Apparently I Need Viagara… also included: an amazing outline!
OK so I mentioned in class that I was having a spamming issue on my comments and I couldn’t figure out what it was about my entry that inspired all these companies to send me ads about anti-depressants and all sorts of other meds. True, I am a bit of a crazy but I’m already medicated enough as it is thank you very much. But lo and behold, I log on today to find that alone with welbutrin and zoloft I had ads for viagara and cialis. So I am depressed and I am a man. I am a man who is depressed about erecticle disfunction! That would very much depress me, I think, if I were a man – especially if I were still only a twenty year old man!
Anyways, this got me thinking about how we advertize differently to men and women. Advertizing viagara never actually says anything about not being able to get it up. Instead it makes it seem like the man who is taking viagara is conquering the evil disfunction (which is only mentioned in passing) and he can please his woman more than the average man. It’s really rather ridiculous. It’s like the happy people on the herpes commercial – but that’s another thought. Of course now with ads for tampons and pads it talks about not letting anything get in the way of your day. It’s like tampons are just another invention by “the Man” or MEN and we aren’t going to let them stop us! WARNING: Feminist Advertiser On the Loose!
O.K. So maybe I’m just ranting, but it made you laugh right? Now I’m going to Copy/Paste the amazing outline I talked about in class (btw, I did not make this outline myself so don’t be too impressed).
1.) Diegetic sound Sound whose source is visible on the screen or whose source is implied to be present by the action of the film:
o voices of characters
o sounds made by objects in the story
o music represented as coming from instruments in the story space ( = source music)
Diegetic sound is any sound presented as originated from source within the film’s world
2.) Non-diegetic sound Sound whose source is neither visible on the screen nor has been implied to be present in the action:
o narrator’s commentary
o sound effects which is added for the dramatic effect
o mood music
Non-diegetic sound is represented as coming from the a source outside story space. The distinction between diegetic or non-diegetic sound depends on our understanding of the conventions of film viewing and listening. We know of that certain sounds are represented as coming from the story world, while others are represented as coming from outside the space of the story events. A play with diegetic and non-diegetic conventions can be used to create ambiguity (horror), or to surprise the audience (comedy).
3.) SIGNIFICANT DETAILS OF FILM FORM
Distance of shot
The use of different shots can influence the meaning which an audience will interpret:
· Close-up: May be used to show tension;
· Extreme close-up: Focuses on a single facial feature, such as lips;
· Establishing shot: Mainly used at a new location to give the audience a sense of locality.
These are used extensively to communicate meaning and emotion about characters:
· Low angle shot: Looking up at a character or object, often to instill fear or awe in the audience;
· Straight angle shot
· High angle shot: Looking down on a character, often to show vulnerability or weakness;
· Canted or Oblique: The camera is tilted to show the scene at an angle. This is used extensively in the horror and science fiction genre. The audience will often not consciously realize the change.
“Mise en scene” refers to what is colloquially known as “the Set”, but is applied more generally to refer to everything that is presented before the camera. With various techniques, film makers can use the Mise En Scene to produce intended effects. This narrow definition of mise en scène is not shared by all critics. For some, it refers to all elements of visual style — that is, both elements on the set and aspects of the camera. For others, such as Andrew Sarris, it takes on mystical meanings related to the emotional tone of a film.
It has also come to represent a style of conveying the information of a scene primarily through a single shot – often accompanied by camera movement. It is to be contrasted with montage-style filmmaking – multiple angles pieced together through editing.
The term mise-en-scene (pronounced “meez-ahn-sen”) refers to the director’s control over what appears in the film frame. In short, mise-en-scene covers four areas:
· Setting and Props
· Lighting
· Costumes and Make-up