Please use this film clip for the following instruction:
For the analysis:
–Select a start time and a stop time for your analysis. It doesn’t have to be the complete length of the “topic” you have selected. You may want to focus on only a portion of the selected clip, and that’s a great way to delve into the finer details.
–Always count the shots in your selected clip. We are so familiar with the conventions of the techniques of narrative film that we are often not aware of the techniques themselves. By counting the individual shots, you will see things you had not previously noticed.
–Identify any implied temporal ellipses, and observe which techniques of narrative film have contributed to conveying the passage of a period of time, from one shot to the next.
Begin your initial post with a header identifying the start and stop times you have selected (e.g., 0:00 to 1:08) and the number of shots contained in your selected clip (e.g., 21 shots). Also, identify temporal ellipses, if any (e.g., no temporal ellipses). Such an example of a header would look like this:
“Gladiator: Recruitment;
Selected clip: 0:00 to 1:08; 21 shots; no discernible temporal ellipses.”
Also, within your post, identify any music present in the selected clip as either diegetic or nondiegetic.
–Re diegetic music: identify the implied source of the music within the world of the film (either on-screen or off-screen); identify start and stop times (e.g., “diegetic music starts at 1:13 with the cut to the beach scene, stops at 2:42 when it can no longer be heard”).
–Re nondiegetic music: identify by time any cue-ins or cue-outs of the nondiegetic music (e.g., “nondiegetic music cues in at 0:29 and cues out at 1:12”).
Identifying specifically the presence of both diegetic music and/or nondiegetic music within the selected clip will facilitate addressing the purposes and functions of the music in relation to the techniques of narrative film. Details–such as the cue-ins and cue-outs of nondiegetic music, or the presence of diegetic music in a scene–are well planned, and they acquire significance when considered in relationship to techniques of narrative film.
