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500 wordsAims– For students to be able to identify the way shots have been set up to create a scene or visual sequence thatcommunicates meaning.– Students need to show they understand how elements such as camera angles, shot sizes, camera placement,production design, character placement and mise-en-scène are used to determine the creative outcome andeffective communication of meaning.DescriptionStudents are to conduct a Scene Analysis Exercise. They are to choose a scene from a film or program of theirchoice, present a reverse storyboard, with sketches, and individual shot descriptions, accompanied by an analysis ofthe scene’s meaning as conveyed through visual storytelling.See the vUWS site Assessment section for additional details, readings and exemplars.This assignment is to be submitted in 2 parts:Part 1 - A storyboard of a scene with shot sketches and shot descriptions to explain what is happening within eachshot, and effectiveness of meaning being conveyed. Storyboard lengths will vary depending on the chosen scene,however, as a guide expect to produce approximately ten pages of storyboard from a 2-3 minute scene. Storyboardtemplates are to be found on vUWS in the Assessments Folder, downloaded and used to sketch individual shots andshot descriptions.Once finished, these can be scanned to PDFs, either using the scanner app on the iPad or any other scanner thatyou may access.Part 2 - A written analysis of how the individual shots come together to create an overall sense of meaning, thestudent’s rationale or explanation for their choice of scene, with background research articulating the significance ofthe film and the scene. (Approx 500 words)All documents can be collated and converted to PDF, then submitted as outlined below onto vUWS.Please ensure that pages created in portrait view can be viewed in the collated PDF in portrait view and likewise that pages created in landscape view, such as storyboard pages, are collated in the PDF documentin landscape view.I have attached some examples. Useful linksStoryboards for Taxi Driver by Scorcese (fairly rough but are pretty well shot for shot in the final film) - https://www.youtube.com/watch?v=FvQV21hkMjI Terry Gillam on Storyboarding: Part 1 and Part 2 https://www.youtube.com/watch?v=hj7P1sczHZo part 2 https://www.youtube.com/watch?v=KtJ5N93Sw8QStoryboards for Time Bandits - http://hollydgilliam.blogspot.com/2012/08/todays-offering-6-august-2012.htmlReferences Reverse or Backwards Storyboard Exercise (PDF) ( attached)Frame illustrations from Focus on Hitchcock, ed. Albert LaValley, 1972Sample Storyboard Images from North by Northwest Ch 11 Bordwell & Thompson, Film Art (PDF) https://learn-ap-southeast-2-prod-fleet01-xythos.s3.ap-southeast-2.amazonaws.com/5df059da37b55/1096319?response-cache-control=private\%2C\%20max-age\%3D21600&response-content-disposition=inline\%3B\%20filename\%2A\%3DUTF-8\%27\%27Sample\%2520Storyboard\%2520Images\%2520from\%2520North\%2520by\%2520Northwest\%2520Ch\%252011\%2520Bordwell\%2520\%2526\%2520Thompson\%252C\%2520Film\%2520Art.pdf&response-content-type=application\%2Fpdf&X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Date=20200520T060000Z&X-Amz-SignedHeaders=host&X-Amz-Expires=21600&X-Amz-Credential=AKIAIW5OVFIUOTV36DNA\%2F20200520\%2Fap-southeast-2\%2Fs3\%2Faws4_request&X-Amz-Signature=e76365894f74f76bb16d18ecd1259afac2d9b40563e370dd067a501bb99d7d91 backwards_shotlist_exercise_.pdf beresford_reverse_storyboard_complete.pdf goosh_18334180_assess1reversestoryboard.pdf storyboard_template.pdf some_references_for_the_reverse_or_backwards_storyboard_exercise.docx Unformatted Attachment Preview Katie  Beresford   Foundations  and  Media  Arts   Reverse  Storyboard     Tutor:  Maryella  Hatfield   18017856                         1       Katie  Beresford   Foundations  and  Media  Arts   Reverse  Storyboard     Tutor:  Maryella  Hatfield   18017856                                           2       Katie  Beresford   Foundations  and  Media  Arts   Reverse  Storyboard     Tutor:  Maryella  Hatfield   18017856         3     Katie  Beresford   Foundations  and  Media  Arts   Reverse  Storyboard     Tutor:  Maryella  Hatfield       4         18017856   Katie  Beresford   Foundations  and  Media  Arts   Reverse  Storyboard     Tutor:  Maryella  Hatfield       5         18017856   Katie  Beresford   Foundations  and  Media  Arts   Reverse  Storyboard     Tutor:  Maryella  Hatfield   18017856     Life of Pi Rational Ang Lee’s Life of Pi is a book to film annotation of Yann Martel’s novel, exploring the themes of faith, philosophy, religion, self-discovery and survival. In turn, the adaption of the novel to film by Lee has lead to the film’s success, enabling it to win four Academy Awards during 2013 for Best Director, Best Cinematography, Best Adapted Screenplay and Best Original Score (The Guardian, 2013). Furthermore it has also won Best Cinematographer and Special Visual Effects at the British Academy Film Awards in 2013 (BAFTA, 2013). The significance of the film was to capture the authenticity and impacting themes of faith, philosophy, religion, self-discovery and survival visually. Ang Lee stated his interest, “I choose the book because emotionally they connect with me, but they provide a lot of interesting aspects.” (The Guardian, 2012). Furthermore, going on to mention the importance of the themes that are potent throughout the film, “It’s everywhere, including the philosophy from the most external, from the most fantastical scene, to the most intimate moment, to the loneliness moment you have to deal with yourself.” (The Guardian, 2012). The scene of choice is the second storm scene in the movie that displays the main character, Pi, and unimaginable cast away companion, Richard Parker the tiger, struggling through the rages of an out to sea storm. With the use of cinematic effects, the scene ultimately intensifies encapsulating the tension and suspense of life and death. Likewise, the scene sets the stage for many of the themes/elements to come forward with Lee stating, “I wanted to use water because the film is talking about faith, and it contains fish, life and every emotion for Pi. And air is God, heaven and something spiritual and death. Thats how I see it. I believe the thing we call faith or God is our emotional attachment to the unknown.” (Roger Elbert, 2012). This then makes the scene both dramatic and visually pleasing to evaluate. 6     Katie  Beresford   Foundations  and  Media  Arts   Reverse  Storyboard     Tutor:  Maryella  Hatfield   18017856     When analysing the scene, Lee’s choice of angles ranged due to the overall purpose of the shot. The use of non-static camera sets the time and place with the use of movements replicating the feel of the ocean and storm. As well as creating diversity against still shots when capturing moments of emotions. Lee’s exceptional direction with CGI enabled this stating, “Every scene depends on the purpose on the scene they have different rendition of the water and sky and hopefully, eventually I reach the internal image of pi journey.”(Clevver, 2012). In addition, still shots provide intense clarity when it comes to reading emotions or showing aerial shots of the action down below. It enables surrealist moments to be brought forward, such as the subjective shot from Pi’s point of view when looking into the sky as if he were looking to god. In addition Lee’s choice of panning and follow shots were heavily involved, allowing the fluidity and continuity of action sequences. An example would be when Pi has fallen from the boat or when long choreographed scenes did not have the need to be shot from multiple angles but simply allowed for the character to be followed objectively by the camera lenses. The scene of choice seems particularly climatic, both in visual action and raw emotion performed. Lee’s choice of direction furthermore intensifies this with varying static and non-static shots, as well as panning shots to capture the themes and elements being visually portrayed. 7     Katie  Beresford   Foundations  and  Media  Arts   Reverse  Storyboard     Tutor:  Maryella  Hatfield   18017856     References Clevver Movies (2012, November 21). Director And Lee talk “life of pi” – part 2 of 2 [Video file]. Retrieved from https://www.youtube.com/watch?v=r5a_jkFtrPQ Ebert, R. (2012, November 17). Ang Lee: of water and pi. Roger Ebert. Retrieved from http://www.rogerebert.com/interviews/ang-lee-of-water-and-pi Film in 2013. (2013). BAFTA. Retrieved from http://awards.bafta.org/award/2013/film Oscars 2013: full list of winner. (2013). The guardian. Retrieved from http://www.theguardian.com/film/2013/feb/25/oscars-2013-full-list-winners The Guardian (2012, December 17). Life of pi: Ang Lee answers your questions [Video file]. Retrieved from https://www.youtube.com/watch?v=229vKIGbxrI                             8     ! ! ! ! ! Assessment 1: Reverse Storyboard ! Steven Spielberg’s! Schindler’s List! ! ! Monique Googh! ! 18334180 ! ! ! ! ! ! ! ! l bo d o- J q/l :lot ,:l el cl \t o ol t I E 6 (,) -\- C^ qr .Q (.^ o +J tr r€, .!=,1 p= $;Jll j{1${ qri w ^to) :--_-- v! a *\e:i *r o-o--l-) ::--CLl- :f -^- l ) r M d fti..o.-S L_-- b,0 d o- -\l :l \J- *:l-r \- -f -,/-\\ \% l-1 \ \\- \%1 -/ra,//a, t -t),/..,.f --^7- -(5- L:J G= =-J &^ qa= F@y -(- ft-9-o,1 r- #:=J :l :7^:E-l =EL==I gf-=l \l .$ I (J I g o -t .C4 <- -\ qJ -U 1- G * o tr o c.) o o (J t I :lp (L I I I J * t I U E i5 \.i\ 9 ! 5 tu t ^(, t) o tr w///liltltil -\- -f .+ o 9 c.) OJ U j- C AJ q, -) ! o v) I I bo d (L o :| 0) (J +J .!- o : 0) +J tr (b i tt / r t/ tt,/ l, itl /L--!rl t \ I rIlt\\\1il \, \ .= \- r_ 6 \9 o I c4 o o) U -tr 6 L cJ .F o I o o P ) s (J o CJ o (.1 (J q, C q- q, C r- lv c -o = o V o I @ d (L o +, (, c) L i5 c1 .\ ---/ s q.l o r\ -s \-U o tr (( (a i) / (bi,l (r, -q : o P tr o o) u \ U- o U T 0.) = 0.) (J aC :\qa, a, C L) L-q i\ E o (./, q. q, C :\ O a r9 f-! o (t, q, - qJ :-- C lq ) fc ! ao l. o 9 c) o) u o : o 9 cr) o o I c o ijI !q ao $l Schindler’s List ! Scene 3 Analysis! The scene is important to the plot, as it is where Schindler sets out to buy a pots and pans factory, to convert to produce munitions. This would become the way he saves hundreds of Jewish people. He proposes to buy it with money from Jewish investors, and for Stern to run it. The scene establishes Stern and Schindler’s initial relationship and is important in recognising the changes within this over time. Stern clearly dislikes Schindler, appearing irritated and hostile, seen through his blank face and rigid body language. Schindler on the other hand, in his squeaky leather jacket, appears almost too relaxed, putting his feet on the furniture and smoking. These elements present him as being tacky (Femia, Joyce, 2012). Schindler is established as materialistic and selfish, which is important in recognising his transition, when he understands the reality of the situation of which he was once so ignorant. The shot and counter shot sequence emphasises the tense silence between Stern and Schindler, juxtaposing their personalities and lifestyles, which are polar opposites. Schindler fails to understand what Stern means when he declares that Jewish people have more significant things to worry about than investing, presenting Schindler as out of touch and lacking compassion, while reflecting the naivety of many Germans of the time. As one of the first scenes in the film, it establishes the early WWII context and the social climate. The opening shots of the soldiers marching through the streets shows how war permeated all aspects of daily life in Germany. Civilians were surrounded by it, and faced it every day. The children walking alongside the soldiers alludes to Hitler Youth, and other programs aiming to train and manipulate children into adopting a state of mind which supported the war and the ideologies of the Nazi party. The Jewish man being harassed in the street also highlights the constant torment which Jewish people received even in the early stages of the war. The Judenrat full of distressed, angry Jewish people portrays the government policies which forcefully evicted many innocent people from their homes. Spielberg chose to create a black and white film despite its production in 1993, an aesthetic choice which captures the WWII era, which for most people is known only through black and white photographs. The mise-en-scene and sharp contrast creates film noir effects, which also immerses people into the WWII era, as this was a popular cinematic stye of the time (SparkNotes, 2004). Professor of Jewish literature, Alan Mintz, states that Schindler’s List has contributed to the truth of the Holocaust permeating the memory of the American public (Baron, 2003). Filmmaker, Stanley Kubrick, said of the film, “Think thats about the Holocaust? That was about success, wasnt it? The Holocaust is about 6 million people who get killed. Schindlers List is about 600 who don’t,” (Goldman, 2005). The film was a success and won seven Academy Awards in 1994, including best picture, best director, cinematography and editing (Oscars, 2015). ! ! ! ! ! ! ! ! ! ! ! ! ! References! ! Baron, L. (2003). Popular culture and the shaping of Holocaust memory in America. ! Holocaust and Genocide Studies. Oxford, England: Oxford University Press.! Femia, L., Joyce, M. (2012, October 15). Schindler’s list scenes 1 to 10: Schindler and the establishment of his factory summary and analysis. GradeSaver. Retrieved March 27, 2015, from http://www.gradesaver.com/schindlers-list/study-guide/summary- ! scenes-1-to-10--schindler-and-the-establishment-of-his-factory! Goldman, A.J. (2005). Stanley Kubrick’s unrealized vision. Jewish Journal. Retrieved March 27, 2015, from http://www.jewishjournal.com/arts/article/ ! stanley_kubricks_unrealized_vision_20050826/! Oscars. (2015). The 66th Academy Awards 1994. Retrieved March 27, 2015, from http:// ! www.oscars.org/oscars/ceremonies/1994! SparkNotes Editors. (2004). SparkNote on Schindler’s List. Retrieved March 16, 2015, from http://www.sparknotes.com/film/schindlerslist/! Title___________________________ scene shot Director___________________________ scene shot scene Action Action Action Sound Sound Sound scene shot scene shot scene Action Action Action Sound Sound Sound Page___________ shot shot Some references for the Reverse or Backwards Storyboard Exercise (Keep in mind, you only have to do stick figures or rudimentary sketches, not brilliant illustrations.) Look at the storyboard examples at the bottom of the page Hitchcock Storyboards 1-4 http://capone.mtsu.edu/mjbarr/StoryboardProject.html Some other storyboard references http://filmmakeriq.com/2010/11/hitchcocks-storyboards-from-13-classicfilms/ http://www.hitchcockwiki.com/wiki/Hitchcock_Gallery:_sketches Shot analysis; text only http://spot.pcc.edu/~mdembrow/eng195.htm A large list of films at the bottom of this page, in case you are still searching for films to analyse: http://mubi.com/lists/aspects-of-mise-en-scene-film-art-an-introduction-bydavid-bordwell-and-kristin-thompson A teacher’s account of the storyboard http://www.filmcamp.tv/FilmCamp.TV/Core_FilmCamper_Blog/Entries/2008/4 /16_Junior_FilmCamp_Day_4_- _The_Hitchcock_Storyboard.html ... Purchase answer to see full attachment