Monday 25 February 2013

Using the Vampire to Mirror Societies Fears Part 1: Love Never Dies?

By using Bram Stokers Dracula (Ford Coppola, US, 1992) I intend to show how the vampire can be seen as a Romantic figure, as opposed to the idea that the vampire represents something evil, destructive or horrifying.

The film Bram Stokers Dracula is a perfect example of the vampire being represented to the audience as something other than simply a horrifying monster that must be vanquished by a heroic figure in order to save the day. In fact I would argue that Coppola’s film completely reverses the idea of good and evil within the text. By this I mean that the film is set up in such a way that the audience wants Dracula to win the girl instead of Jonathan Harker. This is achieved through a number of key factors which point the audience to the side of Dracula and show us that he is the true romantic figure in the film and not Harker, who at first appears to be the character with whom the viewer is expected to side.

First of all the film starts by laying out why Dracula becomes the incarnation of supposed evil he is later in the film. We are shown how his true love kills herself after hearing news that he himself has been killed in battle, this in turn then leading to him renouncing Christ. This can be read in a number of ways. On the one hand we have the idea that Dracula has now become nothing but a servant of the devil in renouncing God, thus lending weight to the argument that he is nothing more than pure evil. However, I would argue that killing his soul, which he effectively does, in the name of everlasting love is too classically noble a cause to just dismiss the character as evil.

Indeed, I would suggest that it even lifts Dracula above the other characters in the film. The loss of everything in the name of love sets him up as a very tragic romantic figure arguably equal to that of any Shakespeare tragedy. In comparison, the emotions of the other characters do not seem to make any form of serious impact upon the narrative of the film. Instead they just add to the idea that the film is focusing on Dracula’s pain of losing his true love, rather than Harker’s anxiety of trying to ‘rescue’ Mina from Dracula’s power.


Furthermore, in one scene we see Mina and the Count behind the screen in the cinematograph, situated so the screen frames them. Also it is in this scene where Mina finally begins to give in to the count, again focusing our attentions on the idea of cinema as romantic, as well as presenting Dracula to us as the cinematic figure set to sweep Mina off her feet, and in turn Mina’s surrender to the cinema and Count, setting us up with the classic Hollywood romance narrative.


By the classic Hollywood narrative I am referring to the structure whereby the narrative is primarily driven by the actions of ‘individual characters as casual agents’ (Bordwell and Thomson 1997: 108-110). In most films in order for the narrative to proceed it is driven by the characters desire for something. The desire sets up the goal that the character wishes to achieve. In a romantic narrative this would centre on the hero getting the girl. In Dracula this goal would seem to be centred around Jonathan Harker. His goal is to marry Mina, thus he would get the girl. The narrative would then centre on the character progressing to achieve that goal. Or in Dracula, Harker taking on the job of the Count’s affairs so he can earn enough money to marry Mina.

However, the classic Hollywood romantic narrative raises problems around the idea of Harker as the hero who needs to win back the girl. The main problem being the film is set up so we are clearly shown that Mina is not Harker’s girl to rescue in the first place. We are shown right at the very start of the film that it is Dracula who loses his true love. And thus it is Dracula not Harker who drives the narrative in order to get the girl back.

The idea of Dracula moving the narrative is confirmed throughout the film. It is always Dracula that moves first. He contacts the law firm to deal with his affairs, he comes to England to find Mina. It is always the other characters within the film that are following Dracula and Dracula always stays one step ahead. Furthermore, at the end of the film it is Dracula whose goal is achieved and not Jonathan Harker's.

Robin wood in ‘An introduction to the American Horror film’ helps to put Bram Stoker’s Dracula apart from other vampire films. This is done by Wood looking at the vampire in terms of folk law and myth. Wood's argument says that it is no longer useful to use Dracula in terms of today’s society, because vampires deal with folklore, which is often transferred to film, and this is no longer useful in terms of looking at the world we live in. Wood’s argument also centres on the fact that the vampire is not a romantic figure but a monster. This helps to distinguish Dracula from other vampire films, as I would argue that at no point during the film to we see Dracula as a monstrosity. Indeed he does commit horrific acts but it is always in a differing form than that of the charming Count, allowing us to distance his actions from his human form. Thus Dracula does not fit into Woods argument or idea of the vampire as a monster.

Vera Dika in ‘Games of Terror’ agrees in part with my argument that  Dracula deals with the vampire as a Romantic figure. She says that the film is more of a fairy tale or a love story than a horror film. Furthermore, she reinforces the idea that we do not find the monster horrific and that the film is positive and connotes life, which I also agree with. However, Dika puts forward the idea that the film is concerned primarily with the idea of the vampire as spreading disease, and centre's on the idea of passing on a disease because you love somebody or loving somebody after death in terms of issues surroundings AIDS.

While clearly a film that focuses so heavily on the idea of transferring blood is open to reading about the spread of disease I would still say that this is not the primary idea within the text. I say this because Mina is more awakened than infected by contact with Dracula. Indeed by the end of the film Mina has become stronger than any of the male characters that surround her, if the film was focusing on disease I would suggest that Mina would have become weaker throughout the text not stronger. Then you have Dracula himself: while in many vampire films, the vampires are set up as non-caring creatures that seem to ‘infect’ without recourse, here we have a character that questions what he is doing. We see this in the scene where Dracula will not allow his blood to be tasted by Mina as he dose not want her to experience the tragedy of how he is. Thus, if Dracula is representing disease itself this becomes problematic. A disease would not stop and think about what it is doing it would just spread indiscriminately.

The idea of Dracula infecting Mina with a disease because they love each other can also be seen as problematic. First of all in the same scene where Dracula does not want Mina to taste his blood, Mina says, ‘Take me away from all this death’. I would argue that if the tasting of Dracula’s blood were meant to be seen as a disease that infects Mina, a disease, which she is willing to accept because she loves the Count, then this line would not exist. I would argue that the Count represents more of an ever-lasting love than representing a disease. If Mina tastes the Count’s blood, she will not die, just as the Count does not die. What it means is that the two of them can experience true love for all eternity. Mina will become removed from society and all its concerns, a society that is shown to rely upon money and class, where love dose not seem to have a place. Here we have two characters that want to love, but the only way they can love is to become removed from the society around them and I would argue that that concern outweighs the idea of disease.

Furthermore, the end scene would also suggest the focus of the film is away from that of disease. Mina saves the Count by killing him in front of the altar. Again, I accept that the idea of Dracula finally finding peace can be read as a release from a disease. However, first of all the mood of the scene strongly suggests that it is the true love of Mina that allows him to be saved, rather than him just dying because the disease has taken him over. Furthermore, the scene contains a lot of blood, if the film was focusing on the notion that Dracula’s blood spreading disease then surely either the blood would become absent from the final scene or more likely Mina would carry the ‘vampire’ virus with her after her true love’s death. This would indeed strengthen the argument that the film is dealing with an incurable disease or the notion of having a disease passed to you because you loved somebody. Instead Mina is presented as being in normal health to us, suffering no ill effects of contact with Dracula’s blood. It is the couple’s true love that is for-fronted as the determining factor in Dracula’s salvation not the idea that he has escaped from a disease. Again, this is focused on by the fact that before he dies he changes back to how he looked at the very beginning of the film, bringing the film in a circle so it finishes with the same Dracula who first loved at the beginning of the film.

Another argument which is prominent when it comes to the idea of the vampire, is the notion raised by James Twitchell in ‘Dreadful Pleasures (pages 104-110’) that the vampire represents an attack on Christianity. Twitchell brings forward points relating to various vampire films where the vampire would either take his revenge by trying to capture the daughter or girlfriend of a churchman or corrupting an innocent Christian girl. Another issue Twitchell raises is the idea that the vampire could not be killed due to the hero’s faith not being strong enough. While this idea may be prominent in many vampire films, especially those coming from the Hammer studios, I would say that the idea of an attack on Christianity is not prominent in Bram Stoker’s Dracula. While it is true that Dracula does renounce God at the start of the film, at no point during the narrative does he make a conscious attack upon Christianity. There is no attack on priests or churchmen, nor does he attempt to bewitch any innocent Christian girls. In fact there are moments where he appears to even respect the values of Christianity. For instance when Mina tells Dracula she is married, Dracula seems to cease his pursuit of her. It is only when she continues to talk to the Count that he carries on in his quest to make her love him.

While the conventional crosses and holy water persist throughout the narrative, it comes across more that while Dracula may be perceived as unholy, he is not attacking any form of religion in the narrative. In fact if anything Dracula acts to reinforce Christianity by the end of film. The scene where Dracula is laid to rest and seemingly is forgiven by God can be read as showing to the audience that he has seen that God did not take his true love away from him. I would suggest that you could even say that the way Dracula is guided to Mina can be read as showing to us his journey back to God and his being saved by Mina in front of the cross shows to us that he never truly gave up on God. For instance, if he were set up to attack Christianity why would there be a holy cross in his castle anyway? Not only does this show us that Dracula is not just an embodiment of evil it also enforces the idea that he is redeemed by love through the narrative by putting forward the idea that why he may have renounced God, the very fact he is saved shows that maybe even God understood why he did it.

To conclude this chapter, I would say that while it is clear that there are numerous vampire films which portray vampires as nothing but satanic embodiments of evil, this is not true in the case of Dracula. The film does an amiable job of showing us the struggle to find true love no matter the odds, and this message is so powerful throughout the narrative that any other issues are just set in the background. After all any film with the tag line ‘love never dies’ does not suggest the idea of a horrifically evil monster.

Wednesday 20 February 2013

Using the Vampire to Mirror Societies Fears : Introduction

The purpose of this dissertation is to tackle issues surrounding how notions of the vampire and vampire mythology are treated by the filmmakers that manipulate them, and put them in front of an audience on the screen. I will look at issues that arise from the vampire being present within a text using four key films, Bram Stokers Dracula (Ford Coppola, US, 1993), The Lost Boys (Joel Schumacher, US, 1987) Blade (Norrington, US, 1998) and Cyber City Oedo 808: The Vampire Case (Kawajiri, Japan, 1990). I will track the progress of what the vampire is seen to represent to different audiences, and what fears are both being brought to the front of public consciousness and also what fears in society are being reflected by the vampire.

I will explore the vampire myth and its representation within three chapters. First of all I will look at  Dracula. I will show the character is presented to us as a lone, tragic vampire figure. I will explore issues raised by a number of theorists such as Ken Gelder whose argument surrounding Dracula enforces the idea of a tragic, Romantic character. Also I will look at how the narrative of  Dracula can be seen to have similarities with Bordwell and Thomson’s idea of a classic Hollywood romance narrative and how the audience can use this definition in order to side with the character of Dracula instead of the supposed band of heroes present in the text.

With other issues surrounding the film I will look at and consider the relevance of Vera Dika’s notion that we can read the text as a metaphorical representation of Disease;  and also James Twitchell’s argument surrounding ideas of the film presenting an attack on the concepts of Christianity. I will consider both these arguments and position them in terms of what I believe the primary concern of the text is and how these ideas relate to it.

In the second chapter using the film The Lost Boys I will be looking at ideas the arise from the change of the vampire character from a lone figure into a gang along with a change in style from gothic surroundings and themes to a more commercial and contemporary surrounding, and how this changes our perception of the vampire. Also, I will explore issues which arise surrounding ideas of sexuality and how and what message the film is putting across is reflected in the dominant ideology of society in eighty’s culture, including how relevant Gramsci’s theory of hegemony is to this concept.

Other theories I will look at include Nicola Nixon’s ideas, which situate the film again, like in Bram Stoker’s Dracula, in realms of representing disease. I will discuss this and how plausible these ideas are in relation to the text.  Rob Latham’s theories concerning ideas surrounding the consumption of youth through product are also explored. These along with my own concept that it is possible to read the film in terms of representing the idea of taking drugs will be used to see how far the vampires in this film differ from the classic Dracula figure and what they are now used to present to us.

For the final chapter using the films Blade and Cyber City Oedo 808:The Vampire Case, I will consider how the influence of science and its advancement has come to bare on how the vampire is presented to us. With reference to John J. Jordan’s discussion of the film and using my own observations I will show the different ways that the two films set up the idea of the vampire and science as being directly in opposition with one another. I intend to show that while the films set this opposition up, both the vampire and also science and progressing technology can be seen as being on the side of either good or evil depending on how they are presented to the audience.

In considering how both science and vampires are placed together I will look at the notions of the vampire as a disease that must be cured by science. In doing so I will show how the vampire is completely marginalized by science and turned into something outdated and something that is no longer believable whose acts relieve fears around the idea of advancing technology. Furthermore, I will show how the idea of the vampire as disease can be reversed so that it is the idea of technology that becomes the representation for disease, causing fear surrounding science rather than enforcing it as something that is necessary for the survival of humanity.

Friday 15 February 2013

Drive Script Breakdown

Dir- Nicolas Winding Refn
Year – 2011
Running Time – 100 Mins
Screen writing Genre – Whydunnit (Noir)

The Film


Drive, based on the novel of the same name is a visually visceral film set in the neon glitz of LA. The visual style and iconic soundtrack help to elevate a stunning performance from Ryan Gosling as he makes his way through a dark and dangerous Noir world by working as a stunt driver in the day, and a getaway man at night.

What’s in a name?

The title doesn’t give us much to go on. It hints at the cheap and nasty Noir novels of old but gives very little away about anything else. The name like the film contains a large amount of mystery (Our hero is never named throughout). The poster line of “Get in. Get Out. Get Away” hints at the no nonsense and somewhat blunt nature of the movies tone and style.

What makes it great?

In a word – style. The music used is unique in that it creates a new wave synth soundtrack that hints at the eighties. The slow electro blends beautifully with the high definition neon tinged visuals to create a rich and vibrant colour palette. Drive is a feast for the eyes and ears and leaves many memorable images. If you want to work with sound, light and image in film then you need to study this closely.

The Performances of Ryan Gosling and Carey Mulligan are also exceptional. The understated, often quiet, approach is used to masterful effect throughout. Gosling often juxtaposes scenes of immense calm that are broken by shocking and loud violence. This all helps to keep the audience hooked and tension high from start to finish. Every scene is handled perfectly so that it never becomes self-indulgent.

Drive as a (Noir) Whydunnit? Movie

Though not set in the classic noir period Drive is every bit the Neo Noir film. Only this time the bright neon only exists to cast the shadowy reflections of corrupt and dangerous character that inhabit the world.

The Driver is a classic broken gumshoe in that he is damaged goods and has the fault of being capable of extreme violence. This is made apparent when our hero changes and takes his ‘Dark Turn’ (after the botched heist), which is one of the key ingredients of any noir. As the Driver loses his cool he abandons his strict set of rules which have seen him through until this point. As the Driver searches for who set him up and why, he gradually ‘Turns over cards’ which will lead him to what he seeks.

Noir films also need a mystery and in this instance the mystery is about why has our hero been setup to take the fall at the robbery?

We also have our femme fatale, though in classic neo noir style she is cleverly subverted and merged with the Noir stock character of the innocent girl. It is in fact the relative innocence of Carey Mulligan’s character that draws our broken hero to her. The merging of the two characters is nicely illustrated in scene where Driver visits her at work and she is wearing a uniform consisting of the white of the innocent girl and the red of the femme fatale.


Time Line


 Opening Image – There are effectively two starts to the film. The first mini prologue section to set the mood and then the after credit sequence. We open on a neon lit LA. Our driver is introduced to us, we know within minutes that he means business.

As the titles roll we see our hero moving with little emotion and entering his apartment. Framed against the shadow of his window is an image of him being caged.

Theme Stated – at Minute 12 we see our Driver doubling for the hero of an action movie. This sets our theme into play. Is the Driver a real hero or a fake one? Is there anything he can’t do?

Catalyst – The first elevator meeting with Carey Mulligan starts our hero (unknowingly) on the road to trouble.

Debate – Is mainly internal throughout the film. However, at minute 16 our Driver and Irene talk. In reply to the question of what the Driver does he reply “I Drive”. Irene responds with “Is that dangerous?” This is setting up our hero as he is in daylight and how he is after dark. This distinction will blur and merge before the end.

Set-Up – Finishes late, but by minute 21 our driver has pulled a job and met all the important characters of the film. Things are now in place for our mystery to start.

Break into Two – We break into the upside down world of Drive in minute 26 as the Driver travels along the storm drain with Irene and her child. They stop at the water, the sun is shining, and it is clear there is a link between the two characters here.

B Story – The love story between the Driver and Irene really kicks in as we see them driving together at night and she holds his hand on the gear stick. Irene has now crossed into his night time world and the boundaries have blurred again.

Fun and Games – The Driver plays with the child and also plays at being in a family unit. We know it can’t last.

Midpoint – Comes at minute 46 and is a massive down as Irene’s husband returns to the scene. Our Driver is back in the dark and he has lost his smile.

Bad Guys Close In – A musical change and the Driver being semi-forced into doing a heist in the middle of the day signal bad things are going to happen. Our driver would normally only do this at night but has been seduced by Irene’s innocence and thus is vulnerable. The husband is killed and things are beginning to go wrong. Our Driver’s once pristine appearance is now blood splattered. The beast is coming out of the cage.

All is Lost – At minute 70 we have the lift scene. The Driver loses control and in an act of shocking violence loses everything he has been fighting for.

Dark Night of the Soul – The girl now lost, the Driver screams at Shannon about what has happened. After a heated exchange the Driver knows the only option left is to eliminate everyone connected with him and Irene.

Break into Three – The elevator doors shut and we are back in the Drivers night time world. He is bloodied but in control again and this will only end one way.

Finale – The bad guys begin to fall one by one. There is no stopping the Driver as he executes anyone who is a threat to himself or Irene.

Final image – Our Driver drives away into the night with ‘A Real Hero Playing’ He has sacrificed everything for the girl.

Wednesday 13 February 2013

Aladdin Script Breakdown

Dir- Ron Clements and John Musker
Year – 1992
Running Time – 90 minutes
Screen writing Genre – Out of the Bottle (Angel)

The Film

Aladdin is one of the last great Disney movies and is a nice film that appeals to everyone. It was nominated for Four Oscars and won two of them (Best Original song and best original Score). While the film may not have the added depth of some of Pixar’s later work it certainly has a clear message and it is easy to see why it remains fondly remembered.

What’s in a name?

Fairly straight forward this one. The film being based on the Arabian Nights story of Aladdin which most people are already familiar with means all we need is a simple reference to our main character. It tells us Aladdin is our main man and, as nothing else has been added, we know this is going to be a fairly traditional telling of the tale.

What makes it great?

The real thing that makes Aladdin great is the sense of fun that remains throughout. The animation and music are exception and really set the scene of the time and locations out in the Arabian sands (incidentally, Aladdin is based in the country we now call Jordan). It is also very easy to watch and has a clear structure and some sharp dialogue. The Short running time also means we are never in danger of become bored.


The ‘Angel’ Out of the Bottle Movie

Again, this is fairly straight forward. The notion of letting something out of the bottle is fed into by the original Aladdin story. It requires that a wish is made and something magical happens. Obviously, in this case the genie is let out of the bottle to grant Aladdin wishes. We refer to this story as an ‘Angel’ Out of the Bottle, because in these types of tales a magical being appears, or is sent, to help out our hero and guide them to their goal.


Time Line

Opening Image – Barren sand and a lone merchant singing “Arabian Nights” sets us up for the tale that unfolds.

Theme Stated –Our theme which will be reinforced throughout the film is that “it’s not what is on the outside but what is on the inside that matters” which our helpful merchant tells us right at the start.

A little later we will get a second theme relating to freedom and what it is to be free.

Set-Up – Jafar tries to get the lamp from the cave of wonders but he can’t as he needs the “Diamond in the Rough.”

Catalyst – Aladdin’s confrontation with the prince tells us that he wants more from his life. The prince then meets Jasmine who, after their meeting, sneaks out of the castle which sets the chain of events in motion that will lead Aladdin to the lamp.

Debate – Aladdin and Jasmine discuss their dreams and their problems.

Break into Two – When Aladdin is captured and thrown into the dungeon he has crossed into an unfamiliar world and we are in act two.

B Story – Our B story comes when Aladdin meets the genie. It is with the Genie that our theme(s) will be discussed.

Fun and Games – Aladdin plays with his new magic powers. He also takes on a disguise and new name just like a fool triumphant would. The rules about the magic are stated here and we even get a discussion of the theme when he says the lamp looks “old and worthless”.

Midpoint – Our midpoint is an ‘up’ or false victory after the down of Aladdin being in the dungeon at the break into two. Here Aladdin, now Prince Ali, marches down the street and enters the palace.

Bad Guys Close In – Jafar’s scheme to marry the princess continues and he is also onto Aladdin’s disguise.

All is Lost – Aladdin is dumped into the Ocean and almost drowns (Whiff of Death).

Dark Night of the Soul – At minute 65 Aladdin thinks that he is nothing without the genie. He recovers and realises he has to tell the truth.

Break into Three
– Having had an ‘up’ at the midpoint we about to hit a ‘down' as we break into three with the royal wedding being crashed by Jafar.

Finale – Jafar steals the lamp and now Aladdin must ‘Do without the Magic’ to win the day and show he has it inside him all along. He will also realise that he should have kept his word and let the genie go when he said he would.

Final image – Jafar vanquished, we see Aladdin and Jasmine together in an open star lit sky, both free, both knowing the true worth of the other.

Monday 11 February 2013

‘Do Androids Dream of Electric Sheep?’ if they do, then what could be the consequences for human beings?

The key issue surrounding the notion of whether or not androids dream of electric sheep is the notion of reality. Whether or not the android is a living being, or as living a being as a human, would be a more appropriate way of looking at it. In order for an android to dream it would need to have an idea surrounding its identity in relation to other people, it would also need something to dream about, and that would suggest a goal or something that the android was aiming for. The question of emotion and empathy would also play a part. It is these issues I intend to look at in relation to the question of whether or not androids dream of electric sheep.
   
While the film tends to centre on the idea of identity, the book centres on the notion of empathy. Empathy is set up as a key feature through the use of the ‘Voigt-Kampff’ test to distinguish humans from replicants. What becomes of further importance as the text progresses is the idea that humans are gradually losing their empathy, something raised in chapter four and known as the ‘flattening effect’ this presents to us the fear that exists that the ‘Voigt-Kampff’ test, the test used to determine androids from humans, may soon become obsolete. “A small class of human beings could not pass the Voigt-Kampff scale”

The implications of this shows to the reader that it is not only the replicants that are becoming more like humans, but also humans are becoming more like replicants. The fact shown is that humans and the replicants are becoming similar, and the impression given is that very soon, possibly the next model of nexus, would mean that replicants would be indistinguishable from their human counterparts. “And eventually the association has a type that can’t be distinguished”.So even if androids don’t dream of electric sheep eventually they would.

However, the similarities between the replicants and the humans are apparent even in there current form. For instance, the Rosen organisation programmes the replicants to be human. The humans however rely on a mood organ, and follow a set programme of emotions in their every day lives. This is very similar to being programmed just like the replicants. It also calls into question the idea of true human emotion as people rely on the mood organ so much it would appear feeling anything without it becomes increasingly difficult. “My schedule for today lists a self-accusatory depression,”

This brings up the idea that possibly, at some point in the near future, the replicants will actually feel more natural emotion than the human beings; if this were the case then I would assume that there would be every possibility that an android would be able to dream. However, maybe the android now feeling more emotion and empathy than the humans relying on the mood organ, would dream of real sheep. The humans having lost all empathy would dream of electric sheep, simply because they would be able to relate to the synthetic more than the real.

Another key factor within the text is the relation between humans and replicants with real and artificial animals. The main difference between humans and replicants seems to revolve around how animals are seen. Real animals are worshipped as the highest form of status symbol. The richer you are, the better live animal you have. Deckard’s main motivations to make money throughout the text are aimed towards being able to afford real animals. For instance, when he buys his goat it seems to be one of the major decisions of his life. He spends all the money he has earned on it, just so he can have something alive and different that not many other people have. “But I had to do it”

Furthermore, as the text progresses it becomes continually apparent that animals create more emotion from humans than other humans do. Even artificial animals appear to create more empathy and emotion than real people. This sets up a strange contradiction within the human society. Deckard for instance spends everyday hunting down replicants without thinking about it. However, the same artificial life in the form of a sheep, or at the end of the book, a toad means so much more than an artificial human. It could be due to the fact that replicants are regarded as criminals that creates this distinction. However, another argument I would put forward is that the reason replicant animals mean more than replicant humans is that actual humans don’t mean as much to other real people. There is little empathy towards humans throughout the text, but a lot of empathy towards animals. For instance, towards the end of the book Deckard calls Dave Holden at the hospital, not to check on his condition but to get vindication for his actions. “What would Dave Holden say about me now”

In contrast with the humans, the replicants do not appear to have any empathy with living creatures. I say living creatures because apart from the fake owl in the Rosen association the replicants do not come into contact with any replicated animals. The key part of the text which shows that the replicants both don’t care about and also don’t understand animals comes in J.R Isidore’s apartment in chapter eighteen. Isidore overjoyed at finding the live spider shows it to Pris and the others. The replicants don’t care about the spider; they are only interested in why it has so many legs. The confirmation that the replicants don’t understand what the spider means comes when Pris says “Is it worth something?” when Isidore doesn’t want her to hurt it.

The thought that Pris may be destroying the creature never seems to enter her mind as reason that Isidore doesn’t want the spider to be mutilated. This complete misunderstanding and inability to grasp the notion of an ‘animal’ would seem to suggest that it would be extremely improbable for androids to dream of electric sheep. As the whole concept of what a sheep, electric or otherwise actually is does not appear to be comprehended by the replicants. This does not mean of course that they would not be capable of dreaming.

Questions around the replicants identity are raised at certain points throughout the text. One instance is where Rachel reveals she is the same model of replicant as Pris. “Something like that . Identification; there goes I. My god; maybe that’s what’ll happen. In the confusion you’ll retire me, not her.” The chapter underlines that while the replicants may appear real to a point, they are all part of a line and far from individual.

Another moment where the question of identity is raised is when Deckard pretends to be Isidore to enter his apartment. We are given no indication that he has attempted to conceal or change his voice in any way, but the replicants cannot tell the difference between the two humans. If the replicants cannot identify one human from another, then it is fair to say that they cannot identify with humans either. Thus the question of ‘the self’ becomes problematic as the notion of ‘I’ is blurred because if the replicant can’t tell the difference between one human and another, “Roy Batty couldn’t tell me from you; it thought you were at the door” And earlier one model of replicant from another then maybe they cannot tell the difference between themselves ad somebody else. “There is no Pris only Rachel Rosen over and over again”

In which case the idea of dreaming- that being dreams formed from an individual mind also becomes problematic. If the replicants where to dream, they could quite conceivable all dream the same thing. Which would probable mean that it was not a dream at all rather just part of the programme they had been implanted with.

The film ‘Blade Runner the directors cut, Ridley Scott, 1982’ positions the androids differently than in the book. While the replicants in the book do not seem to have any real overall goal, and in fact almost appear to be lost in the situation they find themselves, the replicants in the film have a very clearly defined goal. We are shown very early on that the replicants are trying to find a way to get themselves more life. The fact that they are very apparently aware and even in fear of their own deaths puts them ahead of the replicants represented in the ‘Do Androids Dream of Electric Sheep?’ This in turn focuses us on the main difference of the two texts. While in the book the message we seem to be shown is that humans and androids are becoming closer in terms that both appear to be losing their empathy with everything. In the film the message is changed slightly, so that it now showing us the notion that the androids are actually beginning to feel emotion, beginning to become self aware and independent, while the humans in the film continually fall into an emotionless routine which they cannot break away from.

This subtle change in what is being put across has implications for considering if indeed androids do dream of electric sheep. I would argue that while the replicants in the book are attempting simply to exist, the replicants in ‘Blade Runner’ are attempting to live. If an android could not dream I would suggest that it would not be able to understand the idea of living. There would be no reason for the replicants to carry on living if there was nothing that they were attempting to live for. There are several scenes in the film that drive the idea of the replicants as something more than just a ‘fake’ human. First of all It can be argued that Deckard actually falls in love with Rachel. In the book it is made very clear that the idea of genuine love between humans (at this point I’m assuming Deckard is a human) and replicants is impossible, as neither has the ability to truly feel for the other. “But if you think too much, if you reflect on what you’re doing-then you can’t go on”

This concept of real emotion being able to be exchanged between the humans and the replicants would heavily enforce the notion of androids being able to dream, because it would give a ‘need’ to something which is assumed to not want anything. Meaning that the replicant would have moved beyond its programming, so the idea that they would have developed the ability to dream in highly plausible. A further enforcement to the idea of the dreaming replicant comes in the form of Deckard, in scene thirteen of the directors cut, Deckard dreams of a unicorn. This is important as first of all if Deckard is indeed a replicant and he is dreaming of a unicorn then the idea he could dream of an electric sheep is equally plausible.

Furthermore, if Deckard is a replicant, and he doesn’t know it, and no one else knows it either, that could make him as human as any other ‘real’ human. In terms of what that could mean for the other human beings is something, which creates great anxiety. If Deckard is a replicant, then surely is raises the question of whether every other human is also or could also be a replicant? The idea that comes across from the film is that it would be quite possible that anyone or everyone could be a replicant as if they weren’t told then they would never be able to work it out. With that in consideration it would then feasibly be possible to switch the entire system round, how do we know for instance that the replicants are in fact not real humans, and the humans hunting them are not replicants. If everyone was a replicant but didn’t know it, it would be impossible to truly understand what was real and what was artificial.

Another point that comes out of ‘Blade Runner’ is that the replicants are aware of their own identity, especially in case of Roy Batty. Batty knows exactly what he needs to do in order to survive, then when he realises there is nothing that can be done to save him his attitude completely changes. At the end of the film for instance when it appears that Batty is about to allow Deckard to fall to his death, he grabs his hand and pulls him on to the roof top. He then says, “Quite an experience to live in fear isn’t it? That’s what it’s like to be a slave” this statement makes us wonder whether Batty’s intention was just to show Deckard the fear that the replicants feel rather than wanting to take revenge on him.

The scene shows that Batty has found out how precious life is for it just to be extinguished so quickly. Batty seems to realise and understand what is lost if either a human or a replicant dies, something that the humans in the film fail to understand. This idea is supported by the speech that Batty makes on the rooftop at the end of the film. He starts by saying “I’ve seen things you people wouldn’t believe” and ends with the words “all those moments will be lost in time, like tears in rain, time to die” Batty is showing Deckard he has experienced more than any human could possibly understand or have ever seen, this suggests that Batty may actually be more alive than any of the ‘real’ humans, he just doesn’t live as long. This adds to the argument that the reason Batty is searching for more life, is simple to keep the experiences in his mind and allow himself to experience more things- maybe that he has only dreamed about.

To conclude, I would say the question of whether or not androids dream of electric sheep is complicated. In terms of the book, I would say the concept of dreaming, as a whole is problematic as there are no real emotions, except those put forward by the mood organ. In this case I would say that not only do the androids not dream of electric sheep, or anything else, but the humans do not dream either but both are placed in a sort of emotion and empathy free void, where neither can see anything more than they already experience. In terms of the film I would say that while androids seem capable of dreaming. That they do not dream of electric sheep, it seems far more likely that they dream of life and existing, merely so they can exist to dream of things far greater.



Bibliography

 Philip K. Dick (Do Androids Dream of Electric Sheep?)

Blade Runner the directors cut (Scott, UK, 1982)

Friday 8 February 2013

Finding Nemo Script Breakdown

Dir – Andrew Stanton, Lee Unkrich (co-director)
Year – 2000
Running Time – 100 Mins
Screen Writing Genre – Golden Fleece (Buddy)

The Film

Finding Nemo marks the moment that animated films managed to cross the divide and show that just because something is animated it can still be taken seriously as a film. The cute aesthetics mask what is actually a pretty horrific and mature story line. If the story of a man’s family being slaughtered then his only remaining son being kidnapped, imprisoned and then given away as a slave was presented with real people it would make for a harrowing movie.

What’s in a Name?

Finding Nemo is a great name for the film. It not only plays on the name of Captain Nemo but sets the tone of the film well and we know pretty much what we are in for. The title is also memorable which has helped keep the film in peoples minds to this day.

What makes it Great?

The mature storyline and stunning visuals are backed up by an exceptional script and it is this which really makes the film a classic. The dialogue between all the main characters portrays a subtlety and sensitivity that is hard to find. This all helps the characters become memorable and shows that even when your leading protagonists are small fish they can still fill a screen.

The score and framing of the scenes is also exceptional and portrays the feeling of two small fish alone in a very big ocean to perfection. It all comes together to portray a living breathing underwater world.

Finding Nemo as a ‘Golden Fleece Buddy’ Movie.

Finding Nemo is a fairly straightforward Golden Fleece movie. Our main character is Marlin, he is searching for his son (who is the fleece), and on the way he will meet Dory (the Buddy), along with others. These friends will help him to learn lessons that will change him for the better by the end of the film.

Opening Image (1) – We start with Marlin and Coral moving into the neighbourhood with their kids.

We have the ‘kill the cat’ moment when Marlin finds the one remaining egg and we side with him due to his commitment and horrific loss.

Theme stated (5) – The theme comes on 4 minutes and revolves around the line “I promise I won’t let anything happen to you”. Out theme is about knowing when to let go and it is this Marlin will discuss and consider as he searches for Nemo.

Catalyst (12) – Around minute 12 the boat comes into play and Nemo and his friends start seeing how close they can get. Nemo then swims out to sea and gets captured after discussing the theme again with Marlin.

Debate (12-25)
– The debate comes mainly with him asking other fish for directions so he can find the ‘right way to go’. He also finds Dory here and discusses what he is looking for. This also starts the running gag about Dory and her bad memory.

Break into two (25) – You can argue where the break into two comes. It is either at minute 15 when Marlon leaves the reef to go into the ocean or, I would suggest, at minute 19 when Bruce the shark takes Marlin and Dory through the mine field as we are now in a more dangerous world.

B Story (30) – At minute 24 Nemo is put in the fish tank the ‘rites of passage’ B story begins.

Fun and Games (30-55)
– So now we get the promise of the premise as we have our two little fish fighting through the ocean in comedic Buddy movie style and Nemo and his rag tag gang of fish trying to break out of the tank. Darla is introduced and acts as the ‘time clock’ as we now know Nemo must be found or escape within a few days.

Midpoint (55) – Dory is hurt by the jelly fish. Now the fun and games are over, Dory being hurt acts as a very short ‘bump in the road’ and we get a new thing added at minute 49 with the introduction of the turtles.

There is more theme discussion at minute 52 between Marlin and Crush.

Bad Guys Close In (55-75) – Nemo’s escape attempt fails and Darlo draws ever closer. Marlin and dory are trapped in a whale.

Inside the whale there is more discussion of the theme between Marlin and Dory with Marlin eventually trusting her. With the acceptance of the words “It’s time to let go” Marlin is ready to continue with his adventure.

Nigel acts as our booster rocket when he meets Marlin.

All is Lost (75) – The all is lost moment comes on minute 76 when Marlin thinks Nemo is dead.

Dark night of the Soul (75-85) – Marlon mourns Nemo and decides to split from Dory.

Break into Three (85) – Marlon enters the fishing ground.

Finale (85-110) – The finale is the tuna fish net. Here Marlin has faith in Nemo and Nemo uses the knowledge he has learned to save the day in a wonderful piece of A/B story synergy.

Final image (110) – We are back at school with Marlin a now much transformed character. We end on the image of an open ocean for to be explored. This is the opposite of the confided reef we started with.

Wednesday 6 February 2013

127 Hours Script Breakdown

Dir- Danny Boyle
Year – 2010
Running Time – 94 minutes
Screen writing Genre – Rites of Passage (adolescent passage)

The Film

Danny Boyles follow up to the Oscar winning Slum Dog Millionaire takes a completely different approach. It is based on the book ‘between a rock and a hard place’ which deals with the experience of Aron Ralston who finds himself trapped in a canyon in and fighting for survival after a rock falls onto his arm in Utah.

What’s in a name?

A fairly obvious title, ‘127 Hours’ refers to the amount of time Aron was trapped in the canyon. The title acts to emphasise the idea of the importance of time and the massive effort it took to survive.

What makes it great?

Without proper direction this could have been an incredible dull film. Clever editing techniques are used to keep us interested and really draw us into the claustrophobic world that Aron is trapped in. When He finally escapes the feeling of elation the audience feels has rarely been bettered. An outstanding performance from James Franco turns this into one of the most gripping films to be released for years.

127 Hours as an Adolescent Rite of Passage Movie

A rites of passage movie concerns stories about painful, but necessary growth and the emotional journey someone takes to get through a difficult period in their life. They nearly always end with the hero realising that life must go and it’s just a case of “that’s life”. 

127 deals with the heroes struggle to leave his old ‘empty’ life behind and embrace his role within his circle of friends and his family. Basically, the film concerns an arrogant and selfish loner who needs to realise his mistakes and grow up in order to feel fulfilled. This story is common among the trials and tribulations of the move from adolescents into full adulthood.

Time Line

Opening Image – A busy chaotic scene as a lone person gets ready for a trip. Then moving to the contrast of slow and peaceful as civilisation is left behind.

Theme Stated – We get several hints to the theme. First our ‘hero’ forgets to call his mother. Aron also leaves his knife behind. This links in with ideas of carelessness and feeling he is invincible. Basically, what we are dealing with here is the theme of needing to change knowing when to ask for help.

Set-Up – Our intrepid lone explorer seems invincible as he moves around the landscape, we will soon find out he isn’t. We get some characterisation through the short conversations he has with the two girls he meets.

B Story – Kicks in early. Our B story is our hero’s general relationship and feeling towards others around him. As Aron flashes back to scenes concerning people he knows he will learn his lesson and fulfill the theme of the movie.

Catalyst – The rock falls onto his arm.

Debate – He fights with the rock trying to get free. What to do?

Break into Two – at minute 22 we know are stuck in the canyon and the upside world has begun.

Fun and Games – Aron tries to free himself with ever increasingly elaborate plans. He lays out all his ‘toys’ on the rock to see what he has to work with. He, and we aren’t desperate yet.

Midpoint – The realisation sinks in that he can’t get out. Supplies are running low, the mood of the film becomes more intense and desperate. Aron makes his first semi-attempt to cut his arm off with the blunt knife.

Bad Guys Close In – Time is running out, Aron will die of first if he can’t get free. Literal dark clouds arrive and flood the canyon. We get a false escape in his dream, it’s all getting very desperate.

All is Lost – Madness and death are closing in any the minute. All the batteries, watches and timers are either running low or showing us the end is near.

Dark Night of the Soul – Aron begins to see his life flash before his eyes and he sees all his mistakes.

Break into Three
– He knows he has to change. Light arrives in the canyon and Aron knows what he has to do.

Finale – With his remaining strength he cuts off his arm and escapes the canyon. Falling to his knees he screams “help me” “I need help”. This is the first time he has asked anyone to help - he has finally learnt his lesson.

Final image – Family, Aron has changed and become a better man for it. The change is undoubtedly lasting.

Monday 4 February 2013

The Dark Knight Script Breakdown

Dir – Christopher Nolan
Year – 2008
Running Time – 145 minutes
Screen writing genre – Monster in the House (Nihilistic)

The Film

As well as being one of highest grossing films in cinematic history the Dark Knight is also a landmark movie in many other ways. For what is normally considered a blockbuster movie genre it shows a level of competence and sophistication that really raises the bar. Heath Ledger deservedly winning both an Oscar and Bafta for his role as the Joker further cements the films place as something far more than Hollywood fluff.

What’s in a name?

Our first clue to what lies ahead is the name of the film. Batman’s name doesn’t appear in the title and instead we are left with the ambiguous term ‘The Dark Knight’. At first glance this is obviously a reference to our caped hero but it also goes much deeper. The title refers to Gotham city’s dark night, (as referenced by characters saying "it’s always darkest before dawn") and the trouble the city is about to face.


What makes it great?


Aside from Heath Ledger , the film is full of strong performances from the likes of Aaron Eckhart, Maggie Gyllenhal, Morgan freeman, Michael Caine and  Gary Oldman. The cast alone is not one you would normally associate with a big budget blockbuster.

The Dark Knight also has some of the best use of sound around. Anyone wanting to know how to score a film should pay extra special attention to how atmosphere, pacing and tension are handled through the use of seemingly simple pieces of music.

Above all the film is built on the basis of an incredibly strong and tight script. The writing is such that it allows its expert cast to show off their skills to maximum effect.

The Dark Knight as a ‘Nihilistic Monster In The House’ Movie

At first glance you could easily say that ‘The Dark Knight’ is a member of the Superhero genre. On looking closer though we find that the A story of the piece is far closer to that of the Nihilistic Monster.

In this instance the ‘Monster’ is the Joker and Gotham City is the ‘House’. This idea is affirmed heading into the films third act break when the Joker effectively cuts off all ways out of the city which leaves its inhabitants trapped inside with him. The third act also reveals Harvey Dent, through his transformation into ‘Two-Face’, to be the ‘Half-man’ we often find in the monster in the house genre.

Now we know we are in the ‘Monster in the House’ genre it is easier to see the Joker as the Nihilistic creature. A Nihilistic monster is a creature that rejects society’s rules and ideals and often has no real moral center. The monster is created by the sin of others – even if they don’t know what their sin is. Another good example of this is the character of ‘Jigsaw’ from the ‘SAW’ movies.

The major sin on show is not only committed by Batman, but also by the mobsters and Gotham City as a whole. The sin in question is the sin of ignorance and arrogance. The Joker is allowed to flourish and grow in power by being ignored as a serious threat for much of the film. Even the gangsters who hire him don’t see him as any kind of problem. Through a series of false victories we see the good guy’s confidence grow, only for their plans to be exposed by the Joker at almost every turn.

Slowly the Jokers influence grows on Gotham until by the third act break he has complete control of the city which, ironically, leads to his own sin of ignorance and his eventual downfall. The only real way to defeat a Nihilistic monster is through personal sacrifice and Batman will come to learn this by the end of the film.

Other examples of ‘Nihilistic Monster in the House’ Movies – SAW, American Psycho, The Others

The Time Line

Opening Image – We open on a calm, light filled Gotham City.

Theme stated – We are presented with a theme for all three main characters in the film. We will learn which one is the real theme by the end as two of these characters will fail to learn from their own words.

Joker’s Theme – Control is an Illusion
Batman’s Themes – Know your limits (13 minute)
Harvey Dent’s Theme – Die the hero or live long enough to become the villain. (20 minutes)

Set up – The bank raid by the Joker is followed by an introduction to all the major characters doing what they do best. Batman’s first ‘Save the Cat’ moment is at minute 10 when he doesn’t kill someone. There is another at minute 18 when he refuses to sign with a shady company.

Catalyst – At minute 21 the police decide to raid the mob banks. This is what starts the chain of events that leads to the Joker taking control of the city.

Debate – This event is followed by a debate between the mob and the Joker and Harvey, Gordon and Batman. Both debates discuss joining forces. We also see Batman discussing new equipment he needs.

Break into Two – Happens at minute 30. Batman leaves for Hong Kong and returns to a ‘new’ Gotham. We are now in the upside down version of Gotham being terrorised by the Joker.

At minute 38 the cops have a false victory as they arrest a large amount of crooks. They are still unaware of the threat of the Joker.

Fun and Games
– At minute 44 the fun and games start. We see the Joker kill off a number of high ranking Gotham officials as his games begin. At minute 47 the Joker crashes Wayne’s party looking for Harvey Dent. Here we get the ‘promise of the Premise’ as Batman and the Joker engage each other for the first time.

B story – Though it has been hinted at already the real B story kicks in a minute 43. Here we begin to learn about the developing relationship between Wayne, Rachel and Harvey.

At minute 51 Batman begins to realise his sin of ignorance after Alfred relays the tale of the jewel thief.

At minute 55 the short C story starts when a Wayne employee tries to black mail him with evidence that will prove he is Batman.

At minute 60 there is a false defeat as Gordon is ‘killed’

Between minutes 63 and 66 the theme is discussed between Batman and the mob boss and then Batman and Rachel.

Midpoint – The midpoint hits at minute 70 and ‘Batman’ is arrested. This represents both a ‘false defeat’ and a ‘false sacrifice’ on the real Batman’s part. He will need to sacrifice more to win the day.

Bad Guys Close in – The Joker attacks the convoy leading Harvey Dent to jail. This leads to a false victory at minute 80 when the cops plan is revealed and they arrest the Joker.

All is Lost – The sin of ignorance is revealed again when the Joker’s plan comes to light and he escapes. The ‘Whiff of Death’ here is a full blown explosion as Rachel is killed and Harvey Dent begins his transformation into ‘Two-Face’ it all happens at minute 92. This is also another false defeat.

Dark night of the Soul – At minute 94 we are presented with Bruce questioning if it’s worth being Batman. He is now worse off than when he started.

Here he learns that he must break some of his rules to win the day, but not the one the Joker wants. The B story ends with the burning of Rachel’s letter. The C story will also end shortly with Wayne rescuing the employee trying to blackmail him.

At minute 97 ‘Two-Face’ appears and acts as both a ‘Half-Man’ and ‘Booster Rocket’ for our story. Harvey has forgotten his own words and has indeed lived long enough to become the villain.

Break into Three – At minute 100 we are now in Gotham City under the complete control of the Joker.

Finale – At minute 110 we are now fully trapped in with the monster. The Joker continues his game but is undone, like Harvey, by not sticking to his own theme. Through him we know control is an illusion and he has forgotten this. He has now committed the sin of ignorance and arrogance.

The Jokers plan unravels as the people on the boat don’t do what he expects at minute 127 and Batman, working under slightly different rules, apprehends him. To finally save Gotham, Batman now realises what needs to be done to save the day and commits the ultimate sacrifice by metaphorically ‘killing’ himself for the city.

Final Image – The film ends at night and with Batman being chased by the police. Gotham is entering its dark night and though safe, is now even more chaotic than before.







Friday 1 February 2013

UP! Script Breakdown

Dir- Pete Doctor and Bob Peterson
Year – 2009
Running Time – 96 Mins
Screen writing Genre – Golden Fleece (Buddy Fleece)

The Film
The current darling of the animated world UP cleared up at the BAFTA awards and also picked up a number of  Oscars as well. UP is a genuine classic and a film that has finally seen the animated movie fully mature, proving it can handle adult themes in a touching and fully credible way.

The story of Carl is brilliantly told and contains a number of strong images and messages. One thing that really stands out is the ironic take on the biblical tale of the man and his burden. Here Carl is weighed down emotionally by having to get the house to paradise falls but the actual burden is floating above him.

What’s in a name?

The title of the film seems deliberately cryptic. It tells us nothing about the characters or setting and nothing about the genre. I have to say this isn’t the strongest of titles and lacks the knack Pixar have for summing up their films with the title.

What makes it great?

So many things make UP a classic film. The animation is exceptional, the originality in the tale is brilliant and the script and camera shots are of the highest quality. Even the music is scored excellently. UP really is a film it's hard to fault, a master class in storytelling and film making that everyone can learn something from.



UP as a Golden Fleece Buddy Movie

The Golden Fleece covers films where our hero goes on a journey seeking something. Along the way he learns life lessons and grows as a person. Normally the hero starts by seeking one, normally false, prize but ends finding another true, prize along the way.

The Buddy fleece is where our hero is helped along the way by a group of (normally oddball), friends. UP fills the bill perfectly as our hero is helped by a colourful cast of characters, all who have their flaws, but who succeed by working together.

Time Line

Opening Image – The ‘Lost world of South America’

Theme Stated – Our theme revolves around the idea that ‘Adventure is out there’. Adventure is out there but it is also right on your doorstep and it is important not become obsessed with one goal.

Set-Up – The life of Ellie and Carl, we see how they meet, fall in love and what happens up to her death.

Catalyst – Carl hits the workman at minute 17.

Debate – Carl asks “What do I do now Ellie”.

B Story – Carl finds Russell on the porch, which starts the ‘Love Story’

Break into Two – Carl floats the house to South America and on minute 26 we emerge from the clouds in the new world.

Fun and Games – We meet new characters such as Kevin the bird and Doug. Russell and Carl explore the forest and Carl reveals there is enough helium to last fro three days (time clock).

This is a good example of fun and games as the characters literally play games. Kevin plays hide and seek and imitates, Doug chases after the ball and tries to capture Kevin.

Midpoint – Carl and Russell talk and our story takes a more serious turn as we learn about Russell’s circumstances. It is also raining and dark.

Bad Guys Close In – The dogs appear and take the group hostage. We meet Muntz and learn he has not given up on his obsession to find the bird.

All is Lost – Muntz takes Kevin at minute 63. There is a great whiff of death here as well as Doug makes the joke about the squirrel.

Dark Night of the Soul – Carl gets angry and walks alone to the falls. Sitting in his chair in the grey palette house he realises it's not quite what he imagined. He recovers when he reads Ellie’s adventure book.

Break into Three –Carl, having learned it's all about the journey and that family can be the greatest adventure, sets out to save Kevin and Russell.

Finale – Carl throws everything out of the house and flies off to save the day. Doug and Russell win their individual battles. Carl beats Muntz (ironically with Carl’s burden) and house disappears. The final remnants of his obsession have been overcome.

Final image – the ‘Spirit of Adventure’ at home and the house on the cliff.