'British' film What makes a film British? To be eligible for the category, Bafta rules say that, unless there are exceptional circumstances, a film must "have significant British creative involvement" and be certified as British by the British Film Institute (BFI ). The BFI gives a film official British status for the purposes of receiving tax relief if it passes a "cultural test" or is a co-production between the UK and another approved country . The cultural test contains 15 criteria, from having the dialogue in the English language and being set in the UK to using British locations, director, cast, writer, composer and producer . 12 Years A Slave Nik Powell, chair of Bafta's film committee, explains: "12 Years a Slave was not considered by the committee because it didn't list itself as a British film .“ When a film is submitted to Bafta for consideration, its producers can tick a box to say it is British, M...
The oedipal trajectory - Males - Summary A male child, who at first is bonded with his mother, imagines himself a united whole with her. However, when held up to a mirror, he perceives his difference from her. He becomes aware of the illusion of unity and still desires it. The desire now because sexual. He comes to hate his father, as his father has ‘lawful’ access to the mother. The child perceives this difference as one of castration: he sees the mother as castrated. To identify with her would this mean he would be without his penis - in identifying with her he becomes like her; in uniting with her, he runs the risk of castration from his father (he assumes the father has this power) He attempts to identify with the father; he sets about trying to find a female. The male child can now move towards social stability and continue the cycle. Application in Film Narrative In cinematic narrative, the male protagonist moves, through the resolution of a crisis, ...
Explore some of the reasons why spectators may respond in very different ways to the same character. Refer in detail to at least one character from each of your chosen films. The character of Chigurh in the opening scene lends himself a preferred reading through his malign portrayal. The use of cinematography supports the creation of the sinister tone – a shallow depth of field lightly blurs Chigurh, reducing him to a lurking silhouette, which stands out against the desaturated tan colour palate of the scene. A slow track in mimics Chigurh, as he methodically stalks the back of the police officer as the frame begins to very subtly lessen the distance between the two members. In actuality, this closes the distance between the spectator and Chigurh’s ominous image, to evoke tension caused by the unknown motive of Chigurh. These cinematic features push the spectator to attempt to determine the antagonist’s motives; however, the spectator doesn’t perceive most of the eve...
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