Showing posts with label Film Reviews. Show all posts
Showing posts with label Film Reviews. Show all posts
Thursday, 27 April 2017
Friday, 7 April 2017
Thursday, 6 April 2017
E.T. (1982) - Film Review
E.T. (1982) Film Review by Jennifer Ball on Scribd
I've decided to present my film reviews in a Scribd format to prevent any problems whilst uploading.
Tuesday, 7 March 2017
La Jetee (1962) - Film Review
La Jetee (1962)
La Jetee is a 28 minute science fiction film that is completed using still frames. It tells the story of an unnamed man who is used in an experiment of time travel. During these travels into the past, he falls in love with a woman he has seen somewhere before.
This film is an example of the art of illusion. Michael Hanke calls the 24 frames each cinema second, 24 lies because it gives a false impression of movement. The illusion of movement is actually created by slowing down the pace of the still image. Time lapse and movement are used to trick the audience and create illusion. "The human brain forgets the cuts,” Michel Gondry said about film. And just like Michael Haneke calls the 24 frames in each cinema second “24 lies,” Chris Marker emphasizes the false perception of film movement by simply slowing down the pace of the still images." (Ignoramous L, date unknown)
At the very beginning of the film, the still shot of an airport is used. The quick 'camera zoom out' however gives the illusion that the scene is moving. The realistic sounds of the airport that are added to the visual image further enhance the realism of the image.
A further sequence of destroyed buildings also appear to contain movement. Yet, it is the camera moving and not what is actually happening in the image.
La Jetee uses fade ins and fade outs, dissolves, cut ins in order to convey time lapse.
There is little speaking in the film and in fact the only voices that are heard are German-speaking. The main characters do not speak and this adds to the illusion that they are not in the present.
There is a live action sequence in the film which consists of a woman blinking. Previous to this moment there are a series of dissolves which give the impression that the woman is alive and moving - yet she is lifeless.
The scene which is set in the museum of stuffed animals is used to portray stillness. At one point the characters are leaning over examining the animals and stood in a posture similar to the 4 legged stuffed animals themselves. "Like these animals, the human characters in La Jetée remain completely stationary in each still photograph; Marker only implies their motion by showing subsequent frames juxtaposed in montage. Through image association (and, to some extent, through narration), the audience is expected to understand that each image follows the other in chronological order." (Hough S,
La Jetee uses this idea to convey a story of time travel and ultimately the story of a man who witnesses his own death without realizing it.
Illustration List:
Figure 1. La Jetee (poster art) https://images-na.ssl-images-amazon.com/images/M/MV5BYTBmYjIxYjQtNzNhMS00MmRlLWJjNTMtZmI5YmJiMTIxMGFjXkEyXkFqcGdeQXVyMTQxNzMzNDI@._V1_UX182_CR0,0,182,268_AL_.jpg (accessed on 07/03/17)
 |
| Fig 1. La Jetee (poster art) |
La Jetee is a 28 minute science fiction film that is completed using still frames. It tells the story of an unnamed man who is used in an experiment of time travel. During these travels into the past, he falls in love with a woman he has seen somewhere before.
This film is an example of the art of illusion. Michael Hanke calls the 24 frames each cinema second, 24 lies because it gives a false impression of movement. The illusion of movement is actually created by slowing down the pace of the still image. Time lapse and movement are used to trick the audience and create illusion. "The human brain forgets the cuts,” Michel Gondry said about film. And just like Michael Haneke calls the 24 frames in each cinema second “24 lies,” Chris Marker emphasizes the false perception of film movement by simply slowing down the pace of the still images." (Ignoramous L, date unknown)
At the very beginning of the film, the still shot of an airport is used. The quick 'camera zoom out' however gives the illusion that the scene is moving. The realistic sounds of the airport that are added to the visual image further enhance the realism of the image.
 |
| Fig 2. La Jetee (film still) |
A further sequence of destroyed buildings also appear to contain movement. Yet, it is the camera moving and not what is actually happening in the image.
La Jetee uses fade ins and fade outs, dissolves, cut ins in order to convey time lapse.
There is little speaking in the film and in fact the only voices that are heard are German-speaking. The main characters do not speak and this adds to the illusion that they are not in the present.
There is a live action sequence in the film which consists of a woman blinking. Previous to this moment there are a series of dissolves which give the impression that the woman is alive and moving - yet she is lifeless.
The scene which is set in the museum of stuffed animals is used to portray stillness. At one point the characters are leaning over examining the animals and stood in a posture similar to the 4 legged stuffed animals themselves. "Like these animals, the human characters in La Jetée remain completely stationary in each still photograph; Marker only implies their motion by showing subsequent frames juxtaposed in montage. Through image association (and, to some extent, through narration), the audience is expected to understand that each image follows the other in chronological order." (Hough S,
 |
| Fig 3. La Jetee (film still) |
Roland Bathes in his book, 'Camera Lucinda', examines photography and concludes that "a photograph carries with itself a label 'time-has-been', signifying that whatever the photograph depicts happened in the past. While live-action films can provide the necessary qualities to suspend the audiences belief and make the action appear to be taking place in the present, photographs are inevitably bound in the past. Their diegesis is not here and now." (Roland Barthes)
La Jetee uses this idea to convey a story of time travel and ultimately the story of a man who witnesses his own death without realizing it.
Illustration List:
Figure 1. La Jetee (poster art) https://images-na.ssl-images-amazon.com/images/M/MV5BYTBmYjIxYjQtNzNhMS00MmRlLWJjNTMtZmI5YmJiMTIxMGFjXkEyXkFqcGdeQXVyMTQxNzMzNDI@._V1_UX182_CR0,0,182,268_AL_.jpg (accessed on 07/03/17)
Figure 2. La Jetee (film still) https://chrismarker.org/wp-content/uploads/2014/12/high-quality-jetee.jpg (accessed on 07/03/17)
Figure 3. La Jetee (film still) http://40.media.tumblr.com/dd3bb47d031e3155ba6ee9673c16406d/tumblr_nm70ojbVtm1tus777o1_1280.png (accessed on 07/03/17)
Bibliography:
Hough S, The Freedom of Movement in Chris Markers La Jetee [online] In: Movie Fail At URL: http://moviefail.com/freedom-of-movement-la-jetee/ (accessed on 07/03/17)
Ignoramous L, date unknown Chris Marker’s La Jetee Analysis: Mortality and the Illusion of Time
[online] In: Films Lie At:URL: http://filmslie.com/chris-marker-la-jetee-analysis-temporality/
(accessed on 07/03/17)
Roland Barthes (1980) Camera Lucida (book)
[online] In: Films Lie At:URL: http://filmslie.com/chris-marker-la-jetee-analysis-temporality/
(accessed on 07/03/17)
Roland Barthes (1980) Camera Lucida (book)
Duel (1971) - Film Review Can't seem to get rid off this re-occurring line?? Sorry!
Duel - 1971
The thriller film Duel was made in 1971 and directed by Steven Spielberg. This was only the second full feature film that Spielberg had made. Richard Matheson
originally wrote a shorter version of the film "Duel" for
Playboy Magazine. The story follows a man called David
Mann who leaves the city and then drives through the
Californian Desert, however a truck tanker
with an unknown driver decides to chase Mann through out
the film.
The film is completely suspense driven. Spielberg does this by using low angle shot of the truck itself. Making the audience feel really small compared to the size of the truck.
"Spielberg slowly builds up the suspense, seemingly from thin air: the first time the truck appears, Spielberg's low angles and uncomfortable closeups of the truck's rusty grille and thick, rotted fenders already suggest something sinister." (Unknown, 23/02/11)
Some would say that the film reflected the masculinity of David Mann. For example he drove a car, which is much smaller compared to the huge tanker truck. David's car symbolizes the small amount of masculinity that he had. "A cherry red 1970 Plymouth Valiant which finds itself out its depth against the truck from hell." (Cowen N and Patience H, 08/03/08)
This dilemma of masculinity is also seen when David and his wife have a conversation on the phone: "They'd had an argument the night before because they'd been at a party where a friend or business associate had obviously been all over Mann's wife — "he practically raped me," she says, as the couple's two kids play innocently nearby — and Mann had done nothing to stop the harassment."Also the clue is in his name David "Mann", sounds like the word "Man". (Unknown, 23/02/11)
Interestingly most of this scene is filmed through a door of washing Machine. Maybe it was showing us the "females perspective" from that time. "As for the nameless mother/hausfrau seen briefly in Duel, Nigel Morris notes how “Mann [in the Laundromat/phone call scene] is literally viewed through a female lens, this film repeatedly associating women, at the height of second-wave feminism, with household labour. His wife, her side of the conversation intercut, dusts the living room in a polka-dot frock and apron that parody 1950s commercials, with two children playing on the floor." (Schober A, December 2015)
If not immediately we notice very quickly that the desert is not a safe place for David Mann compared to the city. However both places still challenged his masculinity, first of all from his wife and then the mysterious truck driver.
By the end of the film David Mann manages to redeem his masculinity when he manages to blow up the truck and watch it plunge off the cliff.
Illustration list:
Figure. 1 Duel (poster art) http://www.gstatic.com/tv/thumb/movieposters/543/p543_p_v8_aa.jpg
(accessed on 06/03/16)
Figure 2. Duel (film still) https://mossfilm.files.wordpress.com/2014/12/duel-train-crossing.jpg
The thriller film Duel was made in 1971 and directed by Steven Spielberg. This was only the second full feature film that Spielberg had made. Richard Matheson
originally wrote a shorter version of the film "Duel" for
Playboy Magazine. The story follows a man called David
Mann who leaves the city and then drives through the
Californian Desert, however a truck tanker
with an unknown driver decides to chase Mann through out
the film.
 |
| Duel (poster art) |
"Spielberg slowly builds up the suspense, seemingly from thin air: the first time the truck appears, Spielberg's low angles and uncomfortable closeups of the truck's rusty grille and thick, rotted fenders already suggest something sinister." (Unknown, 23/02/11)
Not only that but when the camera gets close to the front of the truck we can almost picture a monstrous face, looking ready to chase its victim. Giving the ruck human like features.
Some would say that the film reflected the masculinity of David Mann. For example he drove a car, which is much smaller compared to the huge tanker truck. David's car symbolizes the small amount of masculinity that he had. "A cherry red 1970 Plymouth Valiant which finds itself out its depth against the truck from hell." (Cowen N and Patience H, 08/03/08)
 |
| Fig 2. Duel (film sill) |
This dilemma of masculinity is also seen when David and his wife have a conversation on the phone: "They'd had an argument the night before because they'd been at a party where a friend or business associate had obviously been all over Mann's wife — "he practically raped me," she says, as the couple's two kids play innocently nearby — and Mann had done nothing to stop the harassment."Also the clue is in his name David "Mann", sounds like the word "Man". (Unknown, 23/02/11)
Interestingly most of this scene is filmed through a door of washing Machine. Maybe it was showing us the "females perspective" from that time. "As for the nameless mother/hausfrau seen briefly in Duel, Nigel Morris notes how “Mann [in the Laundromat/phone call scene] is literally viewed through a female lens, this film repeatedly associating women, at the height of second-wave feminism, with household labour. His wife, her side of the conversation intercut, dusts the living room in a polka-dot frock and apron that parody 1950s commercials, with two children playing on the floor." (Schober A, December 2015)
 |
| Fig 3. Duel (film still) |
If not immediately we notice very quickly that the desert is not a safe place for David Mann compared to the city. However both places still challenged his masculinity, first of all from his wife and then the mysterious truck driver.
By the end of the film David Mann manages to redeem his masculinity when he manages to blow up the truck and watch it plunge off the cliff.
Illustration list:
Figure. 1 Duel (poster art) http://www.gstatic.com/tv/thumb/movieposters/543/p543_p_v8_aa.jpg
(accessed on 06/03/16)
(accessed on 06/03/16)
Figure 2. Duel (film still) http://sensesofcinema.com/2015/book-reviews/steven-spielbergs-duel/
(accessed on 06/03/16)
Bibliography:
Cowen N and Patience H, 08/03/08 Wheels on Film: Duel [online] In: The Telegraph At: URL
http://www.telegraph.co.uk/motoring/wheelsonfilm/2751051/Wheels-On-Film-Duel.html (accessed on 06/03/16)
(Schober A, December 2015) Steven Spielberg’s Duel (1971) and the Road to Interpretation: Steven Spielberg and Duel: The Making of a Film Career by Steven Awalt [online] In: Senses Of Cinema At: URL:
http://sensesofcinema.com/2015/book-reviews/steven-spielbergs-duel/ (accessed on 06/03/16)
Unknown, 23/02/11 Duel [online] In: Only The Cinema At: URL: http://seul-le-cinema.blogspot.co.uk/2011/02/duel.html (accessed on 06/03/16)
(Schober A, December 2015) Steven Spielberg’s Duel (1971) and the Road to Interpretation: Steven Spielberg and Duel: The Making of a Film Career by Steven Awalt [online] In: Senses Of Cinema At: URL:
http://sensesofcinema.com/2015/book-reviews/steven-spielbergs-duel/ (accessed on 06/03/16)
Unknown, 23/02/11 Duel [online] In: Only The Cinema At: URL: http://seul-le-cinema.blogspot.co.uk/2011/02/duel.html (accessed on 06/03/16)
Monday, 6 March 2017
Jaws (1975) - Film Review
| Fig 1. Jaws (poster art) |
The American thriller film Jaws was released in 1975 and directed by Steven Speilberg. The film was based on the book "Jaws" , written by Peter Benchley. On the surface, this film is about a shark attack on a vulnerable person and the drama is set around how the shark might be captured and lives saved.
However when you begin to consider the context, setting and environment of this film on a wider scale you discover theories that suggest it was not such an innocent story of adventure.
The shark's first victim is Crissie Watkins, an innocent woman who following a beach party with fellow students, goes skinny dipping late at night.
| Fig 2. Jaws (film still) |
Read more: http://www.denofgeek.com/movies/22547/the-production-nightmares-that-made-jaws-a-classic#ixzz4aUCqUWlY
Spielberg wanted the shark to be the main character of the film. Art director and Joe Alves and special effects designer Bob Mattey spent about 6 months building three mechanical sharks each needed to fulfill a different function. One was to be towed along for full frontal shots while the other two would be mounted on platforms and filmed from the left or right.
| Fig. 3 Jaws (film still) |
"The Jaws shoot was originally scheduled for 55 days, but the production swiftly turned into a logistical nightmare when the mechanical shark (three full-size, pneumatically animated models were constructed) consistently failed to play ball. Nicknamed Bruce after Spielberg’s lawyer, Bruce Ramer, the shark had been built by Bob Mattey, who had created the giant squid for 20,000 Leagues Under the Sea. The models worked fine in the warehouse, but the minute they were dumped into seawater, they started to malfunction. Day after day went by without any usable footage being shot, storms and seasickness the film-makers’ only reward." (Kermode M, 31/05/15)
The photography needed for the environment scenes was meant to be completed within 55 days but it took 159 days due to its complexity. At times Spielberg believed his directing days might be over. The interpretation of the film since though has defined it.
"But the underlying story of Jaws is more complex than the simple terror of being eaten by a very big fish. As a novel, it reads like a morality tale about the dangers of extramarital sex and the inability of a weak father to control his family and his community. As a film, it has been variously interpreted as everything from a depiction of masculinity in crisis to a post-Watergate paranoid parable about corrupt authority figures."
Spielberg himself had considered the film to be an aquatic version of Duel.
“It was once again about a very large predator, you know, chasing innocent people and consuming them – irrationally. It was an eating machine. At the same time, I think it was also my own fear of the water. I’ve always been afraid of the water, I was never a very good swimmer. And that probably motivated me more than anything else to want to tell that story.”
 |
| Fig 4. Jaws (photograph) |
The camera is used to create anticipation and nervousness throughout the film. When the shark is spotted from the crowded beach, the viewer is tense because they see the danger. The view of the empty lifeguard chair enhances this sense of fear and dread. The person in the sea is placed in a wide shot which emphasises their vulnerability. The music is also used to create a sense of foreboding and the viewer is very quickly drawn in to the plot.
"As a piece of filmmaking, Jaws is second to none. From the control of its colour palette to the clever textured use of sound design to the unerring sense of pace, Spielberg's juggling of the filmmaking elements is a tour de force of cinematic proficiency that never calls attention to itself is always in the service of story". (Freer I, 05/05/12)
Illustration List:
Figure 1. Jaws (poster art) http://vignette3.wikia.nocookie.net/jaws/images/d/da/Jaws-movie-poster.jpg/revision/latest?cb=20131015071208 (accessed on 05/03/17)
Figure 2. Jaws (film still) https://tse3.mm.bing.net/th?id=OIP.XQvcxcOmHfk6wuxNZwcI9gEsCY&pid=15.1(accessed on 05/03/17)
Figure 3. Jaws (film still) https://tse4.mm.bing.net/th?id=OIP.bkdEXO7sMO78FslpMz8GTQEsDI&w=239&h=160&c=7&qlt=90&o=4&dpr=1.5&pid=1.7 (accessed on 05/03/17)
Figure 4. Jaws (photograph) https://blogger.googleusercontent.com/img/proxy/AVvXsEjDUougpxjHAUk4LFo4FiuPleAmgWZB8P6l4Mik04YoZlhmaa5yy6KH1kt6KnglV9hai9N3Vj1oKWrqRTVoTpZV2Oza_x4GhitYtenTRVEgKml8oFczpNmbf3E21AwWIg4c__8NnbOy_xXhGV45z6oSKb6i1QeCg9tK3pNIoF1JBy_jv5Zc-YoJvlP0ooV9tnCs4MHkkoo0IPfT= (accessed on 05/03/17)
Bibliography:
Freer I, 05/05/12 Jaws film making 101 [online] In:Empire At:URL:
http://www.empireonline.com/movies/features/jaws-filmmaking-101/ (accessed on 05/03/17)
Rubey D, 2004 The Jaws in the mirror In: Jump Cut [online] At: URL:
https://www.ejumpcut.org/archive/onlinessays/JC10-11folder/JawsRubey.html (accessed on 05/03/17)
Saturday, 28 January 2017
Psycho by Alfred Hitchcock (1960)
Psycho (1960)
The film Pyscho is an American psychological thriller directed by Alfred Hitchcock in 1960. The film was written by Joseph Stefano and was based upon the novel by Robert Bloch.
The film starts with high angle shots panning across tall buildings, giving us a birds eye view of the city: "The shot pans across many skyscraper buildings, and after a series of numerous dissolves, randomly chooses to descend and penetrate deeper into one of many windows in a cheaper, high-rise hotel building - the window's venetian blinds narrowly conceal the dingy interior. There, the camera pauses at the half-open window - and then voyeuristically intrudes into the foreground darkness of the drab room. The camera takes a moment to adjust to the black interior - and then pans to the right where a post-coital, semi-nude couple have just completed a seedy, lunch-time tryst." (Dirks T, n.d)
The use of non - diegetic sound coming from the violins is immediately noticeable. This sound has become associated with the 'classic horror movie' and was originally used in this film. If the sound was taken away from the narrative, it would decrease the levels of intensity and horror. "I found the audio more terrifying than the shadows or camera angles or murders. The screeching of violins at a rapid pace made me uncomfortable to a point where I turned off the volume on my television for a few seconds." (Weebly. n.d)
Although sound plays an important part to this film, so do the camera angles. Many of the camera angles were placed in front of a characters face for long periods of time, this is known as a 'close up'.
This angle helps the viewer to solely focus on the characters emotion. Hitchcock not only did this but he also added to this tension by having the characters thought process played over the top of what they were doing. Many of these thought processes, especially from the character Marian foreshadowed what was to come. In doing this, the audience are provided with information.
Hitchcock also made sure that the character's "point of view" was prevalent through out the film. This helped the audience see the story from different perspectives and allows us to enter the mind of the character. "The camera used to shoot Norman's point of view as he watched Marion undress through the peephole required a circular mask on the lens." http://www.tcm.com/this-month/article/191164%7C0/Behind-the-Camera-Psycho.html (Nixon R, 20/03/17)
The film was set in black and white, this protects the audiences from the bloody and gory scenes and is an attempt to make them feel more comfortable. "Hitchcock has said that one reason he shot Psycho in black-and-white was because he thought the bloody murder might be too much for audiences. He used chocolate syrup as the blood swirling down the drain. Nevertheless, some audience members swore the scene was in color and that they saw red blood." (Nixon R, 20/03/17)
The shower scene is one of the most famous scenes in the history of horror film. For the modern audience member, the scene is still uncomfortable and confusing to watch.
"the shower sequence, in which Janet Leigh is slashed to death. Comprising over 70 shots, each lasting two or three seconds, it has become one of the most infamous moments in horror movie history. Mixing fast cutting and Bernard Herrmann's screeching music, Hitchcock created a brilliant illusion of gore, violence and nudity – while actually showing very little." (Hodgkinson W, 29/03/10)
Hitchcock managed to place the viewer in Marian's shoes so that they experienced the horror personally for themselves: "I believed that knife went into me. It was that real, that horrifying. I could feel it!"(Hodgkinson W, 29/03/10)
Interestingly you'd think that the main character of the story was Marion, but you soon later learn that the main character is actually Norman Bates. This is not what was expected. Bates, the hotel keeper seems like a normal and pleasant guy but underneath this exterior is a split personality. When committing the murders, he adopts the persona of his dead mother who he believes is responsible for the crimes.
The audience remain unaware of this until the end of the film and it is delivered as a shocking twist to the whole narrative. This is opposite to the way in which Hitchcock directed the film, 'Rope', where he gave the audience clues and information throughout. This time we had to do the thinking for ourselves!
Illustration list
Figure 1. Pyscho (poster art)https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8aFkXLUFv4r-hMw4_BJ2ScYyitsPN9rxkVFk4u4t-YNtJh5Kac6eOgCIZLx_zlRiZqZRmEwcZzLqhZFg_ZdLF-8Wc76wI6u9xWPT7KYWSwBOZ8n3e1i2f9Vh3BDqFQhWfmwTymcTlOcA/s1600/psycho.jpg
(accessed on 28/01/17)
Figure 2. Pyscho (film still) http://www.meedosite.com/wordpress/wp-content/gallery/psycho_opening/t1o252.jpg (accessed on 28/01/17)
Figure 3. Psycho (film still) https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDahPwnEBQmz0LwjmT4KZ7tWfiaBafTnBTqF2pgVOBq0XhyphenhyphencQzkb81Jb9nT7GpdhJAKJBYUzaU8hL5_pt1KisaUf6_HRSVR1be9meXgnmTI1k3R09Dcm0hY9Nux6JoHzXynvK2_gK4lgMz/s1600/psycho.jpg
(accessed on 28/01/17)
Bibliography
Dirks T, (no date) Pyscho (1960) In: amc film site [online] At: URL: http://www.filmsite.org/psyc.html (accessed on 28/01/17)
Hodgkinson W, (29/03/10) Secrets of the Pyscho shower In: The Gaurdian [online] At: URL: https://www.theguardian.com/film/2010/mar/29/psycho-body-double-marli-renfro (accessed on 28/01/17)
Nixon R, (20/03/17) Behind the Camera on Psycho In: Film Article
The film Pyscho is an American psychological thriller directed by Alfred Hitchcock in 1960. The film was written by Joseph Stefano and was based upon the novel by Robert Bloch.
 |
| Fig 1. Pyscho (poster art) |
The film starts with high angle shots panning across tall buildings, giving us a birds eye view of the city: "The shot pans across many skyscraper buildings, and after a series of numerous dissolves, randomly chooses to descend and penetrate deeper into one of many windows in a cheaper, high-rise hotel building - the window's venetian blinds narrowly conceal the dingy interior. There, the camera pauses at the half-open window - and then voyeuristically intrudes into the foreground darkness of the drab room. The camera takes a moment to adjust to the black interior - and then pans to the right where a post-coital, semi-nude couple have just completed a seedy, lunch-time tryst." (Dirks T, n.d)
 |
| Fig 2. Pyscho (film still) |
The use of non - diegetic sound coming from the violins is immediately noticeable. This sound has become associated with the 'classic horror movie' and was originally used in this film. If the sound was taken away from the narrative, it would decrease the levels of intensity and horror. "I found the audio more terrifying than the shadows or camera angles or murders. The screeching of violins at a rapid pace made me uncomfortable to a point where I turned off the volume on my television for a few seconds." (Weebly. n.d)
Although sound plays an important part to this film, so do the camera angles. Many of the camera angles were placed in front of a characters face for long periods of time, this is known as a 'close up'.
This angle helps the viewer to solely focus on the characters emotion. Hitchcock not only did this but he also added to this tension by having the characters thought process played over the top of what they were doing. Many of these thought processes, especially from the character Marian foreshadowed what was to come. In doing this, the audience are provided with information.
Hitchcock also made sure that the character's "point of view" was prevalent through out the film. This helped the audience see the story from different perspectives and allows us to enter the mind of the character. "The camera used to shoot Norman's point of view as he watched Marion undress through the peephole required a circular mask on the lens." http://www.tcm.com/this-month/article/191164%7C0/Behind-the-Camera-Psycho.html (Nixon R, 20/03/17)
The film was set in black and white, this protects the audiences from the bloody and gory scenes and is an attempt to make them feel more comfortable. "Hitchcock has said that one reason he shot Psycho in black-and-white was because he thought the bloody murder might be too much for audiences. He used chocolate syrup as the blood swirling down the drain. Nevertheless, some audience members swore the scene was in color and that they saw red blood." (Nixon R, 20/03/17)
 |
| Fig 3. Psycho (film still) |
The shower scene is one of the most famous scenes in the history of horror film. For the modern audience member, the scene is still uncomfortable and confusing to watch.
Hitchcock managed to place the viewer in Marian's shoes so that they experienced the horror personally for themselves: "I believed that knife went into me. It was that real, that horrifying. I could feel it!"(Hodgkinson W, 29/03/10)
Surprisingly this film was the first to video someone flushing the toilet, this would have been taboo in 1960.
"Psycho also broke all film conventions by displaying its leading female protagonist having a lunchtime affair in her sexy white undergarments in the first scene; also by photographing a toilet bowl - and flush - in a bathroom (a first in an American film)..." (Dirks T, n.d) Interestingly you'd think that the main character of the story was Marion, but you soon later learn that the main character is actually Norman Bates. This is not what was expected. Bates, the hotel keeper seems like a normal and pleasant guy but underneath this exterior is a split personality. When committing the murders, he adopts the persona of his dead mother who he believes is responsible for the crimes.
The audience remain unaware of this until the end of the film and it is delivered as a shocking twist to the whole narrative. This is opposite to the way in which Hitchcock directed the film, 'Rope', where he gave the audience clues and information throughout. This time we had to do the thinking for ourselves!
Illustration list
Figure 1. Pyscho (poster art)https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8aFkXLUFv4r-hMw4_BJ2ScYyitsPN9rxkVFk4u4t-YNtJh5Kac6eOgCIZLx_zlRiZqZRmEwcZzLqhZFg_ZdLF-8Wc76wI6u9xWPT7KYWSwBOZ8n3e1i2f9Vh3BDqFQhWfmwTymcTlOcA/s1600/psycho.jpg
(accessed on 28/01/17)
Figure 2. Pyscho (film still) http://www.meedosite.com/wordpress/wp-content/gallery/psycho_opening/t1o252.jpg (accessed on 28/01/17)
Figure 3. Psycho (film still) https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDahPwnEBQmz0LwjmT4KZ7tWfiaBafTnBTqF2pgVOBq0XhyphenhyphencQzkb81Jb9nT7GpdhJAKJBYUzaU8hL5_pt1KisaUf6_HRSVR1be9meXgnmTI1k3R09Dcm0hY9Nux6JoHzXynvK2_gK4lgMz/s1600/psycho.jpg
(accessed on 28/01/17)
Bibliography
Dirks T, (no date) Pyscho (1960) In: amc film site [online] At: URL: http://www.filmsite.org/psyc.html (accessed on 28/01/17)
Hodgkinson W, (29/03/10) Secrets of the Pyscho shower In: The Gaurdian [online] At: URL: https://www.theguardian.com/film/2010/mar/29/psycho-body-double-marli-renfro (accessed on 28/01/17)
Nixon R, (20/03/17) Behind the Camera on Psycho In: Film Article
[online] At: URL: http://www.tcm.com/this-month/article/191164%7C0/Behind-the-Camera-Psycho.html (accessed on 28/01/17)
Psycho 1960 (Film)
Weebly. n.d Psycho Music In: Hitchcock [online] At: URL: http://dallocca.weebly.com/importance-of-music-in-psycho.html (accessed on 28/01/17)
Psycho 1960 (Film)
Weebly. n.d Psycho Music In: Hitchcock [online] At: URL: http://dallocca.weebly.com/importance-of-music-in-psycho.html (accessed on 28/01/17)
Friday, 27 January 2017
Rope by Alfred Hitchcock (1948)
Rope (1948)
The American crime, thriller film 'Rope' was released in 1948 and directed by Alfred Hitchcock. The Film is based on a 1929 play by Patrick Hamilton. The original play was said to be based upon the real - life murder of 14-year-old Bobby Franks in 1924 by University of Chicago students Nathan Leopold and Richard Loeb.
Rope was the first film that Alfred Hitchcock directed in technicolour. However despite this being a benefit it also had its difficulties:
"Shooting in colour proved problematic, since the action of the film began in daylight and ended at dusk. The skyline backdrop was carefully controlled to reflect the changing hours. The entire film was carefully planned and meticulously executed, like a military operation." (Grimble J, 29/04/16)
The film was shot in real time. It consisted of just 10 shots and long takes. This imitated the play itself as it appeared as one continuous sequence.
"With a film that plays out in "real time," time seems less like an abstraction, which gives the impression to the viewer that what they're seeing is real life -- "real" real life." ( Renee V, 04/08/13)
The film is set in one room and in fact suggests to the viewer that they are trapped within the confined space causing a sense of claustrophobia. This alone builds the tension. Further tension is also created because of the way the camera follows the characters creating an eerie suspense.
The suspense and tension is also heightened by the way in which Hitchcock foreshadows events. He does this by panning the camera onto significant objects. This provides information to the viewer about what is likely to happen next.
"Even though there is editing, it's often described as a film that plays out in real time. Why? Probably because it's such an immersive piece of filmmaking; the hidden edits and use of handheld cameras follow and track its characters, allowing audiences to experience and react to each situation at the same moment the actors do -- right in the thick of the action." ( Renee V, 04/08/13)
Hitchcock edited the script in such a way that the audience knew that there was a body in the room.
The New York Times wrote: "The novelty of the picture is not in the drama itself, it being a plainly deliberate and rather thin exercise in suspense, but merely in the method which Mr. Hitchcock has used to stretch the intended tension for the length of the little stunt. And, with due regard for his daring (and for that of Transatlantic Films), one must bluntly observe that the method is neither effective nor does it appear that it could be." (Remaining a writer, 07/03/12)
Illustration List
Figure. 1 Rope (poster art) https://technicolordreams70.files.wordpress.com/2011/03/ropeposter.jpg (accessed on 27/01/17)
Figure. 2 Rope (film still) https://thejar.hitchcock.zone/files/gallery/org/4701.jpg
(accessed on 27/01/17)
Figure. 3 Rope (film still) https://sandrafirstruleoffilmclubharris.files.wordpress.com/2015/01/rope.jpg?w=1233&h=929 (accessed on 27/01/17)
Figure. 4 Rope (film still)
https://swoonsandsnarls.files.wordpress.com/2010/06/rope-pic-3.jpg
(accessed on 27/01/17)
Bibliography
Rope (1948), Film
 |
| Fig 1. Rope (Poster Art) |
The American crime, thriller film 'Rope' was released in 1948 and directed by Alfred Hitchcock. The Film is based on a 1929 play by Patrick Hamilton. The original play was said to be based upon the real - life murder of 14-year-old Bobby Franks in 1924 by University of Chicago students Nathan Leopold and Richard Loeb.
Rope was the first film that Alfred Hitchcock directed in technicolour. However despite this being a benefit it also had its difficulties:
"Shooting in colour proved problematic, since the action of the film began in daylight and ended at dusk. The skyline backdrop was carefully controlled to reflect the changing hours. The entire film was carefully planned and meticulously executed, like a military operation." (Grimble J, 29/04/16)
 |
| Fig 2. Rope (film still) |
The film was shot in real time. It consisted of just 10 shots and long takes. This imitated the play itself as it appeared as one continuous sequence.
"With a film that plays out in "real time," time seems less like an abstraction, which gives the impression to the viewer that what they're seeing is real life -- "real" real life." ( Renee V, 04/08/13)
The film is set in one room and in fact suggests to the viewer that they are trapped within the confined space causing a sense of claustrophobia. This alone builds the tension. Further tension is also created because of the way the camera follows the characters creating an eerie suspense.
 |
| Fig 3. Rope (Film still) |
The suspense and tension is also heightened by the way in which Hitchcock foreshadows events. He does this by panning the camera onto significant objects. This provides information to the viewer about what is likely to happen next.
 |
| Fig 4. Rope (film still) |
"Even though there is editing, it's often described as a film that plays out in real time. Why? Probably because it's such an immersive piece of filmmaking; the hidden edits and use of handheld cameras follow and track its characters, allowing audiences to experience and react to each situation at the same moment the actors do -- right in the thick of the action." ( Renee V, 04/08/13)
Hitchcock edited the script in such a way that the audience knew that there was a body in the room.
The New York Times wrote: "The novelty of the picture is not in the drama itself, it being a plainly deliberate and rather thin exercise in suspense, but merely in the method which Mr. Hitchcock has used to stretch the intended tension for the length of the little stunt. And, with due regard for his daring (and for that of Transatlantic Films), one must bluntly observe that the method is neither effective nor does it appear that it could be." (Remaining a writer, 07/03/12)
Illustration List
Figure. 1 Rope (poster art) https://technicolordreams70.files.wordpress.com/2011/03/ropeposter.jpg (accessed on 27/01/17)
Figure. 2 Rope (film still) https://thejar.hitchcock.zone/files/gallery/org/4701.jpg
(accessed on 27/01/17)
Figure. 3 Rope (film still) https://sandrafirstruleoffilmclubharris.files.wordpress.com/2015/01/rope.jpg?w=1233&h=929 (accessed on 27/01/17)
Figure. 4 Rope (film still)
https://swoonsandsnarls.files.wordpress.com/2010/06/rope-pic-3.jpg
(accessed on 27/01/17)
Bibliography
Renee V, (08/04/13) Understanding the Hidden editing in Hitchcock's 'Rope' In: No Film School [online] At: URL: http://nofilmschool.com/2013/10/understanding-hidden-editing-in-hitchcocks-rope
(accessed on 27/01/17)
Grimble J, (29/04/16) Why Rope is Alfred Hitchcock’s most audacious masterpiece In: Little White Lies [online] At: URL: /http://lwlies.com/articles/rope-alfred-hitchcock-masterpiece/ (accessed on 27/01/17)
Remaining a writer, (07/03/12) Does Alfred Hitchcock’s Theory of Suspense & Tension Actually Work? In: Remaining a writer [online] At: URL: http://remainingawriter.blogspot.co.uk/2012/03/does-alfred-hitchcocks-theory-of.html
(accessed on 27/01/17)Rope (1948), Film
Tuesday, 20 December 2016
The Cook, The Theif, His Wife And Her Lover - Film Review
The Cook, The Theif, His Wife And Her Lover
 |
| Fig. 1 The Cook, The Theif, His Wife And Her Lover (film still) |
Like the film 'Black Narcissus', colour symbolism is also used frequently throughout the set design of the film, adding to the mood of a certain character. Each room within the film is set in its own colour: the kitchen being green, the restaurant is red and the bathroom is solely white. Not only that, but Georgina's costumes also change with each room she enters. Matching and blending in with her surroundings.
"Georgina’s clothes are color coded simultaneously within a single scene. The attention to detail is staggering. Even the color of her cigarettes changes when she moves from one room to the other." (The Cook, The Theif, His Wife and Her Lover, /
 |
| Fig 2. The Cook, The Theif, His Wife And Her Lover (film still) |
The red restaurant is where most of the outbursts of anger happen from the character Albert Spica's (Georgina's brutal husband).Red is usually asscoited with "anger, passion, rage, desire, excitement, energy, speed, strength, power, heat, love, aggression, danger, fire, blood, war, violence." (Film Directing Tips, '12 Colors and Their Meanings' by
As well as the walls and furnishing being red they even use subtle ,red lighting across Albert's Face. Contributing to his anger and violence. However this room contrasts with the clean and white surfaces of the bathroom. Portraying a more peaceful and less stressful environment. This is one of the places where Georgina would secretly meet her new, lover Micheal. "WHITE – Yes, protection, love, reverence, purity, simplicity, cleanliness, peace, humility, precision, innocence, youth, birth, winter, snow, good, sterility, marriage (Western cultures), death (Eastern cultures), cold, clinical, sterile" (Film Directing Tips, '12 Colors and Their Meanings' by
The green kitchen stays busy and chaotic. It is also another place where Georgina meets Micheal in secret. The kitchen staff help Georgina hide from her husband, whilst she engages in sexual activities with Micheal. The colour green has connatations associated with "renewal" and "fertility." (Film Directing Tips, '12 Colors and Their Meanings' by
"Renewal" in terms of her finding a new and stable lover,"fertility" - Georgina engaging in sexual activities.
As well as the walls and furnishing being red they even use subtle ,red lighting across Albert's Face. Contributing to his anger and violence. However this room contrasts with the clean and white surfaces of the bathroom. Portraying a more peaceful and less stressful environment. This is one of the places where Georgina would secretly meet her new, lover Micheal. "WHITE – Yes, protection, love, reverence, purity, simplicity, cleanliness, peace, humility, precision, innocence, youth, birth, winter, snow, good, sterility, marriage (Western cultures), death (Eastern cultures), cold, clinical, sterile" (Film Directing Tips, '12 Colors and Their Meanings' by
The green kitchen stays busy and chaotic. It is also another place where Georgina meets Micheal in secret. The kitchen staff help Georgina hide from her husband, whilst she engages in sexual activities with Micheal. The colour green has connatations associated with "renewal" and "fertility." (Film Directing Tips, '12 Colors and Their Meanings' by
"Renewal" in terms of her finding a new and stable lover,"fertility" - Georgina engaging in sexual activities.
Interestingly the only person throughout the film whose clothes don't adjust to the environment is Georgina's lover, Micheal. Throughout the film Micheal is seen as "normal" and the "safe place" for Georgina to go to for a while."BROWN – materialistic, sensation, earth, home, outdoors, reliability, comfort, endurance, stability, simplicity." (
Unlike Georgina, his costume doesn't change with the environment he's in. His costume stays as an ordinary brown suite. Suggesting his lifestyle is not controlled by those around him and he's not trying to "blend in" or hide.
Unlike Georgina, his costume doesn't change with the environment he's in. His costume stays as an ordinary brown suite. Suggesting his lifestyle is not controlled by those around him and he's not trying to "blend in" or hide.
Caryn James in the "New York Times" says:
"But Mr. Greenaway turns this tale of a bullying criminal and his unfaithful wife into something profound and extremely rare: a work so intelligent and powerful that it evokes our best emotions and least civil impulses, so esthetically brilliant that it expands the boundaries of film itself." (James C, April 6, 1990)
This small attention to detail of colour thoughout the film, really get the audience to engage and "evoke the best emotion" from the film. Whats even better is that as an audience member you dont even realise the effect "colour" can have on your emotion.
Illustration List:
Figure 1. The Cook, The Theif, His Wife And Her Lover (poster art)https://en.wikipedia.org/wiki/The_Cook,_the_Thief,_His_Wife_%26_Her_Lover (accessed on 13 December)
Bibliography:
(The Cook, The Theif, His Wife and Her Lover, https://asmarchitecture.wordpress.com/2010/03/09/the-cook-the-thief-his-wife-and-her-lover-use-of-color-as-a-metaphor-for-transformation/ (accessed on 13 December)
James C, (April 6, 1990) Article name In: New York Times [online] At: URL: http://www.nytimes.com/movie/review?res=9C0CE4DE1F3DF935A35757C0A966958260
(accessed on 13 December)
Marshall PD (no date) Film Directing Tips, '12 Colors and Their Meanings' In: Film Directing Tips [online] At: URL: http://filmdirectingtips.com/archives/157 (accessed on 13 December)
"But Mr. Greenaway turns this tale of a bullying criminal and his unfaithful wife into something profound and extremely rare: a work so intelligent and powerful that it evokes our best emotions and least civil impulses, so esthetically brilliant that it expands the boundaries of film itself." (James C, April 6, 1990)
This small attention to detail of colour thoughout the film, really get the audience to engage and "evoke the best emotion" from the film. Whats even better is that as an audience member you dont even realise the effect "colour" can have on your emotion.
Illustration List:
Figure 1. The Cook, The Theif, His Wife And Her Lover (poster art)https://en.wikipedia.org/wiki/The_Cook,_the_Thief,_His_Wife_%26_Her_Lover (accessed on 13 December)
Figure 2. The Cook, The Theif, His Wife And Her Lover (film still) https://www.bing.com/images/search?q=the+cook+the+thief+his+wife+and+her+lover&view=detailv2&&id=C0FF1738BD3B10A2DC01DD50A4E9283C8E636603&selectedIndex=132&ccid=lR%2bRMN2p&simid=608008512435914120&thid=OIP.M951f9130dda9c13844216884a2f79f1eo0&ajaxhist=0
(accessed on 13 December)Bibliography:
(The Cook, The Theif, His Wife and Her Lover, https://asmarchitecture.wordpress.com/2010/03/09/the-cook-the-thief-his-wife-and-her-lover-use-of-color-as-a-metaphor-for-transformation/ (accessed on 13 December)
James C, (April 6, 1990) Article name In: New York Times [online] At: URL: http://www.nytimes.com/movie/review?res=9C0CE4DE1F3DF935A35757C0A966958260
(accessed on 13 December)
Marshall PD (no date) Film Directing Tips, '12 Colors and Their Meanings' In: Film Directing Tips [online] At: URL: http://filmdirectingtips.com/archives/157 (accessed on 13 December)
Monday, 19 December 2016
The Shining - Film Review
The Shining
The American, Horror film "The Shining" was released in 1980, produced and directed by Stanley Kubrick. Kubrick was inspired by Stephen Kings novel called "The Shining."
Jack Torrence, his son Danny and his wife Wendy, head out on a journey to the Overlook Hotel, situated on a Mountain in complete isolation. The Hotel is closed between October and May, so the family are invited to stay at the Hotel because there is no one else there. Jack takes this opportunity of 'solitude' to write for his new job. However the family soon learn the past horror's of the Overlook Hotel, that surround and effect the people who live in it.
Through out the film Kubrick frequently uses Steadicam shots.
"Steadicam was invented by cinematographer Garrett Brown
who wanted a way for movie viewers to follow action intimately without the jerkiness of a handheld camera and without crews needed to assemble big cameras on dollies."
For example, there is one scene when Danny is speedily go-karting down one of the Hotel corridors. The viewer is placed above Danny, following from behind his every movement. Not only does this scene create an intimidating camera angle by dwarfing Danny's character, it also shows the audience the vast emptiness and space of the Hotel.
Kubrick is also well known for his use of one point perspective, he uses this technique throughout most of the film, especially within the corridors and hallway where he focuses on what is at the centre of the image. Using Danny as another example there is a scene where Danny is playing with his toys on the orange and brown patterned carpets. The camera trains the eye on the centre of the image, creating a one point perspective. (see image .....)
"Kubrick’s most famous trademark is his use of symmetry in many of the most important shots of his films. He places the camera so that there is a “horizon” that spans the middle of the screen. He uses the very center of the picture as a point of perspective, with everything else in the shot leading to that singular point."
The Hotel's interior is not a typical horror movie set. no cobwebs and no castle. Kubrick instead contrasts the theme of horror by sing clean, simple and modern architecture. Roy Walker (Set designer) gathered images of real hotel rooms from all around America. Once Kubrick chose his favourite interior's, the production team then replicated these interior designs for the movie.
“We wanted the hotel to look authentic rather than like a traditionally spooky movie hotel,” Kubrick said. “The hotel's labyrinthine layout and huge rooms, I believed, would alone provide an eerie enough atmosphere. This realistic approach was also followed in the lighting, and in every aspect of the décor it seemed to me that the perfect guide for this approach could be found in Kafka's writing style. His stories are fantastic and allegorical, but his writing is simple and straightforward, almost journalistic.”
Like my previous film review for Black Narcisuss, you could argue that there is colour symbolism in this film too. When Jack gradually becomes more angered and psychotic, Kubrick cleverly places the character within a red toilet. Red is a colour you might associate with evil or anger. A great example of how the set can sub-consciously help the audience understand a characters mood.
"The room is utterly unlike any other in the hotel – it’s as though it’s a direct projection of Jack’s violent mind, which it almost certainly is. It’s but one example of how Kubrick uses colour and design to reflect the mood of his characters."The music itself plays a vital part in creating the horror and thrill for the film. The use of non-diegectic sound is very random and disturbing. Sometimes the film would simply flash a week day on the screen. The eerie music beforehand causes the viewer to anticipate something sinister. Yet the viewer is relieved to discover that its just Tuesday.
Illustration List:
Figure 1. The Shining (poster art) https://en.wikipedia.org/wiki/The_Shining_(film) (Accessed on 30 November 2016)
Figure 2 The Shining (film still) http://www.denofgeek.com/movies/18283/iconic-set-design-the-shinings-overlook-hotel (Accessed on 30 November 2016)
Bibliography:
Gothamist, Film Society Of Lincoln Center To Celebrate Groundbreaking Steadicamcam Movies, Including 'The Shining' and 'Boogie Nights' http://gothamist.com/2016/11/28/steadicam_lincoln_center.php (Accessed on 30 November 2016)
Den of Geek, Iconic set design: The Shining's Overlook, In: Den of Geek At: URL: http://www.denofgeek.com/movies/18283/iconic-set-design-the-shinings-overlook-hotel (Accessed on 30 November 2016)
The American, Horror film "The Shining" was released in 1980, produced and directed by Stanley Kubrick. Kubrick was inspired by Stephen Kings novel called "The Shining."
 |
| Fig 1. The Shining, (poster art) |
Through out the film Kubrick frequently uses Steadicam shots.
"Steadicam was invented by cinematographer Garrett Brown
who wanted a way for movie viewers to follow action intimately without the jerkiness of a handheld camera and without crews needed to assemble big cameras on dollies."
For example, there is one scene when Danny is speedily go-karting down one of the Hotel corridors. The viewer is placed above Danny, following from behind his every movement. Not only does this scene create an intimidating camera angle by dwarfing Danny's character, it also shows the audience the vast emptiness and space of the Hotel.
 |
| Fig. 2 The Shining (film still) |
Kubrick is also well known for his use of one point perspective, he uses this technique throughout most of the film, especially within the corridors and hallway where he focuses on what is at the centre of the image. Using Danny as another example there is a scene where Danny is playing with his toys on the orange and brown patterned carpets. The camera trains the eye on the centre of the image, creating a one point perspective. (see image .....)
"Kubrick’s most famous trademark is his use of symmetry in many of the most important shots of his films. He places the camera so that there is a “horizon” that spans the middle of the screen. He uses the very center of the picture as a point of perspective, with everything else in the shot leading to that singular point."
The Hotel's interior is not a typical horror movie set. no cobwebs and no castle. Kubrick instead contrasts the theme of horror by sing clean, simple and modern architecture. Roy Walker (Set designer) gathered images of real hotel rooms from all around America. Once Kubrick chose his favourite interior's, the production team then replicated these interior designs for the movie.
“We wanted the hotel to look authentic rather than like a traditionally spooky movie hotel,” Kubrick said. “The hotel's labyrinthine layout and huge rooms, I believed, would alone provide an eerie enough atmosphere. This realistic approach was also followed in the lighting, and in every aspect of the décor it seemed to me that the perfect guide for this approach could be found in Kafka's writing style. His stories are fantastic and allegorical, but his writing is simple and straightforward, almost journalistic.”
Like my previous film review for Black Narcisuss, you could argue that there is colour symbolism in this film too. When Jack gradually becomes more angered and psychotic, Kubrick cleverly places the character within a red toilet. Red is a colour you might associate with evil or anger. A great example of how the set can sub-consciously help the audience understand a characters mood.
"The room is utterly unlike any other in the hotel – it’s as though it’s a direct projection of Jack’s violent mind, which it almost certainly is. It’s but one example of how Kubrick uses colour and design to reflect the mood of his characters."The music itself plays a vital part in creating the horror and thrill for the film. The use of non-diegectic sound is very random and disturbing. Sometimes the film would simply flash a week day on the screen. The eerie music beforehand causes the viewer to anticipate something sinister. Yet the viewer is relieved to discover that its just Tuesday.
Illustration List:
Figure 1. The Shining (poster art) https://en.wikipedia.org/wiki/The_Shining_(film) (Accessed on 30 November 2016)
Figure 2 The Shining (film still) http://www.denofgeek.com/movies/18283/iconic-set-design-the-shinings-overlook-hotel (Accessed on 30 November 2016)
Bibliography:
Gothamist, Film Society Of Lincoln Center To Celebrate Groundbreaking Steadicamcam Movies, Including 'The Shining' and 'Boogie Nights' http://gothamist.com/2016/11/28/steadicam_lincoln_center.php (Accessed on 30 November 2016)
Den of Geek, Iconic set design: The Shining's Overlook, In: Den of Geek At: URL: http://www.denofgeek.com/movies/18283/iconic-set-design-the-shinings-overlook-hotel (Accessed on 30 November 2016)
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