The Might of Spite Plot Summary The movie is about a guy (Antagonist) and a girl (Protagonist) living together that get turns to do the laundry. The guy (Thando) is very lazy, watches TV the whole day and refuses to do the laundry even after the girl (Carrie), tries to force him physically. Carrie is miserable after that but then finds another way to get him of the couch. She tells him that his car is being stolen and when he gets outside, Carrie locks the door behind him. Thando sees his car isn’t being stolen. He then sees the washing basket outside and sees Carrie through the window enjoying the victory and waving the key mockingly.
Genre When filmmakers and movie critics refer to a film genre, they generally mean a specific style, or subject matter. While a movie may have elements of a number of different genres, it is often classified under a single film genre for reference purposes. Film genres include Comedy, drama, romantic comedy, action/adventure, musical and experimental. *(http://www. wisegeek. com/what-is-a-film-genre. htm, Michael Pollick). The Might of spite will classify in the comedy genre even though it is more of an everyday general situation.
It is a very light hearted film with laidback comedic moments present, throughout the film. Binaries Primary event binary is Tactfulness VS Spitefulness, because Thando was being spiteful by just refusing to do the laundry after Carrie has been tactful. Carrie then outsmarts Thando giving him no choice but to do the laundry. The binary of the protagonist is Mind VS Body. Carrie thought it is a losing battle after she tried to force Thando physically to do the laundry. She then used brain power to manipulate Thando into going outside where the clothesline is and locks the door behind him.
The antagonist’s binary is Selfishness VS Contribution, because Thando refuses to do his part of the housekeeping and only watches TV and making more of a mess in the house. He needs to stop being lazy and help Carrie by contributing in cleaning the house. Conceptual and Emotional Relevance The event problem in a story is when the character is put in a situation outside their normal environment. This is what happened to Carrie after Thando refuse to help her, because they obviously agreed to split some of the housekeeping duties.
Conceptual Relevance is the event narrative structure in any story. It is the events in the narrative that will progress the story along. In all classic narrative the Conceptual relevance relates to a simple story line. *(Directing for film an introduction, p24, Brandon Oelofse, 2007). The conceptual relevance in this story is when Carrie tricks Thando into doing the laundry. At first she accepted defeat but noticed Thando’s car outside near the clothesline. She then came up with an idea and told him his car is being stolen and locked the door when he went out.
This is relevant to the viewer because by outsmarting Thando she came out on top by approaching a problem with thought. Character problem within the narrative can be described with this question. Why does the character react the way they do with different events? We know that Claire is being ignored by Thando and that physically forcing him can’t work either. That is why she locked him out with the laundry until it is finished. Emotional Relevance is the heart of any story. It is the journey that the character will go through to achieve a sense of completion at the end of the narrative. (Directing for film an introduction, p22, Brandon Oelofse, 2007). The emotional relevance in this story is that Carrie gave up at first but got up and tried again. ETB The Establishment Problem Solution Priority Order We first see our antagonist Thando, a lazy guy drinking beer, sitting in front of the TV. We then meet our antagonist Carrie, a bright and hardworking girl, walking into the dirty living room, which she probably will have to clean, with a laundry basket in her hands. The First Explosion Carrie tells Thando that it is his turn to do the laundry and he looks at her ut returns his attention to the TV ignoring her. Problem Solving Vacuum Carrie gapes in disbelief because they always make turns. But she won’t give up yet. Problem-Solution Digits Thando still ignores her by just looking at the TV. New Problem Solution Priority Order Carrie shoves the washing basket in front of Thando, blocking his view of the TV. Second Explosion Thando ignores Carrie and just move into a different position to see the TV. Carrie blocks his view of the TV with the basket again, but Thando just reposition again.
This happens again and again, until Thando stands up picks the basket up and put it on the floor out of his way and sits down. Carrie gives up and leaves with the basket. The Second Problem- Solution Vacuum and the Potential Problem-Solution Digits Carrie goes to the kitchen to think of a different way because by trying to spite Thando to do the laundry is clearly not going to work. But she gets an idea when she sees something outside. The Dramatic Climax Carrie quickly locks the door and laughing at Thando, shaking the keys of the door through the window.
The Final Problem Solution Priority Order Carrie watches Thando from the kitchen wind while he is hanging up the laundry and she drinking a glass of wine. General Look and Feel of the Film Design and style are overlapping categories, and it is possible to have an effective design without a distinctive personal style. Style is primarily dependent on the needs of the story being told. * (Film directing fundamentals, Nicholas T. Proferes, p. 46, 2005). The general look and feel will be of an ordinary couple, in an ordinary house with an ordinary garden.
The TV room will be a bit darker though with pale look and feel to it because it is the antagonist’s lair. The outside will have more of a bright contrast and colourful look to it, because the antagonist is out of his territory and that is where he will be defeated. The kitchen will have a more stable feel to it with some solid colours and shadows. Lighting Lighting shapes the realty in front of the lens, giving it depth or flatness, excitement or boredom, reality or artificiality. Light can fall on the scene in a variety of ways to create many different moods to help tell the story. (Kodak: the art of lighting-notes, 2003) To amplify this laidback light hearted comedy, soft lines and shadows will be used more. In a comedy high key-light is usually used to amplify the narrative. This is what I will be doing but also use mixed lighting at one location. The TV room will have a different light setting that is gloomier than the high contrast the kitchen and the garden will have. This is because it is where the antagonist spends most of his time and there will be mixed light used that strategically falls on certain places.
The sun coming through a window and or a lamp on a table will also be used as extras to get enough light on the subjects so that low key light won’t be made. With the face of the antagonist in a darker part of the room the flicker of the TV will slightly be seen by using a reflector board and moving it slightly on the subject’s face. Taken by GETY *(http://www. telegraph. co. uk/culture/tvandradio/5998253/One-in-six-Britons-too-lazy-to-get-up-to-change-TV-channel. html) The kitchen will be more brightly lit, also because this is where the protagonist spends most of her time and feel at home.
To create this high-key light the fill light will be closer than the key light so that it shines almost as bright as the key light. Because it is day during the whole film, the light coming trough the window will also be seen on the subject. When the character is staring through the window the reflection of the car will be seen in it. If needs be, a reflector board will be used to create to bounce minimal light onto the window so that the character can be seen inside and the reflection of the car. Taken by Courtney *(httpmusingsofanightowl. blogspot. om200909time-to-reflecthtmlpng) September 11 2009 In the garden outside the house, the sun will be used to create the high-key light needed and a reflector board will be used to help with unwanted shadows on the subject’s face. In one particular shot light will be used outside as a back light to create a shadow of the antagonist. In the next shot should, this shadow on the white material will be used to amplify to the audience that the antagonist isnt doing this out of free will and so it looks like he is out of place, because he is put here and he is still a lazy guy. Taken by unknown *(www. gettyimages. om/detail/200486956-001/Riser) The main character revelation will be Carrie. When she is in the kitchen the first time the kitchen will look colder and the second time after she is in the kicthen it will have a slightly warmer colour. Because some scenes will be shot interior and some exterior, shooting will be done with 250d film. CTB will be needed to colour correct the interior shots. In the kitchen a full CTB will be used for the cooler effect and only half CTB will be used for the warmer shot. This is going to be done because Carrie feels better about herself and don’t feel so bad about Thando ignoring her.
The mood of the film will look like two different personalities clashing because of the different lighting for the characters. It starts of with lower light that will point out the fight they are having and will gradualy lift and become lighter as the film progresses which will leave the audience on a happy note in the end of the film. Composing the Shot Another definition of composition is arranging all the visual elements in the frame in a way that makes the image a satisfactory and a complete whole. Integration of the image is obtained by the positioning of mass, colour and light in the most pleasing arrangement. (Picture composition for film and television, Peter Ward, p. 10, 2003). The composition of the shots will be used to amplify the narrative by using the protagonist as the centre of attention when she is on screen and by using camera movements. For example the shot of Thando standing up and picks up the laundry basket, the camera will tilt up which suggests progress. This will capture interest form the audience and this is also what Thando want for Carrie. He put the basket aside and sits down again and it creates exactly the opposite which Thando also want for Carrie. Disappointment and the feeling of moving backwards are felt again.
This is the end of the scene so it help end the scene but most important, it helps with the second explosion, that Carrie must seek a different approach to this situation. In the first shot we see Thando lazily watching TV with a beer in the hand. By unknown *(moniquer710. blogspot. com/2009_11_01_archive. html) This opening shot will be from the angle but just a bit lower, closer to eye-level. This is being done because we want to see the attention on his face and from this angle. The framing gives us the idea that Thando is lazy, boring and is not going to move from this spot.
So it amplifies the character and the narative. Taken by unknown *(www. gettyimages. com/detail/200486956-001/Riser) This shot will be done with Thando hanging up the washing. The shot will be from above and amplifies that he is defeated. Before the clothes are on the clothesline his car will be seen over his shoulder, it will remind the audience of how he was tricked. Thando then hangs the washing up and the clothes will cover the whole frame. Most of the shots will be static and minimum panning and tilting will be done, but there is a handheld shot chasing Thando as he runs to his car. Taken by unknown * (www. ettyimages. com) After this shot, a Thando’s reaction will be capture with a shot from the left of him. The framing for this shot will be skew, so the left side will be lower than the right side. This is to create the bad feeling that Thando just got as he realised that something fishy is going on. In the TV room the aim is for the look to be dull with no bright colours and no bright light. Because 100 ft. of 250d film will be used, there must be some colour correction done , therefore a full CTB will be used to lose that warm feel of the lights. In the kitchen a full CTB will be used and later only a half
CTB so that there is a warmer feeling about the place after the second explotion. Cinematic Continuity First, storyboards let you test complicated setups cheaply on paper instead of expensively on location. Cinematic continuity is the cutting of the shots in such an order that the narrative flows seamless and it amplifies storytelling. Continuity of light is to maintain the light sensitivity on the subject and set, keeping the lightsource the same throughout the shot on the same place, keeping the same direction for the light the whole time and capturing the same quality of light throughout the whole shot.
Continuity of action is mostly used to compress time and to cut out unnecisary action of the character. If a character goes into an elevator the whole trip wil probably not be shown, just where he gets out again. Many shot with movement will be taken so that it overlap the next shot so that the shots in this movie are put in an order that will flow smoothly and is sensible. Recording the Image The first thing than must be done before we can record the image is to load and lace the film in the magazine. To load you must work on a clean and cleared space or table.
First open the magazine by twisting the cover lock from C (close) to O (open). Lift the cover, check that the core adapter (knobbin) is on the take-up side, remove the collapsible core, put a plastic film core on the core adapter from the magazine, spray some dust-off inside the mag and put the cover back on. Get your black bag and turn it inside out removing any pieces of film or anything you find inside it. Use some gaffer tape to get rid of dust and things sticking on the material so that hairs in the gate can be avoided.
Turn the black bag the right side out and put your film can, and magazine with the magazine cover inside and zip up the bag. Go to a dark room and work on a clean space when performing the rest of these instructions. Put your hands in the black bag and open the mag cover. Put the supply guide arms in its resting place, open the can with the film and take the film out of the bag. Put the film can in the corner of the bag and put the film on the supply side of the magazine.
Now slip the leading end of the film through the left hand slot between the light trap rollers until it exists on the outside of the magazine throat. Measure the length film exactly to the mark on the side of the magazine and do the reverse of this on the other side, first into the magazine throat. Fold the tip of the film and put this folded piece into the gap of the plastic film core on the take-up spindle of the mag and spin it at least three times in the clockwise direction.
Rest both supply guide arms on the film, make sure if any film pieces were broken of that it is inside the can, put the magazine cover back on and turn the cover lock on close. The magazine should be tapped with gaffer tape to prevent it from opening and be labelled with the roll number, how much footage is loaded, emulsion number, type of film magazine number and the date. You can now take out the loaded magazine and the film can. When lacing the film through the camera, the camera must be set up correctly on legs, the legs on a spreader and a sandbag on the spreader to make sure nothing move.
Unlock the magazine lock and remove the magazine latch. Open the camera cover (side door), open the film gate on the inside of the camera by pressing the latching knob inwards and swinging the pressure pad assembly open on its hinges. Spray some dust-off inside the camera, put the film loop in the camera and put the magazine on the camera. Place the film in the gate so that the transport claw fits into the film perforation holes. Turn the inching knob so that the registration pin fit in the film perforation holes and holds it in place.
Make sure the film lays firm on the aperture plate and close the gate and camera door. *(Arrieflex 16 S operating instructions,p. 2-18, unknown date) To achieve accurate exposure, you need to use a light meter as well as the right settings on the light meter. The camera will be rolling at the speed of 24-25 frames per second and therefore you need configure it as either 24 or 25 fps on the light meter. The second setting is the ISO, for this film it will be set on 250 because 250D film will be used the whole time.
Now you can do an incident reading to get an average reading how much light is being reflected by the subject from different lights or a spot reading to get a more accurate reading of how much light is falling onto the subject at different spots. You then use the reading you got from the light meter and set your aperture to that number. When mount a lens, utter care must be taken and always hold a lens firmly in your hand. Firstly remove the turret plug or cavity cap from the camera.
Look through the eyepiece and make sure it is in focus by turning the adjusting ring. Stick some gaffer tape over the adjusting ring, so that it cannot change. Remove the back lens cap from the lens. For the Arri camera it is only needed to align the gap in the camera with the lens’s, press the lock lever on the camera, slide the lens carefully in and release the lock leaver when lens is perfectly fitted in the lens cavity. With these cameras you don’t twist or turn the lens or anything, it just slides in perfectly. After that you can take off the front lens cap.
The focus, aperture and, if you’ve got a zoom lens, the zooming can be adjusted by turning the lens clockwise and anticlockwise to the different markers. During shooting, a magazine card should be filled with all the necessary information such as, roll number, mag number, amount of footage shot in feet, take length in seconds, print, lens used and f-stop used, slate number, take number and if there are any remarks. Here is an example of a Mag card. After the shoot is done, all the information on the mag card must be put on the picture negative report (Neg report).
A copy of the neg report get stuck onto the can with the film in and sent to the lab. This info is everything they need to expose the film correctly and make sure that everything is filled in, in case of any uncertainty by the film lab. Here is an example of a neg report. The setting up and maintenance of equipment is some of the most important things for safety and not to break anything. Always keep a neat gear station out of the and against a wall away from people. All cases must be closed and latched and safe from getting stolen or wet.
Never use equipment on a wet place and just do one thing at a time when working with it. When setting up a light stand, camera or C-stand, secure it with at least one sandbag so that it won’t fall over or damage, when someone bumps it or trip over the cable or anything. Start to raise a light or C-stand from the highest lock-off grip to the lowest so that you can reach the lock-off grip if you need to. The cable of a light or an extension should be as far out of the way as possible. If it on a spot where people walk, the cable must be gaffer aped to the floor. A cable should be rolled up in a figure eight underneath the lamp, because it can create an electrical current and melt the cable. It also helps for if someone pulls the cable, the light won’t fall over because there is enough slack for it. Rolling up a cable can’t be done any way. Rolling it up around the arm will only wrinkle and damage the cable. The way to do it is by holding one point in your hand so that it is hanging and rolling it up by letting the cable follow how it has rolled up before.
Then the cable must be tied with a piece of rope attached to it, the same way a shoe lace is tied with the two loops. To set up a camera you first spread the spreaders. Then you attach the legs onto the spreaders with a sandbag on. Now that the camera can be put on the legs, it is done by screwing the camera on and locking it so that it is secure. After the magazine is loaded and laced, you must bubble the camera so that it is level. Operating the Camera To book equipment, an equipment request form must be given in at the equipment storeroom.
On the form must be everything needed to book out and the signatures of the discipline lecturer and Keroshin Reddy. The date you need the equipment and when it will be returned must be on the form. The person responsible for the equipment signature and Cell number must be on the form and it must be given in at least two days before the equipment is needed. When equipment is being taken, it must be checked and signed off as in working condition. Everything must be checked if it is there and if it is working before signing. Every light must be struck and all the extensions must be checked.
If everything on the list are there and working, the form can be signed and given back to the storeroom manager. The equipment signed for are now the signer’s responsibility not to get lost or damaged. When Thando gets up and give Carrie the false impression, by picking the laundry basket up, the camera tilt up so that upliftment can be created but the camera will also tilt to the side to show that it is not really meant. When Thando runs to his car to save it, a hand held shot will be done giving an unstable feel and a feel of realism to it.
To keep the subject in focus, the distance of the subject to the camera will stay the same by tying a rope around the subject and the cinematographer. On most cameras, there will be a button that must be pressed, as the lens is turned. The Arri doesn’t turn, but some turn one way and some the other. Absolutely, never ever, must a lens be attempted to be remove from any camera, until you’re sure you know how. This goes for trying to take the lens off again as well. Lens cleaner and a cotton cloth must be used to clean a lens. Circular motions must be made from the inside out to prevent from scratching it.
The camera must always be on the legs or stand, locked off, in a competent person’s hands, in other words a cinematographer, or in the camera bag. It must never be left alone unattended, because it can get stolen, damaged and just about anything can happen. Keep everything in a dry clean place and keep everything neat and together. Bibliography Websites *(http://www. wisegeek. com/what-is-a-film-genre. htm, Michael Pollick) *(http://www. telegraph. co. uk/culture/tvandradio/5998253/One-in-six-Britons-too-lazy-to-get-up-to-change-TV-channel. html) *(httpmusingsofanightowl. logspot. com200909time-to-reflecthtmlpng, September 11 2009) *(www. gettyimages. com/detail/200486956-001/Riser) *(moniquer710. blogspot. com/2009_11_01_archive. html) Books *(Directing for film an introduction, p24, Brandon Oelofse, 2007) *(Directing for film an introduction, p22, Brandon Oelofse, 2007) *(Film directing fundamentals, Nicholas T. Proferes, p. 46, 2005) *(Kodak: the art of lighting-notes, 2003) *(Picture composition for film and television, Peter Ward, p. 10, 2003). *(Arrieflex 16 S operating instructions,p. 2-18, unknown date)
