Ethnicity

We have chose a section from this episode of New Girl, that shows cultural differences and ethnicity. I would say that this episode include an exotic ethnicity because of the bright colours and costumes.

http://www.promptfile.com/l/605AC0E1D7-C8B0D3E761

9 Frame Title Sequence Analysis

Catch Me If You Can

In this title sequence they focus on the actually movie title it self “Catch me if you can” and the reason why it is in cartoon form is being when you hear this phrase you automatically think of “the Ginger bread man”. Furthermore we see in the first shot the main character appears as if he has just landed at the airport then we see a change of identity which suggests he has got something to hide also suggesting he is involved in some form of criminality. He then walks into a crowd of females and is spotted by which looks like security and starts to blend in and the security follows. This tells us where his run starts.

The security is left clueless and the main character has managed to blend in with the crowd of females, this revealing to the audience how cunning this character comes across. We then see a taxi being chased by a police car, yet again more evidence to suggest this character is on the run from doing something bad and in the last shot he is coming out of a swimming pool with his clothes on. This tells us that he is willing to take any kind of route no matter the risk just to get away from whoever is chasing him. Also the woman is this last shot could be telling us along his journey he does tend to come across attractive women as she is placed right where he comes out the pool.

Gravity Spoiler

After a major calamity, astronaut Dr. Ryan Stone (Bullock) is trapped in space and must find a way back to earth. The script starts out with her and a team working on preparing the Hubble Telescope for reentry to Earth along with the shuttle Atlantis. It's theorized that the Russian launched a missile to destroy one of its own satellites, when debris flying everywhere at rocket speed destroys everything in its path. After a series of setbacks and losing her whole crew, she manages to engage the craft and drift away from ISS, but the ropes of the parachute remain connected to the main station. 

Tethered to the Soyuz, she uses a drill to loosen the bolts and disconnect the rope. All the while, she must dodge debris that has begun flying around again. ISS is hit which results in an impact producing a hole that sucks the fire right out of it. 

As she reboards the Soyuz, the ISS splits in half after a crash. A tiny morsel hits her fuel tank creating a hole which reseals itself from the escaped liquid freezing. “I hate space,” Stone comments to herself. Losing fuel, she manipulates the thrust systems and sets her trajectory towards Tiangong 8, which is orbiting at a lower level than it should be. The engine module catches fire and she engages separation of the modules, leaving her in the cabin detached from the airlock, set in a direction where she will miss Tiangong 8. She makes radio contact with an elderly man speaking an unintelligible language. Though they can’t understand each other, Stone finds the man’s voice consoling. She loses contact with him and breaks down in tears. Thumbing through the operating manual of the Soyuz, she learns the craft has a breaking system, which she implements to improve her trajectory towards Tiangong 8. Once closer, armed with the fire extinguisher, she opens the hatch and is sucked out into space. Injuring herself and enduring a great struggle, she utilizes the extinguisher until it’s empty, and, eventually, manages to establish a hold on the station. 

She enters Tiangong 8’s airlock and depressurizes the cabin. She takes off her helmet and navigates the station to the docking module of the Shenzhou. She has a limited amount of time, as the station is dropping elevation towards Earth’s atmosphere. On her way, she saves a live amphibian, “No frog stays behind.” She boards the escape pod and takes a series of guesses to get the craft up and running. Flying debris finishes off the station, as Stone makes her escape. She breaks through the atmosphere and deploys the parachute. She celebrates and the thrust system softens her fall, as she lands in a lake. 

She releases internal smoke by launching off the hatch cover. However, the Shenzhou takes on water. She swims from the bottom of the lake, but her spacesuit drags her down. She watches the frog escape, as she is about to become ensnared in the parachute. She frees herself from her spacesuit and swims up to the surface and makes her way to shore. She is finally free.

Group Production Blog

For our group production blog, I chose the name Rainbow Production. To go to the blog click on the image above. Together with Kieran, Harry and Stephen, the blog has been added to over the space of two months. I have contributed to this blog in different ways, for example in November I created the logo and title introduction for our thriller opening.

Prisoners Spoiler

Keller Dover (Hugh Jackman), attends a Thanksgiving dinner with his family at the house of their neighbors, the Birches. After dinner, the families' young daughters, Anna Dover and Joy Birch, go missing. After a police hunt, an RV that had been parked in the neighborhood is found outside a gas station next to a wooded area. When Detective Loki (Jake Gyllenhaal) confronts Alex Jones (Paul Dano), the RV's driver, Jones tries to speed away, but crashes into the trees. Alex is revealed during Detective Loki's interrogation to have the approximate I.Q. of a ten-year-old and is released due to lack of evidence.

Gyllenhaal (Detective Loki) soon finds a rotting corpse in the basement of a convicted pedophile, who tells the cops that he didn’t know the man’s name, but that he was a serial child killer. The corpse has a maze-shaped pendant around its neck, and eventually, maze motifs start popping up in the film, though it takes Gyllenhaal—who apparently has a bad visual memory—an agonizingly long time to connect the two.

Once he does, though, the movie effectively cancels out its themes. Hugh Jackman, the obsessive born-again vigilante, was right all along: Dano really is connected to the crime. (Leo is the culprit.) Torture turns out to be just as effective as police work; in fact, Jackman solves the crime first. The movie’s hints at the moral decay beneath Jackman’s family values—which range from the rotting childhood home where he keeps Dano prisoner to a somewhat heavy-handed close-up of Jackman accidentally crushing his daughter’s doll house while scuffling with his son—turn out to be for naught. The final twist vindicates him, and when Leo describes the crimes as “a war with God,” all of Jackman’s religious self-doubt gets annulled. The global war against Evil is real, and all measures are ultimately justified.

Jackman—who comes close to being the film’s villain, especially once he starts misdirecting Gyllenhaal—ends up a hero. His final descent into a hole in the ground, which echoes of the ending of George Sluizer’s The Vanishing, again briefly hints that his character may be destroyed by hubris; however, the movie’s closing shot cancels that interpretation by all but spelling out a happy ending.

Visit to the BFI

9 Frame Title Sequence Analysis

Shutter Island

Click to enlarge 

The opening title sequence is created for the 2010 Martin Scorsese film. The imagery uses a mixture of live footage and digital rendering. The approach of the titles helps to draw the audience into the film, playing with the idea of a distorted reality which the main character goes through.