Delicatessen (directed by Juan-Pierre Jeunet and Marc Caro, 1991)
For my first piece of detailed analysis I used my observations, class discussions and the websites commentary including that of Karin Fong, creative director and designer at Imaginary Forces.
For my first piece of detailed analysis I used my observations, class discussions and the websites commentary including that of Karin Fong, creative director and designer at Imaginary Forces.
- The title design is witty and it fits in with the genre of black comedy. Viewers are enticed in by the way each credit is carefully and appropriately embedded within items of the story: the director of photography has his name appear to be engraved on a period correct camera. Also the costume designer's name appears to be embroidered on a clothes label.
- The lighting and colour used in the film opening enables the viewer to identify the period in which the film is set. There's a sepia tone which contrasts with the black colours therefore creating a sense of a dark themed film.
- The camera does a slow pan which twists and turns over the abandoned possessions. It stops over specific items to enable viewers to see the carefully embedded credits. The slow pan over the the possessions informs the viewer that the shop is old and has had many guests stay there.
The Broken Orchid: my first steps in film making
I used this technique, when making my own first film opening, to engage viewers and give the previous history of a character. We did this before embarking on our Foundation Production, as we were inspired by Delicatessen.
We gathered objects that were related to the Far East, displayed them in an sequential specific way on a table so that a story would appear to unfold as the camera panned over the items. We wanted to suggest through the raw ingredients of the story (oriental costume, military uniform, vintage suitcase, maps and photographs of Vietnam, ethnic objects and a hand gun) a story of love and war.
I then edited the film, adding in a soundtrack as well as titles. I learned that having a small bit of live action was very useful to bring the still objects to life. I also decided to create a sense of enigma but having the girl hide her face before briefly revealing it. Below is the finished result:
I used this technique, when making my own first film opening, to engage viewers and give the previous history of a character. We did this before embarking on our Foundation Production, as we were inspired by Delicatessen.
We gathered objects that were related to the Far East, displayed them in an sequential specific way on a table so that a story would appear to unfold as the camera panned over the items. We wanted to suggest through the raw ingredients of the story (oriental costume, military uniform, vintage suitcase, maps and photographs of Vietnam, ethnic objects and a hand gun) a story of love and war.
I then edited the film, adding in a soundtrack as well as titles. I learned that having a small bit of live action was very useful to bring the still objects to life. I also decided to create a sense of enigma but having the girl hide her face before briefly revealing it. Below is the finished result:
Some thoughtful critical awareness of the visual codes.
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