Thursday, 1 March 2012

Time Machine- Research Task, Film Review

Research Task, Film Review

Thomas Vinterberg’s film ‘Festen’ which means ‘The Celebration’ in English is a Dogme 95 film. Directors Lars Van Trier and Thomas Vintberg started Danish Dogme films in 1995 as they felt Hollywood films had no story as they are more effect driven. The idea of Dogme films is to make the scenes look incredibly real, the directors achieve this by using natural light, location filming so there are no sets, hand held camera work and no digitized imagery. After a Dogme film was made a document called ‘Dogme 95’ which was a list of ten rules that they had to abide called the ‘Vow of Chastity’ was signed to make sure the film was a Dogme. When talking about Dogme Vinterberg said ‘the inner lives of the character justifies the plot’.


The Celebration is a film about a father who turns 60 and who invites his family to celebrate him at a castle. All of the fathers children have always tried to impress him and try and live up to his expectations as they all respect him. However this changes when the eldest son reveals a secret at the party as to why his twin sister killer herself. 


During 'Festen' no music has been added and the only sound you hear is what the characters make. All the lighting used in the film is also natural which you can associate with as a viewer as you would be familiar with it. By having no sound and natural lighting throughout the film adds a form of realism as the story is portrayed as you would see it in everyday life. 





The films relationship with realism is very strong, as you feel as if you are there with the characters because of the hand held camera used throughout the movieIn a scene where the truth is revealed about the father from a letter his dead daughter wrote a camera pans around all of the characters listening to the letter being read out. This creates a connection between you and the characters as it makes you feel as if you are in the crowd with them which gives the movie a very realistic feel. During this particular scene a wide range of camera angles and shots have been used, close up shots are used to capture the emotions the characters are feeling this creates an intimate connection between the viewer and the characters which makes the story line feel more realistic. In another part of the scene a wide angle shot has been used which shows the whole of the room the characters are in, this camera angle sets the scene and allows you to feel a part of there environment have a realistic feel to where the film is set. 


Another scene I looked into was where the elder brother reveals his secret to the whole family and at first the don't believe him so he's younger brother ends up taking him out of the castle and argues with him. During this scene you feel as if you are invading the family's privacy as the camera gets very close to the characters and it makes you feel as if you are in there way, this adds a form of realism to the film with how you feel as if you are in the characters personal space. One part of the scene has no characters in it and just shows a close up of the floor or there clothing, as a viewer this also makes you feel as if you are in the way. Throughout the scene different camera angles and positions have been used such as following the characters from behind, in front and looking down at them. By using different scenes makes the film look very realistic as you get to see the action happening from all different views. It also adds a feel of realism as you feel as if you are actually there watching them from all different angles.



1 comment:

  1. Hi Sophia, thanks for your thoughts on Festen. Your comments about the purpose of Dogme and the emphasis on realism are correct. However, I’d be a little cautious about buying into the whole ideal. Whilst the creators of the movement no doubt champion the manifesto, neither Festen nor von Trier’s first Dogme film The Idiots actually follow the rules to the letter. While others often talk of a slavish devotion to the manifesto, those that created it do pick and chose what to follow. So while your observations regarding the technical aspects of Festen such as lighting and sound are correct, a closer look at the camerawork perhaps reveals something different. Yes it is all hand-held, but I would argue that the choice of shots and lenses lessen the ‘realism’ aesthetic and actually aspire towards a more dynamic, constructed, and dare I say it, Hollywood style. Low angles tracking past the banisters, high POV sweeping around the corners of a room, ultra wide focal lengths that are almost fish-eye, none of these ‘choices’ favour a realist interpretation. Here we see Vinterberg’s instinctual dynamism as a film-maker clashing with his intellectually driven manifesto. Of course this is just my opinion, and in this academic branch of creative study, our opinions are all that we have. It is important and valuable to research and to understand the context in which a given work is both created and presented, but do not shy away from challenging the sources you read.

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