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As we work through Hamlet, we will be learning about film analysis. This will give us the tools we need to film our own scenes at the end of the unit. Watch the video "Opening Shots Tell Us Everything" from the youtube channel "Now You See It". Fill out these notes as you work, then use your skills to analyze the opening shots of Hamlet by Laurence Olivier, Mel Gibson, and David Tennant.
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Claudius - King of Denmark, Married to Gertrude
Fortinbras - Son of the Late King of Norway Prince Hamlet - Son of the former King Polonius - Advisor to the King of Denmark Horatio - School Friend to Hamlet Laertes - Son of Polonius |
Ghost of Hamlet -Former king, Father of Hamlet
Gertrude - Queen of Denmark, Mother to Hamlet Ophelia - Daughter of Polonius, in love with Hamlet Rosencranz and Guildenstern - Childhood friends of Hamlet Fortinbras (The Father) - Former King of Norway, killed by Hamlet’s father Marcellus, Bernardo - Members of the King’s Guard |
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Look up the definition and usage of Soliloquy. How does the soliloquy differ from monologue? How does soliloquy influence our understanding of previous subtext?
Watch the video essay about the power of "Shot Reverse Shot", particularly how the Coen brothers utilize the technique. Fill in these notes as you watch. Then look for those techniques in the three versions of Hamlet, Act I Scene ii, from the beginning until Hamlet starts his soliloquy. Laurence Olivier's Act I Scene II starts here. Mel Gibson's Act I Scene II starts here. David Tennant's Act I Scene II starts here. |
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You are responsible for the information in this video essay. You should take notes, paying careful attention to the definition and use of composition, and tools filmmakers employ to give meaning to their shots.
After you watch the video, consider Act I Scene ii. How would you compose shots of Claudius? How would you compose shots of Hamlet? Why would you make this choice? Think about power dynamics. |
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Watch this breakdown of the role of an antagonist in a story. How does Claudius match up to this description?
You are responsible for this information, so take notes. |
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"How do you emphasize to the audience that something is important? Well, you could always cut to a close-up, but how about something subtler? Today I consider ensemble staging — a style of filmmaking that directs the audience exactly where to look, without ever seeming to do so at all. NO SPOILERS.
Eight Ways to Get the Audience to Look at a Character: 1) Let Them Speak 2) Make Them Brighter or Bring Them Closer 3) Let Them Move (Especially Hands or Eyes) 4) Put Them in the Center of Frame 5) Turn Them Towards the Lens 6) Separate Them from the Group 7) Isolate Them by Moving the Camera 8) Have Other People Look at The |
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Can movement tell a story? Sure, if you’re as gifted as Akira Kurosawa. More than any other filmmaker, he had an innate understanding of movement and how to capture it onscreen. Join me today in studying the master, possibly the greatest composer of motion in film history.
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