'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...
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...
Vertov was a constructivist. For him, montage was part of the selection process. The combination of shots would affect the the audience, making them aware. He founded the experimental group Kino eye together with his wide Elisaveta Svilova (co-editor) and his brother Mikhail Kaufman (cameraman). They felt the task of the soviet film was to document reality 'to reveal truth' and were opposed to the fiction film that depended on artifice 'the ordinary fiction film acts like a cigar or cigarette on a smoker. Intoxicated by the cine-nicotine...' Man with the movie camera Dziga Vertov is described by S.M Eisentien as a 'film hooligan' producing 'unmotivated camera mischief'. He made a Man with a movie camera as a 'visual symphony', a self-reflexive film about making of the film. As a self proclaimed 'experiment in the cinematic communication of visible events' it is an exhilarating dynamic, collective experience about the life and rhythm ...
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