Week 4: Film Questions
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https://player.bfi.org.uk/free/film/watch-listen-to-bridgeton-2017-online
Questions:
1. How is the story told (linear, with flashbacks, flash-forwards, episodically)
For 'Mining Poems or Odes,' I believe it tells the story through flashbacks and episodically elements.
For "Listen to Bridgeton" I think the narrative style of this documentary is non-linear.
2. How does the film cue particular reactions on the part of viewers (sound, editing, characterization, camera movement, etc.)? Why does the film encourage such reactions?
In the film "Mining Poems or Odes", we see many of Robert's past experiences, including some old photos from his time at the shipyard, as well as his oral accounts of previous stories about reading. The focus here is on personal experiences, and these flashbacks help the audience to understand the protagonist's history and establish a more vivid character image. Additionally, the film employs episodically methods of narration. This is particularly evident in the interviews with Robert, where a large number of close-up shots are used. This visually brings the interviewer closer to the audience, creating a strong sense of immersion. Furthermore, the director incorporates many shots of shipyards and welding work, and the coloring of these scenes tends to be darker，moreover, it's essentially a sequence of wide shots transitioning into close-ups. Moving from the vast expanse of the environment to the darkness surrounding the characters in close-ups, this also signifies Robert's endeavor to find allure in the language and the docks of Glasgow during those dark and lonely days. He seamlessly intertwines Fullerton's interpretation of mining and the poetic expression of poetry with the unmistakable working-class environment of the Govan shipyard.These two narrative techniques together perfectly present a person's endeavor to “achieve contentment through words and philosophy. The craftsman has put aside his tools for pen and paper.”
In the film "Listen to Bridgeton ", first, in terms of sound, unlike other documentaries, the director didn't rely heavily on narration to provide explanations. Instead, they employed a layered soundscape, intertwining the workers' narrations with the sounds of the bus repair shop. This multi-dimensional narrative approach highlights the unique atmosphere of the building. Additionally, each vehicle and individual involved in the restoration process possesses distinct sounds and acoustic characteristics. This meticulous sound representation allows the audience to get closer to the theme of the story, experiencing the uniqueness of each character and vehicle. Such sound design enables viewers to feel the emotions and tension within the storyline, thereby evoking resonance.
Secondly, in editing, the film incorporated many slow-motion shots. These slow-motion shots effectively emphasized the significance of this bus garage in industrial history.
Thirdly, in character development, the film successfully portrayed the individuals working at Bridgeton bus garage, emphasizing their personal growth through participating in the restoration of old vehicles after experiencing tumultuous pasts. The director also provided nuanced depictions of the emotional states of each worker, allowing the audience to feel the inner world of these characters and gain a better understanding of them. Moreover, the director depicted the assistance that the lost industry provides for the future, representing hope and opportunities for these workers. This effectively conveys a positive and optimistic sentiment.
In summary, the standout feature of this film lies in its sound design. This type of sound design not only enhances emotional resonance but also elevates the immersive and profound experience of the viewing.
3. Can you name and explain at least one thing that you have learned from this film, which you might apply to use in your own practice?
For "Mining Poems or Odes", firstly, I really appreciate the composition of the interview section. Different from other documentary interviews, this film predominantly utilizes close-ups, which effectively narrows the distance between the audience and the interviewer. It truly creates a sense of face-to-face communication. I think in the future, if I were to create a similar film, I would draw inspiration from this composition.
Secondly, the editing technique between wide shots and close-ups is notable. On one hand, it introduces the environment; on the other hand, such transitions between scenes bring about a sense of spatial pressure, effectively conveying feelings of loneliness and helplessness. This is well demonstrated in the film, depicting the challenges workers face when engaging with literature and philosophy within a larger context. The shifts between scenes also help control the pacing of the video.
Finally, there's the language of the camera. The visuals occasionally feature some sparks of bokeh, conveying the idea that words and poetry are like a beam of light in the darkness, illuminating his world. Using the frames within the shot to express the director's though is the charm of camera language. This is something I aim to learn from.
For "Listen to Bridgeton ", I believe the most valuable thing for me to learn is sound design - how to seamlessly integrate sound and visuals. Sound is a powerful tool for conveying emotions. Through appropriate sound effects, music, and dialogue, sound can effectively create the atmosphere of a scene, guiding the audience's emotional experience. Even if I were to close my eyes and just listen to this film today, those layered sounds would allow me to construct in my mind a bus garage full of history, with the years it has witnessed and the workers who have accompanied it. The sound of bearings turning and the friction of vehicles can create a vivid environmental ambiance, enabling me to feel the authenticity of the scenes depicted in the film and enhancing my immersion. This film has made me realize the significance of sound.
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