NARRATOR standing
in front of the large door
at the opening of the Beast’s
castle. High Angle, Wide shot
used. The NARRATOR stands in
center frame.
NARRATOR
The largest shock still awaits Belle,
however.
Cut to an image of the BEAST
with a menacing look.
Sound of woman shrieking.
VIDEO AUDIO
9
Cut to Beauty and the Beast
(00:33:20-00:33:53). Camera
tracks in to reveal the BEAST
speaking to BELLE.
BEAST
Where are you going?
BELLE faints. NARRATOR (V.O.)
Here is the moment we have been waiting
for. The lighting is used perfectly as
it shines up from the ground onto the
Beast’s face, creating this terrifying
look of anger, eventually causing Belle
to faint.
Black silhouette of the BEAST
moves into frame.
Cocteau’s use of backlighting creates
this dark and imposing silhouette
of the Beast, only furthering the
uneasiness associated with the monster.
Beauty and the Beast soundtrack
(00:35:18-00:35:52).
Beauty and the Beast
(00:35:56-00:36:11).
NARRATOR (V.O.)
As if just to make sure we received the
unease before, we now watch as Belle
awakes from a High Angle shot, putting
her in an inferior position. We see
the shock - the terror, in her face.
Everything about the Beast makes her
uncomfortable, and she even admits it
to him.
BELLE
I don’t feel at ease-
sound is drowned out.
Beauty and the Beast
(00:40:10-00:40:20).
NARRATOR (V.O.)
And as the Beast exits her presence,
we have one last reminder of that lack
of ease, as Belle sits slumped over,
head in hand, high contrast lighting
showing the drama - and the Beast, yet
again, with backlighting, casting his
silhouette above Belle.
VIDEO AUDIO
10
INT. ROOM - NIGHT:
Medium shot of NARRATOR
sitting in a arm chair,
smoking a pipe.
NARRATOR
As our journey comes to a close, I
would like to thank you for joining
me. We can conclude the importance
of the formalist theory in film and
how the cinematic techniques within
it can alter how we perceive a film
- as evident with the significance of
camera angles and lighting in creating
uneasiness.
Black screen with white
letters read: "Fin."
Shaw 001065-0040
Annotated Bibliography
Written Sources
McKibbin, Tony. "Formalist Theory." Tonymckibbin.com. N.p., n.d.
Web. 26 Feb. 2016.
This website was used to provide a deeper understanding of the
formalist theory as well as provide a quote on why the
formalist theory is so essential to the filmmaking process.
Electronic Sources
Bach, Johannes Sebastian, perf. Toccata and Fugue in D Minor,
BWV 565. Breitkopf & Härtel, 1833. Web. 16 Jan. 2016.
I wanted to use this in order to add a dramatic piece of music
into the film. At the time in the film, the narrator is in a
graveyard and this adds to the overall atmosphere of the
scene.
Beethoven, Ludwig Van. Beethoven's 5th Symphony. 1808. Web. 24
Jan. 2016.
I added Beethoven’s 5th symphony as a dramatic introduction for
the audio side during the opening title card of the film.
Frankenstein 1931. Digital image. Blackandwhitemovies.com. N.p.,
n.d. Web. 21 Feb. 2016.
This photo from Frankenstein was used for a descriptive photo
of the film on the cover page. I chose it due to it being in
the graveyard.
LA BELLE ET LA BÊTE – JEAN COCTEAU RE-IMAGINES FAIRYTALES. Digital
image. lisathatcher.com. N.p., n.d. Web. 15 Feb. 2016.
This site was used for a picture from Beauty and the Beast
that was used on the cover sheet of my independent study.
O'Brien, Geoffrey. "Beauty and the Beast: Dark Magic." Criterion
Collection. N.p., n.d. Web. 22 Feb. 2016.
This essay described the dark magic that Cocteau involved
within the film. It also provided me with a quote from O’Brien
on the camerawork in the film.
Shaw 001065-0040
Filmography
Beauty and the Beast. Dir. Jean Cocteau. Perf. Jean Marais,
Josette Day, Mila Parély. DisCina, 1946. DVD.
This was the second film that I chose to analyze in my
independent study. I chose this due to its overall use of
lighting and angles; however, it contrasted my first film as
it is in the fantasy genre.
Frankenstein. Dir. James Whale. Perf. Colin Clive, Mae Clarke,
Boris Karloff. Universal Pictures, 1931. DVD.
This was my first chosen film to analyze. I chose it due to
the genre, which is horror/thriller, and how it relates to the
cinematic techniques of lighting and camera angles.
Star Wars. Dir. J.J. Abrams. Perf. Harrison Ford, John Boyega.
Walt Disney Studios, 2015
I chose to incorporate the running title card from Star Wars
into my film in order to catch the audience’s attention and
draw them in with the famous title card.