There is no denying that Todd Phillips’ Joker has had a substantial impact on the film industry. Its dominant presence within the media has caused a lot of concern regarding its questionable themes. Tackling on a much darker approach to one of comic book’s most iconic villains of all time, and going back to its origins, Joker is one of cinemas most controversial, yet important films to date.

In this origin story, Arthur Fleck is a failed comedian who struggles to fit in with society. Constantly faced with the harshness that is reality while dealing with mental illness, the demoralization of his spirit causes him to eventually find joy in the one job he was good at, working full-time as a clown on the streets of Gotham. The depiction of mental illness in this film is an accurate portrayal of how one’s declining psyche can drive them into a state of madness, and an important subject to discuss as it becomes more relevant in today’s society. Although it may seem a little confronting to watch, the film does a great job at exploring this to create a thrilling psychological journey.

Leading neurocriminologist Adrian Raine, stepped into the theaters with his nephews hoping to enjoy time off his duties at the University of Pennsylvania, but was shocked to see how Joaquin Phoenix’s performance “authentically traces the way a man could be driven to deeply troubling acts of violence” (Miller, 2019). Furthermore, he has considered to use Joker into a forthcoming course of study to dissect the making of a murderer at his University. The treatment of those who suffer from mental illness has been a subject that the media fails to give enough attention. But through the film’s clever use of transforming pop culture’s most notable villain into a real person, it sheds some light and acknowledges that this is our reality.

Joker’s cinematography is one of its defining features in being able to capture the perspective of Arthur Fleck and his isolation within society. Rather than going against the actions of the character, the film does a great job at making the audience feel empathy for him through its unique shooting style. The cinematographer of the film, Lawrence Sher, explains the process of what they did to capture this. “In scenes where he was alone, we’d show him in isolation. We wanted as much as possible to find a frame that spoke emotionally to the moment” (Tangcay, 2019). He also mentions that they avoided shooting at eye level to form disturbing angles, almost as if we were an outsider in the world looking into this “strange” character. And I can say that the makers of this film have certainly done a successful job in achieving this. Throughout the film, we slowly observe the transforming of Arthur’s mentality, until he becomes The Joker we all know and love.

To be honest, I think Joker is and possibly will be the most influential film of the decade. It certainly is a much needed film to inform audiences of the troubles in our world. It’s a reflection of our modern times. It’s dark, compelling, but more importantly, it’s real.

Final Verdict: 4.5/5 Stars

References:

Miller, J. (2019). Leading Neurocriminologist Considers Joaquin Phoenix’s Joker “a Great Educational Tool”. Vanity Fair. Available at: https://www.vanityfair.com/hollywood/2019/10/joker-joaquin-phoenix-psychology

Tangcay, J. (2019). ‘Joker’ Cinematographer Lawrence Sher Breaks Down Shooting Two Pivotal Scenes. Variety. Available at: https://variety.com/2019/artisans/features/joker-stairs-subway-scene-cinematographer-lawrence-sher-1203396242/

Clothes are an essential part of lifestyle and culture. People want to look nice whether it be to impress a certain someone, or just to feel good about ourselves. Nonetheless, they are a vital element in identifying who we are as individuals. The same goes for when appearing on screen. Characters should have a visual aspect that identifies who they are. A costume on the other hand, is more than an arrangement of clothes put together. They include small bits of detail that will altogether affect how an actor will perform.

There are two ways in which an actor can prepare himself/herself for a role, either internally or externally. I personally believe that the actor should start working from the inside as this will inherently affect how he presents himself on the outside. The acting comes as the primary and base component, while the costume comes like the icing on the cake and essentially adds another layer to the performance. But sometimes this can work in the reverse order. A costume may spark some new inspiration for an actor and allow them to deliver a performance that was otherwise unachievable beforehand.

It is also important that the choice of a costume accurately reflects what the character is. Are they extravagant, or simple? Clean or messy? Rich or poor? These qualities should add a nuance to how the character behaves. Take Training Day for example: Alonzo Harris (played by Denzel Washington) is a police detective. He wears black clothing, a leather jacket, a gun strap, and a few chains around his neck. What does the wearing of chains symbolize? That he isn’t the usual cop who goes by the standards? That he is more of a thug than a detective? To insinuate his corrupt behaviour? It is the small details within a character’s appearance that will reflect these traits. Each bit of detail adds to the character.

The aesthetics of characters can also bring significant assistance with setting up the theme or world of a story. For example, cowboys will give the indication of a Western film. An audience should be able to get a sense of who the characters are by seeing what they look like. With Training Day, the image of a detective would suggest that the story will involve crime and drama.

Performing a scene from Birdman was an interesting experience for me as it was something I hadn’t done before. The scene is between Mike and Sam, two actors who seem to have a friendly relationship and enjoy each other’s company. Sam appears to be slightly more interested in Mike and wishes to engage further with their relationship. Mike finds Sam on a rooftop ledge, then the two engage in an innocent game of Truth or Dare. In reality, the scene sounds like it should be a rather easy one right? Well, yes and no. When shooting the scene, there were a few difficulties I came across that affected my ability to perform up to standard. The main challenge I had was finding the enthusiasm for the scene. There was a struggle for me having to connect to the characters and the context. The characters I play tend to be more serious roles as that is what fits well within the style of acting I prefer. I am always open to trying new things out, but there was something about this particular scene that just wasn’t resonating with me. Even with a few weeks of preparation, I couldn’t get to the place where it needed to be in terms of performance.

It was supposed to be a sort of intimate scene between the two characters, but it turned out to be quite the opposite when shooting it on location. When looking back through some of the footage, it was clear to see which takes were better. Generally speaking, later takes tend to be better as having to act out the scene several times definitely assists with extracting the best performance out of the actors. In the beginning, I could see that I would be very tense and apprehensive of performing the scene. But as time went on and after a sense of direction was given, I managed to develop some comfort. However, the whole process of shooting a scene on location with a crew was exciting. Working in an environment like this is very familiar to me and also feels very comfortable. There is the enjoyment of working with a group of people in a professional manner who know what they are doing that entices me. Film is very much an industry that I would like to undertake in the future both on and off screen.

One key discovery that I have made from this experience is that this scene seems to have hit my weakness as an actor. Overcoming the barrier of discomfort was a bit of a hurdle I needed to get past, and a valuable lesson. A bit of advice I would say to myself is to just relax and enjoy it.

In this week’s blog we will be going back to analysing a given film, and the film that we will be discussing about is The Player. Directed by Robert Altman, it is a film that delves into the inside of Hollywood workers, telling a satirical yet somewhat uncanny message on the greed and paranoia to those who work in the business. Originally written as a book of the same name by Michael Tolkin, the screen’s adaptation follows the story of Hollywood executive Griffin Mill (Tim Robbins) who has been receiving threats via postcards from an anonymous writer he rejected. Unsure of who the writer could be, Griffin suspects that it could be David Kahane (Vincent D’Onofrio), who he then murders. Filled with suspense of whether he will get caught for his actions, Griffin manages to get way with the murder and ends up having a relationship with the dead man’s girlfriend (Greta Scacchi).

From watching this film, I was able to understand a sense of the business within the film industry and how it can be very difficult to manage at times. The notion of people within the Hollywood industry having to deal with a number of clients with only limited places available. As a producer it is their duty to select the best stories to tell that will market their business, and with the industry having so much competition, the situation becomes tricky. With this idea, Robert Altman has been able to ingeniously shape this concept into a compelling narrative that explores on the exploitation of Hollywood.

One of the features that struck out to me was the cinematography, which I thought was a very intriguing element that was considered in the production. The shooting style was very unique in that it played an important role in exploring Griffin’s story. Particularly with the opening scene, it contained an 8 minute sequence that was all within the same shot. With a lot of shots capturing long sequences, it almost felt like we were watching a security camera that was following every move being made. The camera would constantly be tracking Griffin’s movements which gave a sense of the audience becoming their own detective spying on him, as they attempt to do in the film. This sort of technique gives the audience a perspective that isn’t usually seen, allowing them to get on the inside and follow the character’s footsteps.

As for my personal opinion, I really enjoyed this film and thought it was a clever and very brave idea to explore. Including cameos from several Hollywood icons like Jeff Goldblum, Julia Roberts, Bruce Willis and Cher just to name a few, the journey of seeing Griffin’s triumph is an exciting and thrilling story. Even though his actions may be questionable, we still seem to root for him.

References:

Betterteam (2019). Movie Producer Job Description. Retrieved from https://www.betterteam.com/movie-producer-job-description

Fox, K. (2007). Review: The Return of the Player by Michael Tolkin. Retrieved from: https://www.theguardian.com/books/2007/aug/05/fiction.features1

Ebert, R. (1992). The Player Movie Review & Film Summary (1992) | Rogerebert.com. Retrieved from: https://www.rogerebert.com/reviews/the-player-1992

Acting on film has been an exciting unit that I’ve been looking forward to and last lesson we were able to get a small taste of what it’s like. We performed our monologues in front of the camera several times, while taking direction for each take. As someone who has previously studied film, being in this situation is not unknown territory for me. Being equipped with the fundamental skills of setting up a camera for recording and how to operate in this environment definitely assisted me. The experience of acting on screen may seem a little terrifying for some but I personally find this to be a very comfortable place to work in. Because I started out working in film before learning how to act, the theatre was a whole new world for me. On film very little acting is required, yet it needs to be grounded on truth and honesty for it to be captivating which is what I find very compelling. And the camera was able to capture and see when this occurred.

During some of the performances, you could see when people felt relaxed which gave an effortless feeling to their acting. Others were quite tense in the beginning but after several takes you could see them getting more comfortable with their piece. As for myself, performing in front of a camera is not as frightening as you would imagine, but having to remain still and be mindful of your framing is what becomes the main concern. After looking back at the clips, it was quite fascinating to see how the camera is able to capture all the subtleties that an actor gives in their performance, and when it was clear when the shifts in thought occurred. One thing I noticed was how many times I blinked throughout the monologue which became quite a striking feature after watching it again. When comparing this to others who may or may not have been conscious about it, but had little attention drawn towards the action.

Aside from this, watching a screening of all the monologues in class was a very insightful lesson. Some of the main notes to take away from this is to carefully analyse each line of action and take some beats for thoughts to sink in. This will deliver a much more naturalistic performance from the actor and be very engaging for the audience to see.

For our monologue assessment, I have chosen to perform a piece from The Hurricane, and the character I will be playing is Rubin Carter. Based on real events, the film tells the story of Rubin “Hurricane” Carter, an American boxer who had been wrongfully convicted of murder. The character feels as though the actions against him have been unwarranted, until he is finally released after spending almost 20 years in prison.

When selecting a monologue piece I tend to search for material that is strong and of a more mature nature, as this is the sort of acting that inspires me. What drew me to this speech was the content of the dialogue that reflected the corruption within the justice system, a situation which is still relevant in modern times. The scene takes place in a court room with Rubin Carter requesting to make an address. In his statement, he regards the treatment he has received to be very prejudiced and that no reasonable action has been taken on the account. In this particular scene, the character’s objective is to achieve justice which he can only obtain by the judge’s authority. Because of Rubin Carter’s demeanor it makes it difficult for him to do so. The image of a boxer being seen as very aggressive and violent becomes the flaw that hinders him from achieving his objective.

When identifying how this scene should be played there can be a number of ways in which it can be performed. Some of the action verbs that can be used would be to persuade and to appeal. It is Rubin Carter’s goal to seek the judge’s approval and the only way he can do so is by using tactics of empathy. Each of these strategies may result in a different consequence and it will be very interesting to see what the outcome will be when recorded on camera.

In this week’s blog we will be discussing the meaning of film form, as well as taking a look at David Lynch’s Mulholland Drive.

What is film form?

The composition of a film (or any work of art) can be separated into two things:

• Form
• Content

The content of the work refers to what is presented, and the form is how it is presented. For a film, the content would include things like characters, dialogue, themes and symbols. The form would cover camera movement, editing, mise-en-scene and sound.

Each film tells a story and it is up to the director to decide how they want that story to be told. One director, David Lynch, is known for his experimental style of cinema. Experimental Cinema or avant-garde cinema is a form of filmmaking that re-evaluates cinematic conventions and explores on non-narrative forms. Among Lynch’s work, his films are recognized for incorporating recurring themes of dreamlike imagery with a surrealist ethos, and non-linear narratives with unsettling endings.

Mulholland Drive follows the story of a woman who struggles to figure out her identity after being left amnesiac from a car accident. She finds her way into the streets of Los Angeles where she meets Betty, a young woman with blonde hair seeking fame as an actress, as the two then attempt to solve the mystery of “Rita’s” true identity.

In terms of content, it contains everything that is necessary for a film to work but the way in which it is presented is what makes it unique. One of the elements that contributes to this is the cinematography. The style in which this film was shot was done in a way that provokes the audience to feel uneasy. Many scenes were shot with a handheld camera and were positioned at angles that were at times disturbing, which was able to contribute to the overall dark atmosphere of the film. The use of the handheld camera allows viewers to be put into the character’s perspective and get a sense of the anxiety that they feel throughout.

The editing and overall pace of the film was organized in quite an odd manner. The film lacks continuity and intentionally disjoints the narrative by not arranging the sequence of scenes in a particular order. Rather than drawing attention on the storyline itself, it puts our focus on each of the character’s motives and how they will progress later on. This then becomes irrelevant as the roles of characters become twisted, leaving the audience to re-evaluate each scenario.

Mulholland Drive is one of David Lynch’s most recognized pieces of work and uses techniques of experimental cinema to construct a gripping narrative. Even though it may leave us confused and wondering what just happened, it delivers a captivating story and provides us with just enough to hold on to for the audience to get to the end.

Over the next couple of weeks a series of blogs will be posted on the topic of Screen Studies. These blogs will contain content relating to a number of films that will be reviewed based on their story, themes, structure, and form, as well as analysing what makes them successful movies.

What is Screen Studies?

Screen Studies is the study of historical and modern films and how they have influenced the industry. Films are motion pictures, and like any art, they are a medium used to express ideas, feelings, and stories where they can be communicated to an audience.

What is filmmaking?

Filmmaking is the process of putting together a production whether it be TV or film. Making a film can be a lengthy process and is generally divided into 3 stages:

• Pre-production
• Production
• Post-production

Each of these stages all have their own procedure with separate members working in each department.

What does a film contain?

To begin analysing any works we will first need to identify what the composition of a film is. The elements that make up a film include narrative, cinematography, editing, sound, and mise-en-scene.

The first film that will be looked at is Tom DiCillo’s Living in Oblivion (1995). Its story focuses on the multiple challenges that are faced while trying to make an independent film in Hollywood. The concept of the movie revolves around giving viewers an insight on how a film production is put together and does a good job at educating those who may not have an understanding of how it operates. Since the budget of the film itself was quite low, it added more to its depiction of the indie filmmaking business. Although it may be somewhat of an over-exaggerated representation, the notion itself is not that farfetched than what would occur in reality. The characters within this film are a portrayal of the many roles that are required on a film set. The main focus is drawn into the role of the director and the responsibility they have while on set.

A creative technique that I admired was with the use of colour. The use of colour in a film can have an influence on the overall tone and mood of the picture and can affect the audience’s response. The way in which they chose to differentiate reality from fantasy by having one in black and white, and the other in colour, was a clever way to discern them from each other.

This is an example post, originally published as part of Blogging University. Enroll in one of our ten programs, and start your blog right.

You’re going to publish a post today. Don’t worry about how your blog looks. Don’t worry if you haven’t given it a name yet, or you’re feeling overwhelmed. Just click the “New Post” button, and tell us why you’re here.

Why do this?

• Because it gives new readers context. What are you about? Why should they read your blog?
• Because it will help you focus you own ideas about your blog and what you’d like to do with it.

The post can be short or long, a personal intro to your life or a bloggy mission statement, a manifesto for the future or a simple outline of your the types of things you hope to publish.

To help you get started, here are a few questions:

• Why are you blogging publicly, rather than keeping a personal journal?
• What topics do you think you’ll write about?
• Who would you love to connect with via your blog?
• If you blog successfully throughout the next year, what would you hope to have accomplished?

You’re not locked into any of this; one of the wonderful things about blogs is how they constantly evolve as we learn, grow, and interact with one another — but it’s good to know where and why you started, and articulating your goals may just give you a few other post ideas.

Can’t think how to get started? Just write the first thing that pops into your head. Anne Lamott, author of a book on writing we love, says that you need to give yourself permission to write a “crappy first draft”. Anne makes a great point — just start writing, and worry about editing it later.

When you’re ready to publish, give your post three to five tags that describe your blog’s focus — writing, photography, fiction, parenting, food, cars, movies, sports, whatever. These tags will help others who care about your topics find you in the Reader. Make sure one of the tags is “zerotohero,” so other new bloggers can find you, too.