How To Analyze Movies – Film Studies 101
Summary
TLDRThis insightful video by Patrick Williams, sponsored by Curiosity Stream and Nebula, takes viewers on a deep dive into the world of film analysis, focusing on how movies can be deeply understood and appreciated beyond their surface narratives. The video is crafted like an academic lecture, initially designed as part of a Nebula class, and covers various aspects of cinema including storytelling, visual language, filmmaking techniques, sound, and editing. 'Home Alone' is used as a primary case study to illustrate the application of film analysis, from examining themes to dissecting technical aspects like lenses, lighting, and editing styles. The video emphasizes the importance of understanding choices made in filmmaking and how those choices affect audience perception and narrative impact. Throughout, viewers are encouraged to explore films beyond casual watching, grasping the methodologies filmmakers use to convey deeper meanings and emotional resonance.
Takeaways
- 🎥 Movies offer more than just surface-level story; they involve deliberate artistic choices.
- 🖼️ 'Mison sen' encapsulates all visual elements in a frame, crucial for storytelling analysis.
- 👁️ Analyzing films helps appreciate nuances in visual and narrative techniques.
- 🔍 Finding a movie's theme often starts with identifying central conflicts and resolutions.
- 🎬 Editing adds continuity and guides emotional pacing in films.
- 🔊 Sound in film enhances the narrative by influencing mood and adding depth.
- 📚 Recognizing a film's genre informs audience expectations and thematic interpretation.
- 🎨 Filmmaking is a collaborative art involving choices that impact storytelling.
- 🤔 Film analysis includes recognizing intentional choices and accidental outcomes within a movie.
- 📽️ Watching a variety of films enriches understanding of cinematic techniques.
Timeline
- 00:00:00 - 00:05:00
The video, presented by Curiosity Stream and Nebula, deviates from the usual content and serves as an academic class on "how to analyze movies." The speaker, Patrick Willams, introduces the concept of viewing cinema as an art form, akin to analyzing literature or painting. He aims to teach viewers how to look beyond the surface story of movies to understand the artists' choices and the emotional impact and meanings expressed.
- 00:05:00 - 00:10:00
The speaker introduces a two-step process for art analysis: describing what is seen (the piece itself) and questioning why each aspect is a deliberate choice. Analysis considers artists' choices and happy accidents and embraces subjective interpretations. The audience's interpretation is as valid as the artist's intention. Thus, all art, even accidents during creation, merits analysis since art is subjective.
- 00:10:00 - 00:15:00
The speaker discusses ways to identify a movie's primary themes by summarizing its story and highlighting the main conflicts and characters' transformations. Using "Home Alone" as an example, he identifies multiple interconnected themes such as responsibility, forgiveness, and the importance of family. He articulates that observing the story's arc helps in extracting its central theme effectively.
- 00:15:00 - 00:20:00
Cinema is a visual medium, and the storytelling is enhanced by how stories are told through images. "Mise-en-scène" refers to the visual frame elements like lighting, camera placement, and actor positioning, influencing the narrative impact. Movie understanding begins with analyzing its early scenes, which reveal the tone and visual language. Each filmmaking choice is deliberate and adds to the narrative understanding.
- 00:20:00 - 00:25:00
The choice between realism and formalism in cinema determines a film's aesthetic. Most films fall into classicism, balancing realistic and formalistic elements. Analyzing "Home Alone," the speaker highlights the blend of realism with formalistic elements like music and exaggerated angles to convey the protagonist's perspective. These techniques help portray subjective events through the protagonist's eyes.
- 00:25:00 - 00:30:00
Films use lens choices to create different perspectives and effects. In "Home Alone," wide lenses emphasize the environment and height differences, reflecting Kevin's perspective. Long lenses highlight isolation, and technical aspects like these subtly shape the viewer's perception. Understanding these lens choices can improve the analysis of emotional and narrative nuances in cinema.
- 00:30:00 - 00:35:00
Color enhances storytelling by affecting viewers emotionally and adding subtext. In "Home Alone," warm colors symbolize home and family, while cold colors depict distance. Kevin's mother is portrayed in warm colors to signify her connection to home, even when away. Color harmony or contrast serves to symbolize belonging or displacement, enriching the narrative's emotional impact.
- 00:35:00 - 00:40:00
Aspect ratios affect how the story is framed, influencing viewer perception. "Home Alone" uses the 1.85:1 aspect ratio, enhancing the portrayal of comedic elements and highlighting Kevin's smallness relative to his environment. Although a minor choice, aspect ratios reflect creative decisions that, while subtle, contribute to storytelling by setting up the visual framework of the narrative.
- 00:40:00 - 00:45:00
Lighting significantly impacts a film's mood and reality depiction. "High-key lighting" in "Home Alone" establishes a comforting comedy tone, while "low-key lighting" adds suspense in certain scenes, like when intruders approach. These lighting choices guide audience emotions, emphasizing narrative shifts between safety and danger within the story.
- 00:45:00 - 00:50:00
Camera movement and actor blocking tell unique stories within each scene. "Home Alone" employs different movement techniques to emphasize character emotions and plot points, like using close-ups and subjective perspectives to visualize emotional transitions (e.g., Kevin's bravery quickly turning to fear). Each camera and actor positioning decision supports the narrative dynamically.
- 00:50:00 - 00:55:00
Editing links shots and scenes, maintaining continuity and shaping viewer interpretation. In "Home Alone," techniques like montage and crosscutting emphasize timeline changes and connections between characters (e.g., Kevin's home alone contrasts with his family on a plane). Editing structures the story seamlessly, adjusting tempo and perspective while delivering narrative meaning.
- 00:55:00 - 01:00:00
Sound design, Foley, and music shape the film's environment and emotions, deeply affecting viewer perceptions. "Home Alone" uses minimal sound to accentuate Kevin's loneliness and exaggerated Foley effects to convey perspectives and humor (such as BB gun hit sounds). Music underscores themes, like the complex mix of safety and unease when portraying Christmas, shaping both mood and narrative tone.
- 01:00:00 - 01:05:00
The opening scenes of "Home Alone" employ strategic framing and perspective transitions to establish character dynamics and emotional context. Through visual contrast and implied attention shifts, the film subtly transitions from objective observation to Kevin's subjective viewpoint, enhancing audience understanding of character relationships and subsequent plot dynamics.
- 01:05:00 - 01:10:00
Authorship theory explores film authorship by considering a director or producer’s creative influence. With "Home Alone," John Hughes' thematic influence is prominent through recurring motifs in his work, while Chris Columbus's directorial decisions embellish the narrative, demonstrating how multiple creators can shape a film’s identity through thematic continuity and stylistic execution.
- 01:10:00 - 01:15:00
Film history influences current releases, as films reflect upon and reference previous works. "Home Alone" includes nods to classic films and draws thematic parallels with others like "Die Hard." These intertextual connections enrich interpretation as films converse with and are inspired by their historical context, sharing common tropes and innovative storytelling methods.
- 01:15:00 - 01:20:00
Genre expectations influence the viewer's perception of a film's aesthetic and narrative framing. "Home Alone's" comedic genre supports warmth and humor and borrows elements from horror to communicate Kevin's perspective, enhancing emotional resonance. Genre analysis helps unravel narrative techniques and expectations, offering insights into storytelling approaches intended by filmmakers.
- 01:20:00 - 01:25:26
Art analysis is subjective and enriched by personal context, allowing varied interpretations and debates. Even in mainstream films like "Home Alone," themes like family, bravery, or allegorical ideas like religious salvation present layered readings. Exploring artistic intent and viewer interpretation reflects how subjective experiences shape narrative and art understanding.
Mind Map
Video Q&A
What is the main theme of the video?
The video teaches viewers how to analyze movies by looking at storytelling, visual language, editing, sound, and other filmmaking elements.
Who is the presenter of the video?
The presenter is Patrick Williams.
What movie is used as a primary example in the video?
'Home Alone' is used as the primary example for explaining film analysis.
What is the purpose of analyzing film form and style?
To understand how different filmmaking elements like shots, editing, and sound influence the emotional impact and meaning of a movie.
What does the term 'mison sen' refer to?
'Mison sen' refers to everything placed within the frame of a film, including set design, lighting, and positioning of actors.
How can analyzing films help improve understanding in general?
It enhances one's ability to notice detail, understand narrative structures, and appreciate the complexities of storytelling.
What aspect of 'Home Alone' is highlighted regarding visual storytelling?
The use of lenses and angles to emphasize Kevin's perspective, portraying adults as large and imposing.
What role does sound play in film analysis according to the video?
Sound complements visual storytelling by influencing mood and emotional engagement, and adding depth to scenes.
What is a key takeaway regarding editing in films?
Editing creates continuity and flow, key for storytelling, and can be used creatively to convey emotions and tension.
Is there a specific genre focus in the video?
The video covers a variety of genres, using 'Home Alone' to discuss elements of comedy with nods to horror aesthetics.
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HOME
- 00:00:00this video is brought to you by
- 00:00:01curiosity stream and
- 00:00:05nebula hey folks so this video is a
- 00:00:08little bit different than usual it is
- 00:00:11not part of the ongoing season it is not
- 00:00:14canon within the universe of the show it
- 00:00:17was actually originally written almost a
- 00:00:19year ago as one of our nebula classes
- 00:00:23but I changed my mind and decided to
- 00:00:25make a different class instead that one
- 00:00:27is about how to make a movie and it's a
- 00:00:29ailable now so I figured I would hold on
- 00:00:32to this and at some point just make it
- 00:00:34as a regular video here on the channel
- 00:00:37and that's what I did and that's why in
- 00:00:39case you're wondering the video seems a
- 00:00:42lot more like an academic class than
- 00:00:45most of the videos usually do so anyway
- 00:00:48with that explanation out of the way
- 00:00:50enjoy my class on how to analyze movies
- 00:00:55[Music]
- 00:01:05hi I'm Patrick Willams and today I want
- 00:01:08to talk to you about movies or if we
- 00:01:12want to sound fancy we're going to be
- 00:01:15discussing Cinema compared to other art
- 00:01:18forms like literature or painting or
- 00:01:21music that have been around for hundreds
- 00:01:23of years Cinema is relatively young
- 00:01:26moving picture cameras weren't invented
- 00:01:29until the late 1800s and the first movie
- 00:01:31with recorded sound came out less than a
- 00:01:34100 years ago so we're still in the
- 00:01:37early days of the medium for the past
- 00:01:40Century movies have been the most
- 00:01:42popular art form in the world we've been
- 00:01:45watching them and enjoying them our
- 00:01:47whole lives and for a lot of people
- 00:01:50movies are just a fun thing to watch to
- 00:01:52kill some time and that's fine but maybe
- 00:01:56you want to look at them a little more
- 00:01:58deeply I mean if weirdos like me can get
- 00:02:01a whole college degree in something
- 00:02:03called Cinema studies there must be more
- 00:02:06going on here and that's what this video
- 00:02:10is about because pretty much every movie
- 00:02:14ever made has more to it than just the
- 00:02:17surface level story like any art form
- 00:02:20Cinema is the result of artists making
- 00:02:22deliberate choices and those choices
- 00:02:25influence how the movie affects us
- 00:02:27emotionally and what ideas or meanings
- 00:02:30it's expressing we are not here to
- 00:02:33decide whether a movie is good or bad
- 00:02:35and then move on what we're going to do
- 00:02:38here today is talk about how to
- 00:02:40interpret these aspects of a movie the
- 00:02:44story the shots and editing and how it's
- 00:02:47all put together to understand how it
- 00:02:50works and what it all means now this
- 00:02:53kind of analysis doesn't just apply to
- 00:02:55cinema we're really talking about
- 00:02:58analyzing works of art and narrative art
- 00:03:01like Cinema warrants the same level of
- 00:03:04serious analysis as paintings hanging in
- 00:03:07the Lou and folks I am not only talking
- 00:03:11about fancy art films by Batar or rasuk
- 00:03:15hamaguchi we can apply this same level
- 00:03:18of analysis to Sonic the Hedgehog 2 or
- 00:03:22Megan and once we're done here you can
- 00:03:25be that insufferable pretentious person
- 00:03:28at a party who tells every everyone what
- 00:03:30movies are really about how Lord of the
- 00:03:34Rings is actually about addiction how
- 00:03:37Top Gun is about struggling to figure
- 00:03:40out one's sexuality and how every
- 00:03:42Christopher Nolan movie is really about
- 00:03:45how he misses his
- 00:03:47family I mean that last one I actually
- 00:03:49do
- 00:03:53[Music]
- 00:03:55believe okay look I'm going to be honest
- 00:03:57with you you can probably turn this
- 00:03:59video off after this one chapter because
- 00:04:03this is the only rule that really
- 00:04:05matters if you learn this you're pretty
- 00:04:07much set to go and start analyzing all
- 00:04:10the movies you want so let me start with
- 00:04:12a little story back when I was in
- 00:04:14college taking a lot of Cinema studies
- 00:04:17courses for a while I honestly wasn't
- 00:04:20very good at interpreting meaning from
- 00:04:22movies I could break down technical
- 00:04:25aspects and story structure but for some
- 00:04:28reason I was resistant to the idea of
- 00:04:31giving every element some deeper
- 00:04:33subtextual significance and then what
- 00:04:36finally made it click for me was this
- 00:04:38art history class I took where the
- 00:04:41professor realized that I wasn't fully
- 00:04:44getting it so we had a meeting at the
- 00:04:46college Art Museum and she finally got
- 00:04:49through to me by breaking it down in a
- 00:04:51way I understood so in simplest terms
- 00:04:55analyzing art really just comes down to
- 00:04:58two steps
- 00:05:00step one look closely at the piece and
- 00:05:04just describe what you're seeing what
- 00:05:07the piece is and what's happening in it
- 00:05:10and step two ask why treat every part of
- 00:05:15that piece as a choice the artist made
- 00:05:18and ask why they made that choice what
- 00:05:21was their goal what purpose does it
- 00:05:23serve how does it make me the viewer
- 00:05:26feel so if you're looking at a painting
- 00:05:29you're doing this with the overall
- 00:05:31composition of the piece the choice of
- 00:05:33colors the size of the piece the
- 00:05:36perspective and style of brush Strokes
- 00:05:38the degree of realism versus abstraction
- 00:05:41all of these things should be examined
- 00:05:45and questioned and yes I am aware that
- 00:05:48frequently in art you get happy
- 00:05:51accidents things that end up in the
- 00:05:53finished work but were never a
- 00:05:55deliberate part of the artist's design
- 00:05:58what do we make of those do we ignore
- 00:06:00them because of their accidental nature
- 00:06:03nope those deserve just the same level
- 00:06:06of analysis it could even be worth
- 00:06:09analyzing how the technique used led to
- 00:06:11an environment in which this kind of
- 00:06:13accident could be possible because
- 00:06:16analysis does not end at what the artist
- 00:06:19intended that's the fun thing about art
- 00:06:22the artist gives it meaning but so do we
- 00:06:25as viewers we can totally say that the
- 00:06:28artist is wrong about their own work
- 00:06:31that regardless of what they intended it
- 00:06:33means something different because
- 00:06:36remember folks and say it with me Al
- 00:06:39together now art is
- 00:06:45subjective and that said it doesn't mean
- 00:06:49that I have to agree with every single
- 00:06:51Take You can tell me that I don't know
- 00:06:54that like Toy Story is an allegory for
- 00:06:58Western imperialism and if you can argue
- 00:07:00that I would love to hear it but also I
- 00:07:04don't think you're going to find a lot
- 00:07:06of evidence to present
- 00:07:10[Music]
- 00:07:12there okay so now let's actually get
- 00:07:15into how we analyze a movie I want to
- 00:07:19start in the broadest most General way
- 00:07:22how do we look at a movie and identify
- 00:07:25its primary themes movies are
- 00:07:28complicated and there's 's always a lot
- 00:07:30going on but how do we interpret what
- 00:07:33it's saying because look regardless of
- 00:07:36what the movie is good movies or bad
- 00:07:39movies every movie is about something
- 00:07:43every movie has some kind of core idea
- 00:07:46it's expressing or at least trying to
- 00:07:49express for the rest of this video I
- 00:07:51want to focus primarily on one movie to
- 00:07:55show you how you can take a pretty
- 00:07:57ordinary film something that that does
- 00:08:00not seem like a deep artart film and
- 00:08:02actually extract a ton of meaning from
- 00:08:05it so today we are going to be focusing
- 00:08:09on the 1990 Chris Columbus film Home
- 00:08:13Alone which was written and produced by
- 00:08:15John Hughes starring mccauly culin
- 00:08:18Katherine O'Hara and Joe pesi I assume
- 00:08:22most people watching this are familiar
- 00:08:24with home alone and what it's about but
- 00:08:28let me ask you this what is it really
- 00:08:32about what is the main theme of Home
- 00:08:36Alone well to find it the first step is
- 00:08:39to just look at the events of the movie
- 00:08:42and describe in simplest terms what
- 00:08:46happens what is the story how does it
- 00:08:49begin and how does it end so here's how
- 00:08:53I would describe what happens in Home
- 00:08:55Alone a kid and his mom are mad at each
- 00:08:57other then they get separated
- 00:09:00and they realize that they miss each
- 00:09:01other so while she tries to get home to
- 00:09:04him he has to protect his home against
- 00:09:07Invaders okay okay that was that was
- 00:09:10pretty good but let's make it simpler so
- 00:09:13how about a kid defends his home while
- 00:09:18his mother tries to get home to him okay
- 00:09:21that's better but it's still too
- 00:09:23complicated let's break it down even
- 00:09:26more so like home loone is about the
- 00:09:30lengths we will go for our families okay
- 00:09:34good good I think we're almost there but
- 00:09:37we can go one step further and make it
- 00:09:40even
- 00:09:41simpler home alone is about the
- 00:09:45importance of
- 00:09:48[Music]
- 00:09:50family that's it we did it we found the
- 00:09:54main
- 00:09:56theme great job guys but look
- 00:09:59movies don't always just have one theme
- 00:10:03there are actually multiple themes here
- 00:10:06that are all connected so again breaking
- 00:10:09this movie down to a very simple
- 00:10:12description it's about an immature kid
- 00:10:14left on his own and put in a dangerous
- 00:10:17situation who learns to fend for himself
- 00:10:20get over his fears and defend his
- 00:10:22family's home to put that in simplest
- 00:10:25terms it's a story about learning to
- 00:10:28take responsib ability we can do it
- 00:10:30again it's a movie about people who end
- 00:10:33up in a terrible situation because
- 00:10:36they're mad at each other and then they
- 00:10:38realize how much they love each other
- 00:10:40and go to Great Lengths to reunite in
- 00:10:43simplest terms it's a story about
- 00:10:46forgiveness so basically home alone is
- 00:10:50about responsibility forgiveness and the
- 00:10:53importance of
- 00:10:55family boom we did it see that's not so
- 00:10:59hard and that's how it works for just
- 00:11:01about every movie you step back and look
- 00:11:05at the movie on a macro level what are
- 00:11:07the main conflicts how are they resolved
- 00:11:11how do the characters change and
- 00:11:13generally from just answering those
- 00:11:16questions you can extract the theme and
- 00:11:19figure out what the movie is trying to
- 00:11:25[Music]
- 00:11:27say Okay so we've talked about the big
- 00:11:29picture stuff and how to interpret the
- 00:11:32story but the story itself is just a
- 00:11:35small part of a movie you can write a
- 00:11:38story in a few sentences on a piece of
- 00:11:40paper what's really important is how
- 00:11:43it's told Cinema is a visual medium if
- 00:11:47all you care about is the plot then go
- 00:11:49read the synopsis on Wikipedia it's
- 00:11:52faster the point of a movie is to tell a
- 00:11:55story with images and those images can
- 00:11:58do a lot more than just showing actors
- 00:12:01delivering dialogue where the camera is
- 00:12:04placed how it moves how a shot uses
- 00:12:07light and color how the actors are
- 00:12:10positioned these all have a
- 00:12:12psychological and emotional effect on
- 00:12:14the audience changing any one of those
- 00:12:17elements can radically affect how we
- 00:12:20interpret something these seemingly
- 00:12:22small choices can create meaning and
- 00:12:25subtexts that you would not just find in
- 00:12:28the thought synopsis so it's time to
- 00:12:31bust out a fancy French expression
- 00:12:34you've probably heard about this one
- 00:12:35before it's a big one it is time to talk
- 00:12:39about Mison sen essentially what Mison
- 00:12:43sen means is what is in the frame it's
- 00:12:47the dozens even hundreds of choices from
- 00:12:50costumes to locations to lenses to
- 00:12:53lighting that result in what we see on
- 00:12:56screen what we're trying to do here is
- 00:13:00understand the form how the tools of
- 00:13:03Cinema are deployed the film
- 00:13:10[Music]
- 00:13:12language it's often been said that a
- 00:13:14movie teaches us how to watch it when
- 00:13:18looking at the early scenes in
- 00:13:20particular we're being given Clues as to
- 00:13:23the tone and language of the movie as in
- 00:13:26the visual language if you look at a
- 00:13:28movie and try to impose the rules of
- 00:13:31other movies onto it you're just not
- 00:13:35having a productive experience so for
- 00:13:37example back in 2008 when the movie
- 00:13:41speedracer came out a lot of people
- 00:13:43looked at it and recoiled in horror they
- 00:13:46were like this looks weird it's like a
- 00:13:48cartoon it doesn't look real this must
- 00:13:51be a mistake which means the movie is
- 00:13:53bad now the problem with this take is
- 00:13:56that it's assuming that the movie is
- 00:13:59trying to look realistic and failing
- 00:14:02it's ignoring what is actually going on
- 00:14:05which is that the aesthetic was a
- 00:14:07deliberate choice and part of analyzing
- 00:14:10film is treating every aspect of it as a
- 00:14:13deliberate choice now this is not to say
- 00:14:16that you have to like every choice and
- 00:14:18maybe you think a choice doesn't work
- 00:14:20and was a mistake but give the
- 00:14:22filmmakers some credit assume they chose
- 00:14:25to do it that way and then figure out
- 00:14:29why so this starts with the overall
- 00:14:32style and aesthetic a starting point for
- 00:14:35analyzing this is considering where it
- 00:14:38falls on the scale of realism versus
- 00:14:42formalism now without getting into the
- 00:14:44whole long history of film Theory and
- 00:14:46where these approaches came from the
- 00:14:49short version is this one extreme
- 00:14:52approach to cinema is pure realism
- 00:14:56basically a reproduction of reality with
- 00:14:59with no intrusive elements you know
- 00:15:01workers leaving the factory then on the
- 00:15:04other end of the spectrum is like a
- 00:15:07surreal animated musical something
- 00:15:10entirely artificial that doesn't attempt
- 00:15:13to imitate reality at all most movies
- 00:15:16exist kind of around the middle in an
- 00:15:19area called
- 00:15:20classicism this uses realist elements
- 00:15:23like naturalistic performances and
- 00:15:26locations and subtle unobtrusive editing
- 00:15:29to create a linear sense of continuity
- 00:15:32but it combines them with formalist
- 00:15:34elements like a musical score different
- 00:15:37camera angles and camera movement and
- 00:15:40classicism is pretty much where Home
- 00:15:42Alone Falls it has the glossy Hollywood
- 00:15:46lighting it's shot on 35mm film it has
- 00:15:49the aesthetic and look that we accept as
- 00:15:52general movie reality and the sets
- 00:15:56costumes locations and performances are
- 00:15:59designed to resemble the real world but
- 00:16:01there are also several formalist
- 00:16:03elements throughout there's the music
- 00:16:06the iconic John Williams score and
- 00:16:09several Christmas songs and then there
- 00:16:11are the various exaggerated angles point
- 00:16:14of view shots the slow motion when the
- 00:16:16tobogan flies out the door this split
- 00:16:19diopter shot and of course the part
- 00:16:22where Kevin is remembering the mean
- 00:16:24things his family members said to him
- 00:16:26and we see their faces floating at the
- 00:16:28sides of the frame and the purpose of
- 00:16:30all those things that I just listed is
- 00:16:33the same it's to show us Kevin's
- 00:16:36perspective anytime the film shifts a
- 00:16:39little bit toward formalism it's to
- 00:16:41communicate to the audience how Kevin is
- 00:16:44feeling and perceiving
- 00:16:49[Music]
- 00:16:50things and this brings us to another
- 00:16:53major component of a film's visual
- 00:16:56storytelling perspective and more
- 00:16:59specifically is it a subjective
- 00:17:02perspective or an objective perspective
- 00:17:05I know I just threw out a whole bunch of
- 00:17:07rhyming words at you but I promise it's
- 00:17:09actually pretty simple when a film uses
- 00:17:12an objective perspective it is doing so
- 00:17:15as if it is an outside Observer with no
- 00:17:18emotional involvement in the story
- 00:17:20simply seeing the events from an outside
- 00:17:23point of view a subjective perspective
- 00:17:27is when a film uses its visual language
- 00:17:29to convey how a character is feeling and
- 00:17:33telling the story from their perspective
- 00:17:36and this can change from scene to scene
- 00:17:39so let's look at an example from Home
- 00:17:41Alone early in the movie when Kevin
- 00:17:43wakes up after his family has gone to
- 00:17:45the airport without him this is all shot
- 00:17:48from an objective perspective it's the
- 00:17:51static wide shots that emphasize the
- 00:17:54vast emptiness of the house and how
- 00:17:57small Kevin looks inside it it because
- 00:17:59right now he doesn't realize that he's
- 00:18:02home alone we know more than he does and
- 00:18:05so we're standing back as an outside
- 00:18:07Observer waiting until he notices
- 00:18:10something is off and then as he starts
- 00:18:13to realize what's happening the film
- 00:18:15moves into a subjective perspective I
- 00:18:18mean it literally visualizes his mind as
- 00:18:21he remembers things his family members
- 00:18:23said to him and then the film language
- 00:18:25changes to express His Manic excitement
- 00:18:28at having the house to himself we are
- 00:18:30now firmly in Kevin's perspective for
- 00:18:33the rest of the movie but to understand
- 00:18:36how this perspective is actually done we
- 00:18:39need to get a bit more
- 00:18:44[Music]
- 00:18:46technical you don't need to know exactly
- 00:18:49how to make a movie to be qualified to
- 00:18:51analyze them you don't need to know how
- 00:18:53to work a camera or read a light meter
- 00:18:57but it does help to have a basic
- 00:19:00understanding of some of the technical
- 00:19:02aspects of film making so that you can
- 00:19:04understand the creative choices being
- 00:19:06made and what they mean so lenses those
- 00:19:11pieces of glass and gears that control
- 00:19:14how the camera sees the image we could
- 00:19:16do a whole class on how lenses work
- 00:19:19since there is so much to talk about but
- 00:19:21we don't have all day I want to go home
- 00:19:23and eat dinner after this so here's the
- 00:19:25simple version every lens has what's
- 00:19:29called a focal length which is expressed
- 00:19:31in a unit of millimet right now this
- 00:19:35camera is shooting me on a 35 mm lens a
- 00:19:40lower number focal length means it's a
- 00:19:43wider lens and a higher number means
- 00:19:46it's a longer lens every lens has its
- 00:19:49own qualities and the choice of lens can
- 00:19:52radically change what a shot looks like
- 00:19:55here's me on a 16 mmm lens
- 00:19:59and then here's me in the same position
- 00:20:01on a 105 mm lens in general longer
- 00:20:06lenses have a narrower field of view and
- 00:20:09compress the image so the background
- 00:20:12looks closer to the foreground they also
- 00:20:15have a shallower depth of field meaning
- 00:20:17the part that's in Focus so if a long
- 00:20:20lens is focused on a person in the
- 00:20:22foreground everything behind them will
- 00:20:25be totally blurry and because of this
- 00:20:28long l tend to be used for close-ups
- 00:20:31because they isolate the subject in
- 00:20:33focus and also just make it look more
- 00:20:35flattering wide lenses on the other hand
- 00:20:38capture a much wider field of view
- 00:20:42fitting more of the environment into the
- 00:20:44frame the depth of field is much deeper
- 00:20:47so the outof focus parts are not as
- 00:20:49blurry as they would be with a long lens
- 00:20:52and especially with really wide lenses
- 00:20:55there's a slight warping to the image
- 00:20:57the world looks slightly exaggerated
- 00:21:00through a wide lens and so they're often
- 00:21:03used for comedy close-ups with a
- 00:21:05wideangle lens can look crazy and also
- 00:21:09wide lenses emphasize motion so if the
- 00:21:12camera is moving forward quickly like if
- 00:21:14it's strapped to the front of a moving
- 00:21:16car the movement looks way faster and
- 00:21:19more intense with a really wide lens
- 00:21:21there's no one correct way to use these
- 00:21:24lenses like sure the Cohen Brothers like
- 00:21:27to shoot common with wide lenses but
- 00:21:30then the Revenant was also shot all on
- 00:21:33super wide lenses Terren Malik mostly
- 00:21:37uses super wide lenses these are just
- 00:21:40different choices that affect how the
- 00:21:42audience interprets the image and so how
- 00:21:46are lenses used in Home Alone in general
- 00:21:50there aren't any really extreme choices
- 00:21:53no 11 mm lenses and no 1,000 mm lenses
- 00:21:58and definitely no fisheye lenses mostly
- 00:22:01the lenses stay around 21 to 35 mm
- 00:22:05relatively wide so that we can see the
- 00:22:07environment as well as the characters
- 00:22:09because obviously the house is very
- 00:22:12important what's notable though is the
- 00:22:15way that Chris Columbus and
- 00:22:16cinematographer Julio MCAT use wider
- 00:22:20lenses they are almost exclusively used
- 00:22:23when shooting scenes subjectively from
- 00:22:26Kevin's perspective so every time he's
- 00:22:28looking looking up at an adult those
- 00:22:30adults are shot with a wide angle lens
- 00:22:33which exaggerates the distance making
- 00:22:35them look like these huge imposing
- 00:22:37people towering over Kevin in the scene
- 00:22:40in the church when Kevin finally meets
- 00:22:42old man Marley who he's been terrified
- 00:22:45of for the whole movie wideangle lenses
- 00:22:47make Marley seem huge and scary and they
- 00:22:51make Kevin look tiny and weak but then
- 00:22:54when Marley sits down and reveals
- 00:22:56himself to actually be a nice person the
- 00:22:59exaggerated wide lenses are replaced
- 00:23:02with longer lenses making the characters
- 00:23:05appear more natural more like humans and
- 00:23:08less like cartoons the only times that
- 00:23:11much longer lenses are used are the
- 00:23:14scenes when Kevin walks Home Alone from
- 00:23:16the grocery store these lenses isolate
- 00:23:19him against the background so he is
- 00:23:22sharply in Focus while the background is
- 00:23:24totally blurred out the shots emphasize
- 00:23:28his isolation the frame is pretty much
- 00:23:30empty except for him and the first time
- 00:23:33we see this the camera is higher up
- 00:23:36looking slightly down at Kevin so he
- 00:23:39appears small the second time which
- 00:23:41comes later in the story at this point
- 00:23:43he's feeling better taking on some
- 00:23:46responsibility and so now the camera is
- 00:23:49placed lower down looking up at him a
- 00:23:52little bit so he appears more confident
- 00:23:57[Music]
- 00:24:00color it's a vital part of Cinema
- 00:24:03filling every frame of every movie you
- 00:24:06see except all the black and white ones
- 00:24:10obviously color is something that just
- 00:24:12exists in reality so the camera is going
- 00:24:15to capture it automatically but it's
- 00:24:18also an incredibly powerful storytelling
- 00:24:21tool the color of light of sets and
- 00:24:24costumes color manipulation and post-
- 00:24:27production all of these things done
- 00:24:29deliberately can affect the audience
- 00:24:32emotionally and create meaning and
- 00:24:34subtext within a film now to be clear
- 00:24:37there is not only one single meaning for
- 00:24:40each color depending on the film colors
- 00:24:43can mean pretty much anything in Star
- 00:24:46Wars red is associated with evil but in
- 00:24:50other movies it represents passion and
- 00:24:52love in The Matrix green is associated
- 00:24:56with an oppressive system of control but
- 00:24:58in other movies it represents hope and
- 00:25:01fertility and nature colors can be
- 00:25:04anything the filmmakers just need to
- 00:25:07know how and why they're using them so
- 00:25:10now let's talk about the colors in home
- 00:25:13alone right from the opening scene the
- 00:25:16mallister house is portrayed in warm
- 00:25:19colors it's lit with glowing amber light
- 00:25:23it's decorated with lots of Reds red
- 00:25:26patterned wallpaper red bed spreads red
- 00:25:29napkins red leather chairs and so we
- 00:25:32associate these colors with home and
- 00:25:35family in general warm colors tend to be
- 00:25:39appealing and comforting we associate
- 00:25:42them with sunsets Autumn Leaves and
- 00:25:45fireplaces human skin is made of warm
- 00:25:48colors even for really pale people like
- 00:25:51me most comedies and uplifting movies
- 00:25:54tend to have warmer color palettes
- 00:25:57because this makes us feel good it puts
- 00:26:00us at ease and gets us ready to laugh
- 00:26:03now obviously there are exceptions like
- 00:26:05Mad Max Fury Road cranks up its warm
- 00:26:08colors so much that they feel hot and
- 00:26:11oppressive but these are generalizations
- 00:26:14not science so if the home in Home Alone
- 00:26:18has a warm color palette what happens
- 00:26:21when we go away from the home well in
- 00:26:24the whole storyline with Kevin's mom she
- 00:26:27is stuck far away trying to get back
- 00:26:30home and every location she and the rest
- 00:26:34of the family are in has this cold color
- 00:26:37palette when she gets on the airplane
- 00:26:39before she realizes Kevin isn't there in
- 00:26:42each scene blue becomes more and more
- 00:26:45dominant the airports are all blue the
- 00:26:49apartment in France is furnished with
- 00:26:51teal Furniture even the Christmas tree
- 00:26:54there is white with blue lights and yet
- 00:26:58Katherine O'Hara playing Kevin's mom is
- 00:27:01always in the warm color palette of
- 00:27:03their home she has red hair she's
- 00:27:06wearing a camel coat and cream colored
- 00:27:09sweater she clashes with the colors of
- 00:27:12these environments this is the movie
- 00:27:14telling us with color symbolism that she
- 00:27:17doesn't belong here she's meant to be at
- 00:27:20home and this same color coding
- 00:27:23continues throughout the movie The Wet
- 00:27:25Bandits van is blue in the opening scene
- 00:27:29Harry is disguised as a police officer
- 00:27:31in a blue uniform and then when John
- 00:27:35Candy shows up to help Kevin's mom get
- 00:27:37home he's in a yellow jacket the warm
- 00:27:41colors return to help bring her home
- 00:27:44this is honestly a pretty well-made
- 00:27:49[Music]
- 00:27:50movie up to now we've been talking about
- 00:27:53misison sen what's in the frame but now
- 00:27:57it's time to talk about the frame itself
- 00:28:01if we're going to analyze the visual
- 00:28:03choices of a film that doesn't just mean
- 00:28:06the smaller stuff like lights and lenses
- 00:28:09this goes all the way to the top and by
- 00:28:11the top I mean the shape of the movie
- 00:28:13itself and by the shape I mean the
- 00:28:16aspect ratio the aspect ratio is simply
- 00:28:19put the ratio of the frames width to its
- 00:28:23height in the early days of Cinema all
- 00:28:26movies were shot and projected pretty
- 00:28:28pretty much as a square and then as
- 00:28:31technology evolved wider aspect ratios
- 00:28:34became available and these days pretty
- 00:28:36much anything is possible depending on
- 00:28:38what the filmmakers want so you could
- 00:28:40have something like the Grand Budapest
- 00:28:42Hotel which uses three different aspect
- 00:28:45ratios this might seem like a small
- 00:28:48decision but it changes the whole way
- 00:28:50that shots are framed since the shape of
- 00:28:53the image is fundamentally different I
- 00:28:56know that 2.39 to one also known as
- 00:28:59cinemascope has become this shorthand
- 00:29:01for cinematic like by throwing black
- 00:29:04bars on the top and bottom of the movie
- 00:29:06and editing it suddenly looks important
- 00:29:09but generally when movies are shot in
- 00:29:12that aspect ratio it's a delate decision
- 00:29:15made to utilize The Wider frame home
- 00:29:18alone is shot in the common 1.85:1
- 00:29:21aspect ratio which is taller than
- 00:29:24cinemascope and is closer to filling a
- 00:29:27standard 16 by9 TV now this aspect ratio
- 00:29:30is used for all sorts of movies ET and
- 00:29:33The Godfather used it but one of the
- 00:29:36most common uses for it is for comedies
- 00:29:40comedy movies are often shot with wide
- 00:29:42lenses that slight Distortion I
- 00:29:44mentioned earlier can add a comedic
- 00:29:46undertone to the shots and since this
- 00:29:49aspect ratio reveals more of the frame
- 00:29:52like we can see more of the characters
- 00:29:53with the environment around them it
- 00:29:56works well for capturing physical
- 00:29:58[Music]
- 00:30:01comedy I would theorize that while the
- 00:30:04comedic potential of this aspect racio
- 00:30:06is part of why director Chris Columbus
- 00:30:08chose it I think the other reason is the
- 00:30:11same reason it was used for Jurassic
- 00:30:14Park see this aspect ratio is taller
- 00:30:18there's more image at the top and bottom
- 00:30:20so it was used for Jurassic Park because
- 00:30:22the dinosaurs are so tall that this
- 00:30:25allowed the film to capture them better
- 00:30:27and have them fill more of the frame and
- 00:30:29in Home Alone this extra height to the
- 00:30:32frame emphasizes how small Kevin is we
- 00:30:35see how big the environment is around
- 00:30:38him and how huge all the adults seem
- 00:30:41obviously there's not as much to analyze
- 00:30:44here compared to like color since it's
- 00:30:47just one single choice but I wanted to
- 00:30:49bring it up to demonstrate that
- 00:30:52literally every creative choice is worth
- 00:30:55thinking about
- 00:30:58[Music]
- 00:31:00after the camera maybe the most powerful
- 00:31:03tool a cinematographer has is lighting
- 00:31:07honestly the only things you really need
- 00:31:10to make a movie are a camera and some
- 00:31:13source of light lighting helps create
- 00:31:15the reality of the film it gives it mood
- 00:31:18and atmosphere it directs our eye and
- 00:31:21tells us where to look most of the time
- 00:31:24we're not supposed to notice the
- 00:31:26lighting it's meant to establish a
- 00:31:28cohesive reality that doesn't distract
- 00:31:30us from the story but even if we're not
- 00:31:33noticing the lighting it's still having
- 00:31:36an effect on us most of Home Alone is
- 00:31:38lit with what's known as highkey
- 00:31:41lighting this essentially means it's
- 00:31:44very well lit like I am now there's a
- 00:31:47key light a backl probably fill lights
- 00:31:50too there are minimal shadows and
- 00:31:53contrast it's designed to resemble
- 00:31:55reality but like a better looking more
- 00:31:59appealing reality where everyone's face
- 00:32:01is always nicely lit this is a fun
- 00:32:04family comedy with a happy ending and
- 00:32:07the highkey lighting immediately creates
- 00:32:10this nice comforting tone but on the
- 00:32:12flip side some scenes use what's called
- 00:32:15lowkey lighting which is pretty much the
- 00:32:19opposite it often uses only a single
- 00:32:22light source and has heavy shadows and
- 00:32:24contrast it feels more dramatic and
- 00:32:27suspenseful so look at this scene where
- 00:32:30Harry and Marv are trying to break into
- 00:32:32the house they're lit with this single
- 00:32:35hard light outside their faces are
- 00:32:38partly in Shadow there's lots of
- 00:32:40darkness and inside Kevin is lit only by
- 00:32:44the dim blue glow of the TV suddenly it
- 00:32:48feels like there's real danger and
- 00:32:51Stakes now imagine if this scene was lit
- 00:32:54like this it would have a totally
- 00:32:56different feeling and it really wouldn't
- 00:32:59feel so dangerous at
- 00:33:03[Music]
- 00:33:05all we've already talked about the shape
- 00:33:08and framing of shots but the thing is
- 00:33:11composition of images isn't really
- 00:33:13unique to film these same principles
- 00:33:16apply to photography and painting and
- 00:33:18even comic books but the component that
- 00:33:21makes Cinema unique is movement in
- 00:33:25particular the movement of the camera
- 00:33:28and the movement of actors within the
- 00:33:30frame which is known as blocking now
- 00:33:33there are movies with no camera movement
- 00:33:36at all composed entirely of static shots
- 00:33:39like the work of Roy Anderson but the
- 00:33:42majority of movies you'll see will have
- 00:33:44some degree of camera movement so now
- 00:33:47this might seem basic but I want to run
- 00:33:50through the different types of camera
- 00:33:53movement just so we have a vocabulary we
- 00:33:56can use panic
- 00:33:58is when the camera turns on the x axis
- 00:34:01going right or left tilting is when the
- 00:34:05camera turns on the Y AIS going up or
- 00:34:09down a zoom is done within the lens
- 00:34:13where the camera is fixed to one point
- 00:34:16but the focal length is increasing or
- 00:34:19decreasing a tracking shot is where the
- 00:34:22camera moves through space either on a
- 00:34:26steady cam or G gimbal or a dolly a
- 00:34:29crane shot is when the camera moves
- 00:34:32through space vertically and an
- 00:34:35extension of this is a helicopter or
- 00:34:38drone shot and handheld obviously is
- 00:34:42when a person is holding the camera
- 00:34:45which can add a looser degree of
- 00:34:47movement to what might otherwise be a
- 00:34:50static shot now this is not a test to be
- 00:34:53able to identify exactly how any shot
- 00:34:57was done but when you're analyzing a
- 00:34:59movie it's helpful to have the
- 00:35:01vocabulary to be able to discuss the
- 00:35:03storytelling choices being made and what
- 00:35:06they're doing sometimes this can be as
- 00:35:09simple as a pan from one thing to
- 00:35:12another like look at this shot we're in
- 00:35:15a wide shot looking at Kevin from an
- 00:35:18objective perspective as he is walking
- 00:35:20home feeling defeated and then the
- 00:35:24camera pans to show Harry and Marv in a
- 00:35:28van driving right toward him this one
- 00:35:31shot is telling a story our main
- 00:35:34character is unknowingly about to run
- 00:35:37into and maybe get run over by the
- 00:35:39villains it's saying Kevin is at a low
- 00:35:43point but uh-oh things are about to get
- 00:35:47worse and by doing this within one shot
- 00:35:51it's telling us where they are in
- 00:35:53relation to one another within the
- 00:35:55physical space obviously ly a lot of the
- 00:35:58time camera movement is happening to
- 00:36:00follow the action moving with characters
- 00:36:04as they move through the space but
- 00:36:06that's still a choice that's being made
- 00:36:09look at the way the camera moves through
- 00:36:12the airport as Kevin's family rushes to
- 00:36:14catch their flight now this could have
- 00:36:17been shot objectively in a static wide
- 00:36:20shot like from an anonymous person's
- 00:36:22perspective in the airport watching this
- 00:36:25crazy family but by having the camera
- 00:36:28move with them at the same speed it's
- 00:36:31making it subjective capturing how
- 00:36:34they're feeling the opening sequence of
- 00:36:36the movie is filled with constant
- 00:36:39movement the house is full of people
- 00:36:41rushing around packing for the trip and
- 00:36:44the camera is constantly in motion
- 00:36:47usually following characters from one
- 00:36:49room to the next on a steady cam now
- 00:36:51this serves a few purposes it's bringing
- 00:36:54us inside to make us feel like a member
- 00:36:57of the family it's creating this frantic
- 00:37:00energy to contrast the Stillness and
- 00:37:03quiet that will come when Kevin is left
- 00:37:05home alone and by using so many wide
- 00:37:09long tracking shots it's teaching the
- 00:37:12viewer the geography of the house which
- 00:37:15will become extremely important as the
- 00:37:17story goes on but let's look at a
- 00:37:20specific example to show how some simple
- 00:37:23movement of actors and the camera can
- 00:37:26give a scene meaning and emotion at one
- 00:37:30point in the movie while Kevin is hiding
- 00:37:32under his parents' bed he realizes that
- 00:37:35since he's the only one there he needs
- 00:37:37to toughen up stop being afraid and face
- 00:37:40his problems so he marches outside to
- 00:37:43declare to the world that he's not
- 00:37:46afraid anymore now look at this shot
- 00:37:50Kevin starts in the distance very small
- 00:37:52in the frame but as he walks toward us
- 00:37:55the camera tracks in at a low angle
- 00:37:59generally when the camera pushes in like
- 00:38:02this on a subject it's telling us that
- 00:38:05thing is important as if the camera is
- 00:38:08interested and is actively getting
- 00:38:10closer and so Kevin and the camera move
- 00:38:13toward each other until we arrive here
- 00:38:17in what is known as the cowboy shot a
- 00:38:21medium shot framing a character from the
- 00:38:23hips up usually to make them seem heroic
- 00:38:27you can see this in basically any
- 00:38:30Western or more recently this scene in
- 00:38:33Wonder Woman so this shot is visualizing
- 00:38:36Kevin's Newfound bravery he's feeling
- 00:38:39like a pretty big guy and then a shadow
- 00:38:42starts to pass over him and the camera
- 00:38:45begins moving up not tilting up but
- 00:38:49actually craning up vertically we cut to
- 00:38:53a shot from Kevin's point of view
- 00:38:56starting down with with old man Marley's
- 00:38:58scary Boots then tilting up the blade of
- 00:39:02the shovel which he thinks is a murder
- 00:39:04weapon and then it cuts back to Kevin as
- 00:39:07the camera keeps Rising with Marley
- 00:39:10Shadow now totally covering him
- 00:39:13immediately all that bravery is gone and
- 00:39:17he is a scared little boy even though
- 00:39:20this Cuts back and forth a couple of
- 00:39:22times it's really only two shots they're
- 00:39:25cutting between so you can see how that
- 00:39:28movement of the camera pushing in and
- 00:39:31then craning up is telling an entire
- 00:39:34story without any
- 00:39:39[Music]
- 00:39:40words in general we're not supposed to
- 00:39:43notice the editing when watching a movie
- 00:39:46it's meant to be invisible to tell the
- 00:39:49story clearly with good pacing so we get
- 00:39:52swept up in it and aren't thinking about
- 00:39:54the technical aspects are the cuts
- 00:39:57between the shots usually when we notice
- 00:40:00editing it's for disorienting
- 00:40:02distracting editing in an action scene
- 00:40:04like this
- 00:40:10thing what you'll generally encounter in
- 00:40:13most movies is what's called continuity
- 00:40:16editing editing that establishes a clear
- 00:40:18sense of spatial geography as well as
- 00:40:21time so when you're cutting between
- 00:40:23people talking they seem to be looking
- 00:40:26at each other the person on the left is
- 00:40:28looking right the person on the right is
- 00:40:31looking left and each shot
- 00:40:33chronologically follows the one before
- 00:40:35it it feels natural so we don't even
- 00:40:38think about it the basic idea of editing
- 00:40:41is that when a film cuts from one shot
- 00:40:44to another we subconsciously understand
- 00:40:47the connection between them so when Home
- 00:40:50Alone cuts from a TV to Kevin covering
- 00:40:53his eyes with his fingers even though
- 00:40:55they're in separate shots we understand
- 00:40:58that he is watching the TV and reacting
- 00:41:01to it especially because at the
- 00:41:03beginning of the scene we saw a wide
- 00:41:06shot that established Kevin and the TV
- 00:41:09in the same room like I said before
- 00:41:12movies teach us how to watch them this
- 00:41:15same idea applies to situations that
- 00:41:18don't necessarily have that wide shot to
- 00:41:21establish the direct connection so one
- 00:41:23scene in the film Jaws cuts from a kid
- 00:41:27calling for his dog on the beach to a
- 00:41:31closeup of a stick floating in the water
- 00:41:34from the context as in this is a movie
- 00:41:37about a shark attacking this location we
- 00:41:40can infer that the shark ate the dog
- 00:41:44we'll miss you pippet rip to a real one
- 00:41:47and sometimes within a scene the film
- 00:41:50will suddenly get more abstract and cut
- 00:41:53to a totally different place like in
- 00:41:56Gladiator when the film cuts from a
- 00:41:58closeup of Maximus to this shot of the
- 00:42:02camera moving toward these big doors but
- 00:42:05we understand that this is not literally
- 00:42:08happening this is inside maximus's head
- 00:42:11it's what he's seeing as he's dying
- 00:42:14spoilers for the last scene of gladiator
- 00:42:18when this sort of thing is done it's
- 00:42:20usually to represent a character's
- 00:42:22thoughts their memories or their
- 00:42:24imaginations when a movie shifts its
- 00:42:27editing style once again we just need to
- 00:42:30observe what it's doing and ask why the
- 00:42:34shower scene in Psycho is so legendary
- 00:42:37yes because it's a shocking violent
- 00:42:40scene but it's also this very sudden
- 00:42:43shift in the movie's visual language the
- 00:42:46whole movie up until this point has been
- 00:42:49told in mostly wide shots and medium
- 00:42:51shots that are held for a while and now
- 00:42:55here we suddenly have this frantic rapid
- 00:42:58cutting with lots of extreme close-ups
- 00:43:01it's jarring and chaotic which is
- 00:43:04exactly the point of the scene look
- 00:43:07whole books have been written about
- 00:43:08editing like here are a few and with
- 00:43:11most movies you see the editing is clear
- 00:43:14and effective and mostly invisible it
- 00:43:18delivers spatial and temporal continuity
- 00:43:20like it intends to and it doesn't really
- 00:43:23need much analysis Like Home Alone the
- 00:43:26editing by future Scooby-Doo director
- 00:43:28Roga Gosnell is really effective
- 00:43:31throughout it tells the story clearly
- 00:43:34and engagingly the pacing is good the
- 00:43:37comedy lands but on its own it usually
- 00:43:40isn't providing much additional meaning
- 00:43:43it's more that it's clearly delivering
- 00:43:45the meaning created by the visuals and
- 00:43:48script but there are a few examples that
- 00:43:52I think are worth highlighting first
- 00:43:54there's the Montage we take montage for
- 00:43:57granted since we've seen a million of
- 00:43:59them but consider this the sequence of
- 00:44:02Kevin setting up traps around the house
- 00:44:05and the reality of the film that
- 00:44:07probably took an hour or so but for us
- 00:44:10watching the movie it lasts 1 minute and
- 00:44:1310 seconds we understand that these
- 00:44:16shots are compressing time at the
- 00:44:19beginning of the sequence we see Kevin's
- 00:44:21overall plan and then each successive
- 00:44:24shot is a small portion of the that plan
- 00:44:27coming together the bigger piece of
- 00:44:29editing that I want to highlight is
- 00:44:32crosscutting this is when a film Cuts
- 00:44:35back and forth between two or more
- 00:44:37scenes which we understand to be
- 00:44:39happening
- 00:44:41simultaneously this is the thing that
- 00:44:43Christopher Nolan does in all his action
- 00:44:45scenes where there are usually a few
- 00:44:47different storylines happening and the
- 00:44:49film keeps cutting between them all in
- 00:44:52Home Alone the film crosscuts between
- 00:44:54Kevin's family on the plane from Chicago
- 00:44:57to Paris and then Kevin waking up alone
- 00:45:01back home in Chicago the static wide
- 00:45:04shots of Kevin at home linger holding
- 00:45:08even after Kevin has walked out of the
- 00:45:10shot before then cutting to the plane in
- 00:45:14motion these Cuts feel jarring and serve
- 00:45:17to emphasize the massive geographical
- 00:45:20distance between Kevin and his family
- 00:45:23that is getting larger by the second
- 00:45:25each time it cuts the gulf feels greater
- 00:45:29and one other thing we must discuss is
- 00:45:32the cross fade you know the transition
- 00:45:35where one shot Blends into the next some
- 00:45:38filmmakers and editors hate them and yes
- 00:45:41they can be lazily used sometimes but
- 00:45:44it's still a choice and we should
- 00:45:46consider what it means they're most
- 00:45:48commonly used to show that time is
- 00:45:51passing or to create a dreamlike feeling
- 00:45:55and here with home alone since we were
- 00:45:57just talking about the hard abrupt Cuts
- 00:45:59between the scenes of Kevin and his mom
- 00:46:02that underline the distance between them
- 00:46:04I want to look at another transition
- 00:46:06from about 15 minutes later in the movie
- 00:46:10at this point Kevin's mom has realized
- 00:46:12what happened and is actively trying to
- 00:46:15get home and now this shot of her in the
- 00:46:19airport crossfades to this shot of the
- 00:46:23house and if you pause it in the middle
- 00:46:26of the transition
- 00:46:27we're seeing both of them together on
- 00:46:30screen at the same time it's creating a
- 00:46:33visual link bringing them closer
- 00:46:36together even if they're not there quite
- 00:46:42[Music]
- 00:46:44yet as much as Cinema originally existed
- 00:46:47only as moving pictures with no audio
- 00:46:51sound has come to be an essential part
- 00:46:54of the medium it can be just as
- 00:46:56important to the experience as the
- 00:46:59visuals now we tend to take audio for
- 00:47:02granted unless there's some really
- 00:47:04catchy music or at something like tenet
- 00:47:07where you can't hear the dialogue most
- 00:47:10people don't tend to give the sound of a
- 00:47:12movie much thought because usually it
- 00:47:15just feels like the sound that would
- 00:47:17naturally correspond to the visuals
- 00:47:19we're seeing dialogue and sound effects
- 00:47:22but it's also a thing that they give out
- 00:47:24multiple Oscars for every year so
- 00:47:27clearly there's a lot there to dig into
- 00:47:30look I am not saying that when you're
- 00:47:32analyzing a movie you are required to
- 00:47:34have a 30 minute discussion focusing
- 00:47:37only on the audio a lot of the time
- 00:47:40audio is like editing it does its job
- 00:47:43invisibly and you don't pay attention to
- 00:47:45it but it's worth being able to
- 00:47:48understand the choices being made and
- 00:47:50how they affect us when it comes to
- 00:47:53sound in movies there are very big
- 00:47:56obvious examp examples that you can't
- 00:47:58help but notice like how atonement
- 00:48:00Blends the diagetic sound effect of the
- 00:48:03typewriter into the musical score are uh
- 00:48:08everything David Lynch does but most of
- 00:48:11the time it's simpler and more subtle
- 00:48:14than that like in home alone so here I
- 00:48:17want to Spotlight a few interesting
- 00:48:19instances of audio choices let's go back
- 00:48:23to the scene we were discussing in the
- 00:48:25last chapter where the film is cross
- 00:48:27cutting between Kevin waking up alone at
- 00:48:30home and his family on the plane now pay
- 00:48:33attention to the
- 00:48:39sound I mean it's kind of hard to miss
- 00:48:43but think about what it's doing the
- 00:48:46Parts with Kevin have barely any sound
- 00:48:48at all just the ambient quiet of an
- 00:48:52empty house each individual sound like
- 00:48:55the Click of a door being opened stands
- 00:48:58out clearly against the nothingness and
- 00:49:01then when the film cuts to the plane
- 00:49:08Mom it's this massive Roar of a jet
- 00:49:12engine there's no cross fade between the
- 00:49:14scenes it is abrupt and it's jarring and
- 00:49:18it creates a distance between the
- 00:49:20characters just through audio every time
- 00:49:23we hear the airplane it's telling us
- 00:49:25that Kevin's family is getting further
- 00:49:28away by the second they now each exist
- 00:49:32in totally different Sonic Landscapes
- 00:49:35it's emphasizing Kevin's isolation then
- 00:49:38there is what is known as Foley which is
- 00:49:42when sound effects are created in post-
- 00:49:44production to match what is happening on
- 00:49:47screen things like footsteps leaves
- 00:49:50rustling water pouring stuff like that
- 00:49:53because the fact is that in real life
- 00:49:56the sounds a lot of things make aren't
- 00:49:59very exciting they need that extra layer
- 00:50:02of movie sound to give it the impact the
- 00:50:04filmmakers want and one of the major
- 00:50:08uses of Foley sounds in Home Alone are
- 00:50:11to once again help create this thing we
- 00:50:14keep coming back to Kevin's perspective
- 00:50:18especially when he's scared of things
- 00:50:20we've already discussed how the camera
- 00:50:21work with wide- angle lenses shot from
- 00:50:24exaggerated angles help create the
- 00:50:26feeling that we're experiencing this as
- 00:50:29Kevin is but the sound is also a major
- 00:50:32part of that listen to the sound of
- 00:50:34Marley's boots when he steps into the
- 00:50:37store with the squeezing of leather and
- 00:50:40the rattle of the metal buckles or the
- 00:50:43scrape of him dragging the trash can
- 00:50:45full of salt on the pavement or the
- 00:50:48Monstrous Roar of the Furnace listen to
- 00:50:51this moment without the visuals
- 00:51:00shut
- 00:51:02up see it's still telling the story just
- 00:51:06through sound the Foley work is also a
- 00:51:09key part of the comedic violence in the
- 00:51:12movie again when Joe pesi and Daniel
- 00:51:15Stern are slipping on ice and getting
- 00:51:17shot with BB guns we're not usually
- 00:51:19thinking about the sound but look
- 00:51:22closely at the very important needle
- 00:51:25that it's threading here's the part
- 00:51:27where Marv gets shot in the head with
- 00:51:29the BB gun now that is absolutely not
- 00:51:32the sound it would make in real life the
- 00:51:34real sound would be more like a pop from
- 00:51:36the gun and then we'd probably barely
- 00:51:39hear him get hit and so the moment would
- 00:51:41be less impactful because it wouldn't
- 00:51:44sound like all that much was really
- 00:51:46happening the thing about this and
- 00:51:48pretty much all the sounds throughout
- 00:51:50this sequence is that they never go full
- 00:51:53cartoon and break the reality of the
- 00:51:55film like we're not getting a slide
- 00:51:57whistle sound effect the BB gun doesn't
- 00:52:00make a goofy Ricochet sound when it hits
- 00:52:03Marv but the sounds are also still
- 00:52:06exaggerated the slips on the ice the hit
- 00:52:09of the iron they feel real but not too
- 00:52:13real for comparison look at this video
- 00:52:16that Corridor made called R-rated Home
- 00:52:19Alone where they re-edited scenes from
- 00:52:22the movie and used visual effects to
- 00:52:24make it well R-rated listen to their new
- 00:52:27sound design for the iron hitting
- 00:52:34Marv even without seeing it you can tell
- 00:52:37that's way more brutal so the sound
- 00:52:39design is doing a lot of heavy lifting
- 00:52:42in creating the comedic tone and keeping
- 00:52:45it within a believable reality if it
- 00:52:47strayed too far in One Direction
- 00:52:50cartoony or realistic it would break the
- 00:52:53whole sequence and then there's the
- 00:52:55matter of the music this movie has a
- 00:52:58score by John Williams the most famous
- 00:53:00film composer of the last 50 years so
- 00:53:03there's a lot to discuss here the music
- 00:53:06in a movie can do a lot it can create
- 00:53:08subtext underline the mood of a scene
- 00:53:12Express a character's feelings comment
- 00:53:14ironically on the story look film music
- 00:53:17is its own entire field of study home
- 00:53:20alone has a big sweeping classic John
- 00:53:23Williams score it's exciting it's
- 00:53:27sentimental and it feels like what we
- 00:53:29think a Hollywood movie is supposed to
- 00:53:32sound like but the score is making some
- 00:53:35interesting choices too this movie is
- 00:53:38generally thought of as a fun family
- 00:53:40Christmas comedy and the first 8 Seconds
- 00:53:43of the score have this warm magical
- 00:53:46feeling that sound like an early preview
- 00:53:48of the theme Williams would later right
- 00:53:50for Harry Potter but then the music
- 00:53:54immediately shifts into this ear
- 00:53:56ominous tone it starts sounding almost
- 00:53:59like a creepy music box and then these
- 00:54:03dark strings and what I think are obos
- 00:54:06come in and it sounds kind of scary then
- 00:54:10sleigh bells come in signaling the
- 00:54:13Christmas setting and the score
- 00:54:15simultaneously sounds playful but with
- 00:54:18these odd atonal string sounds looking
- 00:54:21at just this opening piece we have some
- 00:54:25warm sentimentality some creepy
- 00:54:27dangerous stuff Christmas what sounds to
- 00:54:30me like a nod to chaikovsky The
- 00:54:32Nutcracker and a light playful feeling
- 00:54:35which is a pretty solid encapsulation of
- 00:54:38what this movie is and as soon as we
- 00:54:40transition out of the titles as the
- 00:54:43first shot Fades Up the Music becomes
- 00:54:46lighter and more upbeat but it has
- 00:54:49already signaled to us that some danger
- 00:54:52lies ahead the music is a major part of
- 00:54:55the storytelling here there's one more
- 00:54:57thing about the musical score that I
- 00:54:59would like to mention Harry and Marv's
- 00:55:02theme sounds like a deliberate nod to
- 00:55:05Sergey prv's Peter and the Wolf like
- 00:55:09here's Peter and the
- 00:55:14Wolf and here's home
- 00:55:16alone go around back down the basement
- 00:55:19come on follow
- 00:55:21me and this isn't just because it sounds
- 00:55:24good prv's original work is telling the
- 00:55:27story of a young boy on his own who must
- 00:55:30defend himself against a dangerous
- 00:55:32attacker so assuming Williams did this
- 00:55:35intentionally and as we've already said
- 00:55:37assume everything is intentional he's
- 00:55:40drawing a connection to a classic
- 00:55:43children's story and reframing the film
- 00:55:46as a continuation of that tradition look
- 00:55:49I know we say this a lot but John
- 00:55:51Williams is very good at this
- 00:55:56[Music]
- 00:55:59okay so now that we have covered how to
- 00:56:01interpret the visual language the
- 00:56:02editing the sound and music of a movie
- 00:56:06let's put all of these ideas together
- 00:56:08and look at an actual scene and see what
- 00:56:11we can interpret from it let's start
- 00:56:14right at the beginning the very first
- 00:56:17shot of Home Alone is an exterior shot
- 00:56:19of the mallister house at night what
- 00:56:22does this shot tell us well first off It
- 00:56:25intro uces us to the primary setting of
- 00:56:28the film since most of the story takes
- 00:56:31place in that house and secondly it
- 00:56:34establishes that it's Christmas also
- 00:56:37consider the perspective of the shot
- 00:56:40it's being filmed straight on at ey
- 00:56:42level from across the street as if from
- 00:56:45the perspective of an outside Observer
- 00:56:48it is an objective perspective then the
- 00:56:51very next shot brings us inside but it's
- 00:56:54shot right from the doorway as if we've
- 00:56:57stepped through the front door in the
- 00:57:00foreground we see this police officer
- 00:57:02who based on the uniform clearly doesn't
- 00:57:05live there so we're now seeing things
- 00:57:08from his perspective an outsider who has
- 00:57:11entered this home and is observing
- 00:57:13what's happening within and then each
- 00:57:16successive shot takes us deeper into the
- 00:57:19house with the family that lives there
- 00:57:22dominating more of the frame essentially
- 00:57:25the film is welcoming us inside as we go
- 00:57:28from an outsider looking in to being
- 00:57:30immersed in the home and the family now
- 00:57:33in this next part we are introduced to
- 00:57:36Kevin mallister the main character of
- 00:57:38the movie it's always good to pay close
- 00:57:41attention to how a movie introduces its
- 00:57:44characters this scene starts by focusing
- 00:57:46on his mother Kate as the camera follows
- 00:57:49her dollying from a medium shot to a
- 00:57:52wide and then pause it here Kevin and is
- 00:57:56in the background he looks tiny in the
- 00:57:59frame and is at the very edge of the
- 00:58:01shot his mom doesn't even react as he
- 00:58:04enters so let's analyze this shot what
- 00:58:07is the Mison sen telling us well he is
- 00:58:11quite literally in the background he's
- 00:58:14being overlooked and ignored by his
- 00:58:16family if we generally assume that the
- 00:58:19most important thing is in the center of
- 00:58:21the frame he is clearly less important
- 00:58:25he's a nuisance
- 00:58:26but then he enters the scene hops on the
- 00:58:29bed and moves from the background into a
- 00:58:32closeup in the foreground and here is
- 00:58:35where the movie shifts now the
- 00:58:38perspective changes we are no longer
- 00:58:40seeing the story as an impartial
- 00:58:42Observer we are now seeing it from
- 00:58:45Kevin's perspective so look at the
- 00:58:48placement of the camera over the next
- 00:58:50few scenes it always stays at Kevin's
- 00:58:53eye level so we see the world he does
- 00:58:57when characters talk to him they are
- 00:58:59filmed from a low angle so they're
- 00:59:01towering over the camera looking down at
- 00:59:04us the most obvious instance comes in
- 00:59:07this scene in the kitchen when Kevin
- 00:59:09causes a big old mess and everyone gets
- 00:59:12mad at him and here the film switches
- 00:59:15over completely to a point of view shot
- 00:59:18the camera is now Kevin's eyes and so
- 00:59:21now suddenly everyone is looking
- 00:59:24directly into the camera
- 00:59:26this is something that movies generally
- 00:59:29avoid when an actor looks at the camera
- 00:59:31it's breaking the fourth wall that
- 00:59:33exists between the reality of the movie
- 00:59:36and our reality looking in which can
- 00:59:39sometimes be used deliberately like when
- 00:59:41Eddie Murphy does it in this scene in
- 00:59:43trading places bacon which you might
- 00:59:46find in a bacon and lettuce and tomato
- 00:59:49sandwich there's something jarring and
- 00:59:52usually sort of uncomfortable about it
- 00:59:55suddenly the characters aren't looking
- 00:59:57at each other they're looking at us we
- 01:00:00feel sort of exposed like the safety of
- 01:00:03being an invisible Observer is gone this
- 01:00:06is something that Jonathan Demi used
- 01:00:08deliberately for years like in the
- 01:00:11Silence of the Lambs where he has all
- 01:00:13these conversation shot in close-ups
- 01:00:15with the actors looking right down the
- 01:00:17barrel of the camera it's uncomfortable
- 01:00:20and it's supposed to be and that's what
- 01:00:22home alone is doing here suddenly
- 01:00:25everyone is staring right at us we feel
- 01:00:29like Kevin feels like we're the center
- 01:00:31of attention and not for a good reason
- 01:00:34and we haven't noticed it up to this
- 01:00:36point but through this whole sequence
- 01:00:38there is just this General ambient noise
- 01:00:41happening of just all the chaos and
- 01:00:43people running around and talking within
- 01:00:45the house and right here all of that
- 01:00:48background Ambient sound cuts out there
- 01:00:51is silence and that helps emphasize how
- 01:00:55uncomfortable this moment is now that
- 01:00:57we've spent the past like hour talking
- 01:01:00about how to actually interpret meaning
- 01:01:02from a film what do we do with that well
- 01:01:06this is the fun part this is where we
- 01:01:08choose what lens we want to use to
- 01:01:11discuss the movie and I'm not talking
- 01:01:14about camera lenses here this basically
- 01:01:17means what context we want to look at
- 01:01:20the film in within the fields of film
- 01:01:23Theory and literary Theory there are a
- 01:01:26lot of different lenses and theories you
- 01:01:28can apply but for now I just want to
- 01:01:30bring up a
- 01:01:35[Music]
- 01:01:37few okay we need to talk about a
- 01:01:40controversial topic here called Ur
- 01:01:43Theory or otter Theory or however you
- 01:01:47want to pronounce it otor theory is an
- 01:01:50aspect of film studies that began with
- 01:01:52writers like franois truo and Andre an
- 01:01:56writing for laaya in the 1950s and then
- 01:02:00in the 60s American Film writer Andrew
- 01:02:03saris actually gave it a name in his
- 01:02:06essay notes on the otur theory some
- 01:02:09people will be like screw Ure Theory
- 01:02:12it's just a pretentious way of deifying
- 01:02:14a bunch of old white guy directors and
- 01:02:16justifying egomaniacal behavior and yeah
- 01:02:19I understand what you mean but like it
- 01:02:22or not oture theory has become so baked
- 01:02:25into people talk about film that you
- 01:02:28can't ignore it and while I think there
- 01:02:30are bad readings of oture theory I don't
- 01:02:34think it's inherently bad so what
- 01:02:37exactly is it in simplest terms Ure
- 01:02:41theory is about assigning a primary
- 01:02:44author to a film generally the director
- 01:02:47and looking at the film in the context
- 01:02:49of their body of work the idea is that
- 01:02:53an aour injects their own personal ity
- 01:02:56worldview and style into their work give
- 01:02:59the same script to like Alfred Hitchcock
- 01:03:02or Stanley Donan and you'll get very
- 01:03:05different films but here's the thing the
- 01:03:08otor does not necessarily have to be the
- 01:03:12director in fact you can even apply otor
- 01:03:16Theory to multiple people within a given
- 01:03:19film it could be an actor like I would
- 01:03:22argue the primary aour of the mission of
- 01:03:25possible franchise is Tom Cruz by
- 01:03:29selecting the directors and having a
- 01:03:31huge amount of input on all the stories
- 01:03:34and major creative decisions his is the
- 01:03:37primary Vision shaping the series The
- 01:03:40aour of much of the Marvel Cinematic
- 01:03:43Universe is Marvel itself in other words
- 01:03:46Kevin feige and like in that case
- 01:03:50sometimes the producer is the otor like
- 01:03:52David O selnik and Gone with the Wind I
- 01:03:56don't think the point of UR theory is to
- 01:03:58treat the director like a God and
- 01:04:00attribute every single creative decision
- 01:04:03made during the production to them the
- 01:04:06point is really just to provide a
- 01:04:08context through which to examine the
- 01:04:10film it is looking at the film within
- 01:04:13their larger body of work to find
- 01:04:15recurring themes and ideas and stylistic
- 01:04:18elements that show an artist with a
- 01:04:21distinct perspective and I do think it
- 01:04:24can be a really useful and also fun lens
- 01:04:27through which to discuss movies and this
- 01:04:30requires keeping a couple things in mind
- 01:04:34number one the studio like it or not
- 01:04:37film is a commercial art and sometimes
- 01:04:40the studio that's funding the movie will
- 01:04:43override the director in regards to
- 01:04:45certain choices and two film is a
- 01:04:49collaborative medium even if the
- 01:04:52director is the boss and their vision
- 01:04:54for the film is what everyone is trying
- 01:04:56to realize you've still got a huge cast
- 01:04:59and crew with everyone making choices
- 01:05:02and bringing their own perspectives to
- 01:05:04the work ignoring that and the impact
- 01:05:07made by each person is just cutting off
- 01:05:10fascinating aspects worth exploring like
- 01:05:13yeah George Lucas was the oour of Star
- 01:05:16Wars and made the decision to hire John
- 01:05:19Williams but are we really going to
- 01:05:21credit Lucas for all of williams' music
- 01:05:24Williams is no for in his own way who
- 01:05:27radically impacted just about every film
- 01:05:30he worked on which brings us finally
- 01:05:33back to Home Alone which features a
- 01:05:36score by John Williams home alone is
- 01:05:39actually a fascinating example because
- 01:05:42here the otur theory can be applied to
- 01:05:45multiple people and the biggest one is
- 01:05:48not actually the director so I'm sorry
- 01:05:51Chris Columbus but we're talking about
- 01:05:53John Hughes here the writer and producer
- 01:05:57home alone came at the end of an
- 01:05:59incredibly busy decade for Hughes in
- 01:06:02which he wrote more than 10 hit movies
- 01:06:05and there are a lot of recurring
- 01:06:07elements across those films home alone
- 01:06:10like almost every Hughes production is
- 01:06:13set in the suburbs of Chicago it
- 01:06:15involves a large dysfunctional family
- 01:06:18like in the vacation movies one family
- 01:06:21member feeling neglected like in 16
- 01:06:23candles and people desperately trying to
- 01:06:26get home for a holiday like in Planes
- 01:06:29Trains and Automobiles and it also
- 01:06:31represents a shift in his interests
- 01:06:34after Home Alone he would write several
- 01:06:36movies featuring villainous criminals
- 01:06:39such as career opportunities baby day
- 01:06:41out and Dennis the Menace and most
- 01:06:44notably after Home Alone Hughes would
- 01:06:47spend the rest of his career primarily
- 01:06:49writing PG rated family films instead of
- 01:06:53the movies for adults and teenagers he
- 01:06:56had focused on for the previous decade
- 01:06:58that said we can do the same thing with
- 01:07:01director Chris Columbus before this he
- 01:07:04had written the screenplays for Gremlins
- 01:07:07about young people having to deal with a
- 01:07:08dangerous situation at Christmas time
- 01:07:11and The Goonies about kids facing off
- 01:07:14against a gang of criminals and you can
- 01:07:16draw a straight line between home alone
- 01:07:19and the first Harry Potter film which
- 01:07:22Columbus again largely shoots from a
- 01:07:24child's perspective Ive who is
- 01:07:26overwhelmed by this huge world around
- 01:07:29him so remember aour Theory isn't
- 01:07:32actually so bad if you do it the right
- 01:07:38[Music]
- 01:07:40way every movie ever made is in some way
- 01:07:44a small part of film history these
- 01:07:47movies don't exist in a void they exist
- 01:07:50in conversation with other movies movies
- 01:07:54before it movies contemporaneous with it
- 01:07:57and movies that came after look every
- 01:08:00movie no matter how original is
- 01:08:02influenced by other movies and when
- 01:08:05analyzing a movie it's helpful to be
- 01:08:08aware of this this isn't a matter of
- 01:08:10treating the movies like Easter egg
- 01:08:12hunts the way some people do for Quenton
- 01:08:14Tarantino movies trying to find the
- 01:08:17original source for every shot this is
- 01:08:20about trying to better understand the
- 01:08:22thought process of the filmmakers what
- 01:08:25they're influences were and how they
- 01:08:27used them it's helpful to look at where
- 01:08:29certain elements came from and how they
- 01:08:32might have changed in Home Alone there
- 01:08:34are a handful of Fairly overt deliberate
- 01:08:37film references the old gangster movie
- 01:08:40Kevin watches angels with filthy souls
- 01:08:43is a reference to the 1938 crime movie
- 01:08:45angels with dirty faces this shot of
- 01:08:49Harry and Marv's Shadows looks like an
- 01:08:51homage to the shot in no Fatu of the
- 01:08:54vampire Shadow moving up up the stairs
- 01:08:56Harry getting his hand burned plunging
- 01:08:58it in the snow and getting his palm
- 01:09:00branded is modeled on a similar moment
- 01:09:03in Raiders of the Lost Arc the M on his
- 01:09:06hand is also a Nodge to the movie poster
- 01:09:09for Fritz Long's classic film M but then
- 01:09:13there are the deeper film connections
- 01:09:15like the similarities it has to Sam
- 01:09:17Pena's
- 01:09:191971 violent psychological Thriller
- 01:09:21Straw Dogs which also features a clima
- 01:09:25IC sequence in which the protagonist
- 01:09:27rigs a house with traps to fight off
- 01:09:29Intruders this is something that would
- 01:09:31appear again in the 2012 James Bond
- 01:09:34movie Skyfall or there's the premise in
- 01:09:37which a physically outmatched hero is
- 01:09:40trapped alone in a building and must
- 01:09:41fight off a Band of Thieves in order to
- 01:09:44reunite with his family at Christmas is
- 01:09:47pretty much the same as Die Hard which
- 01:09:49was released 2 years earlier the point
- 01:09:52of this is not to accuse movies of
- 01:09:54ripping off off one another it's that
- 01:09:57these films are in conversation with
- 01:09:59each other sometimes deliberately like
- 01:10:02according to home alone's production
- 01:10:04designer on the set of the movie they
- 01:10:06were well aware of the straw dog
- 01:10:08similarities but even if not
- 01:10:10deliberately it's worth exploring and
- 01:10:13comparing how different movies explore
- 01:10:15similar ideas another angle you could
- 01:10:18explore is home alone's physical comedy
- 01:10:21and its roots in silent film you could
- 01:10:23write a whole essay on the evolution of
- 01:10:26slapstick Pratt fall Falls from Charlie
- 01:10:29Chaplain and Buster Keaton all the way
- 01:10:31up through home alone this is why one of
- 01:10:33the most important aspects of analyzing
- 01:10:36movies is to just watch a lot of movies
- 01:10:40because the deeper your knowledge gets
- 01:10:42the more patterns and Trends and
- 01:10:44influences become apparent you can
- 01:10:46understand something better when you
- 01:10:48know where it came from which brings us
- 01:10:51to genre
- 01:10:55[Music]
- 01:10:58on one level genre doesn't matter all
- 01:11:00that much it's essentially a system for
- 01:11:03categorizing movies based on a
- 01:11:05collection of elements and tropes mostly
- 01:11:08to make it easier for people browsing
- 01:11:10Netflix or in the good old days the
- 01:11:12video rental store like the label of the
- 01:11:15genre drama is applied to basically
- 01:11:18anything that doesn't fit into another
- 01:11:21genre if it's not comedy or horror or
- 01:11:24sci-fi or fantasy and it features like
- 01:11:27adults having conversations then it must
- 01:11:29be a drama whatever that means genre is
- 01:11:33mostly about audience expectations the
- 01:11:37genre is extremely important when
- 01:11:39marketing a movie because by selling it
- 01:11:42as a specific genre it's telling the
- 01:11:44audience what to expect since Decades of
- 01:11:47watching movies has conditioned us to
- 01:11:50expect certain things from certain
- 01:11:52genres so sometimes you have a case like
- 01:11:55Darren aronowski 2017 film mother which
- 01:11:59was marketed as a horror movie so people
- 01:12:02went to see it expecting a horror movie
- 01:12:05and then it turned out to be sort of an
- 01:12:08allegorical art film that's like a
- 01:12:10Darkly funny surreal Thriller and so
- 01:12:13when opening weekend audiences were
- 01:12:15surveyed by the polling company Cinema
- 01:12:17score they gave it an f and it's not
- 01:12:21that the movie is bad it's that it
- 01:12:23wasn't what audiences expected it to be
- 01:12:26they were led to believe belonged to a
- 01:12:28genre and were disappointed when it
- 01:12:31didn't meet the expectations of that
- 01:12:33genre genre is another filmmaking tool
- 01:12:38because we've seen a lot of movies
- 01:12:39during our lives we immediately
- 01:12:42associate genres with specific images or
- 01:12:45sounds or locations within a film
- 01:12:48filmmakers can use the language of
- 01:12:50different genres to quickly communicate
- 01:12:53certain feelings
- 01:12:55so how does this apply to home alone
- 01:12:58well above all else this movie is a
- 01:13:01comedy you can tell right from the first
- 01:13:03scene the film is shot with bright warm
- 01:13:06lighting it's flattering to the actors
- 01:13:08the scene looks inviting it puts us at
- 01:13:11ease making us happy which is conducive
- 01:13:14to laughing if the movie was shot like a
- 01:13:16David Fincher film with a desaturated
- 01:13:19bluish color palette and heavy Shadows
- 01:13:22but still had the same performances and
- 01:13:24dialogue
- 01:13:25we'd be confused the different aspects
- 01:13:28of the film would be working against
- 01:13:30each other now even though I just said
- 01:13:32that wouldn't work something similar is
- 01:13:35actually done pretty effectively in the
- 01:13:37movie game night which is a comedy shot
- 01:13:40like a thriller so as to make the
- 01:13:42genuine danger and Stakes of the movie
- 01:13:44feel more real but also this visual
- 01:13:47style is part of the comedic design of
- 01:13:50the movie since for a long time the
- 01:13:52characters in it don't realize their
- 01:13:55actually in a thriller anyway back to
- 01:13:57home alone so even though most of the
- 01:14:00movie looks like how we expect a comedy
- 01:14:02to look it occasionally borrows from
- 01:14:05another genre horror throughout the film
- 01:14:09some scenes will borrow visual language
- 01:14:12and sound design from horror movies old
- 01:14:15man Marley looks scary the sound of his
- 01:14:18shovel scraping the ice on the sidewalk
- 01:14:20is creepy the furnace in the basement
- 01:14:23looks and sounds like a monster
- 01:14:25so again let's follow the usual strategy
- 01:14:29now that we've observed what is
- 01:14:31happening in the film we have to ask why
- 01:14:35why is Chris Columbus choosing to play
- 01:14:37these scenes like a horror movie inside
- 01:14:40his wacky family comedy because as I've
- 01:14:43said repeatedly throughout this video
- 01:14:45the film wants to put us in Kevin's
- 01:14:47perspective and communicate how he's
- 01:14:50feeling he's 8 years old he's young and
- 01:14:53immature and scared of a lot of things
- 01:14:56we as adults know that these things
- 01:14:58aren't really dangerous that's just an
- 01:15:01old man that's just a furnace but this
- 01:15:03is Kevin's story and the most effective
- 01:15:06way to make us empathize with him and
- 01:15:08show what he's scared of is to portray
- 01:15:11these things with the filmmaking
- 01:15:13language of the horror
- 01:15:18[Music]
- 01:15:20genre but that said part of the fun of
- 01:15:23analyzing art is that there are an
- 01:15:25infinite number of ways you can
- 01:15:27interpret it remember back at the start
- 01:15:29when we talked about how the main themes
- 01:15:31of Home Alone are responsibility
- 01:15:34forgiveness and the importance of family
- 01:15:36now these are the most obvious commonly
- 01:15:39accepted themes they're probably what
- 01:15:41Chris Columbus and John Hughes would
- 01:15:43tell you the movie is about but let's
- 01:15:46dig a little deeper and get a little
- 01:15:49weirder and see what else we can find
- 01:15:52okay so what if we want to look at home
- 01:15:54alone through through a lens of gender
- 01:15:56studies and queer Theory again we start
- 01:16:00by just looking at what's there but this
- 01:16:02time we're focusing on certain aspects
- 01:16:05of the story if we do this we can see
- 01:16:08that at the beginning Kevin is confused
- 01:16:11about whether he wants to get married or
- 01:16:13live alone when he grows up for much of
- 01:16:15the movie he is intimidated by women who
- 01:16:18are more powerful than him especially
- 01:16:21his mother and in the end he eventually
- 01:16:24is able to to find Salvation by
- 01:16:26connecting with an older man who
- 01:16:28eventually saves his life so you could
- 01:16:31theoretically argue that this is a story
- 01:16:33about a young person's struggle to
- 01:16:35figure out their sexuality okay look I
- 01:16:38really don't think that's it but for
- 01:16:40instance you could apply that same lens
- 01:16:42to Harry and Marv's relationship I'm
- 01:16:44pretty sure there's a valid queer
- 01:16:46reading of that but here's another
- 01:16:48reading the kind older man that Kevin
- 01:16:51befriends this happens in a church and
- 01:16:54that man with his long white beard
- 01:16:57matches the popular Christian depiction
- 01:17:00of God and earlier in the film Kevin
- 01:17:03escapes danger by hiding among the
- 01:17:05figures in a nativity scene by becoming
- 01:17:08a witness to the birth of Christ and of
- 01:17:11course the whole movie is set at
- 01:17:13Christmas so one way to interpret it is
- 01:17:16that home alone is a movie about finding
- 01:17:19salvation in God and Christianity but
- 01:17:22wait there are more it could also be
- 01:17:25about class Warfare in America with
- 01:17:28Kevin McAllister a privileged upper
- 01:17:31class kid threatened by two poor
- 01:17:34workingclass men who travel around in a
- 01:17:36symbol of blue collar America a van for
- 01:17:40a plumbing and heating company okay look
- 01:17:43do I really think that all of these are
- 01:17:46really what the movie is about no but
- 01:17:50any of them could potentially be valid
- 01:17:53interpretations if if you can provide
- 01:17:56enough evidence within the film to argue
- 01:17:58it persuasively and all of this comes
- 01:18:01down to Simply observing what you see
- 01:18:05and what happens in the film breaking it
- 01:18:08down in simplest terms then asking why
- 01:18:13what does this
- 01:18:16[Music]
- 01:18:18mean the thing about analyzing movies
- 01:18:22and this really goes for analyzing art
- 01:18:24in general en is that even though we
- 01:18:26have all these fancy pre-existing lenses
- 01:18:29that various Scholars came up with over
- 01:18:31the years we are all going to interpret
- 01:18:34things slightly differently because
- 01:18:37every time we watch a movie we are
- 01:18:39bringing with us not just our existing
- 01:18:42taste in movies and the knowledge of all
- 01:18:45the movies we've ever seen but also our
- 01:18:48own personal experiences our cultural
- 01:18:51background and inner emotional life and
- 01:18:54all of those things affect how we feel
- 01:18:57about a movie The only wrong way to
- 01:19:00analyze a movie is to insist that your
- 01:19:03way is the only way remember this is all
- 01:19:06just a matter of observing what you're
- 01:19:08experiencing even if that means
- 01:19:10observing your own reaction and asking
- 01:19:13why after all art can be a great way to
- 01:19:17learn more about yourself look home
- 01:19:20alone is not an especially deep movie
- 01:19:23this is not a piece of art house Cinema
- 01:19:25it's an extremely mainstream family
- 01:19:28movie best known for Joe peshy getting
- 01:19:31shot in the nuts with a BB gun but the
- 01:19:33whole point of this video is to show
- 01:19:35that any movie is worth studying and
- 01:19:38analyzing and finding meaning in not
- 01:19:41just serious art films and you don't
- 01:19:43have to do this with everything you
- 01:19:45watch that would get exhausting if you
- 01:19:47want to just watch a movie for fun
- 01:19:49without thinking too deeply about it go
- 01:19:51for it I do it all the time too but the
- 01:19:54meaning is always there if you want to
- 01:19:56look for it even if the people who made
- 01:19:59the movie didn't intend all that meaning
- 01:20:01to be there it's still there you just
- 01:20:04have to find it and so now go forth
- 01:20:09re-examine all your favorite movies and
- 01:20:12impress people at parties by telling
- 01:20:14them how home alone is really about
- 01:20:17class Warfare and finding salvation in
- 01:20:21God and stuff like that it's a great way
- 01:20:24to make new friends trust
- 01:20:28me oh okay welcome back and thank you
- 01:20:31for sticking with me through this whole
- 01:20:33thing that was a bit more like fully
- 01:20:35academic than the regular videos usually
- 01:20:37are so I mentioned at the start that
- 01:20:40this video was originally written as a
- 01:20:43class for nebula before I changed my
- 01:20:45plan and made a different class instead
- 01:20:48well if you enjoyed this class I have a
- 01:20:51whole other one on nebula right now it
- 01:20:54is 80 minutes long an entire
- 01:20:56featurelength class on how to make a
- 01:20:59movie like sure you can join master
- 01:21:03class and watch Ron Howard's class on
- 01:21:05film making it's pretty good I've seen
- 01:21:07it but his class also assumes that you
- 01:21:10have a budget and a crew and so it isn't
- 01:21:13entirely relatable for people doing no
- 01:21:16budget film making but you know whose
- 01:21:19class is all about making a movie with
- 01:21:21little to no budget and how to actually
- 01:21:24get it finished finished Min is oh and
- 01:21:26if you would actually like to watch the
- 01:21:28micro budget feature film I released
- 01:21:30last year night of the coconut it is
- 01:21:33also available exclusively on nebula and
- 01:21:37so are all the bonus features that we
- 01:21:39recently released like three different
- 01:21:41commentary tracks featuring the cast and
- 01:21:43crew and an extended scene featuring
- 01:21:46even more surprise cameos than in the
- 01:21:48actual movie see nebula is a platform
- 01:21:51built by a bunch of creators like me to
- 01:21:54give us a place to experiment and make
- 01:21:56different more ambitious projects than
- 01:21:58we do on YouTube it's a place where I
- 01:22:01can make a featurelength narrative film
- 01:22:03where you can watch jet lag episodes
- 01:22:05early it's the only place Lindsay Ellis
- 01:22:08is releasing new videos it's the place
- 01:22:10with dozens of classes taught by your
- 01:22:12favorite creators and yes I am finally
- 01:22:15working on my next narrative short film
- 01:22:18which will Premiere exclusively on
- 01:22:20nebula nebula is the best place to watch
- 01:22:23my videos there are no ads there is so
- 01:22:26much great new exclusive stuff coming
- 01:22:28out all the time and if you join you are
- 01:22:31supporting this community of independent
- 01:22:34creators and helping make it possible
- 01:22:36for us to keep growing and expanding the
- 01:22:38scope of what we do I'm sorry but I am
- 01:22:41legitimately passionate about this so if
- 01:22:44you sign up for nebula at the link below
- 01:22:47down there in the description you can
- 01:22:49get it for just over $3 a month which
- 01:22:52honestly is a pretty great deal for
- 01:22:55something that's pretty great okay that
- 01:22:59is all for now good night all right I
- 01:23:03guess it's still daytime but uh
- 01:23:06bye hello it's me one more time I feel
- 01:23:09like this is turning into a Russian
- 01:23:11nesting doll of segments where I talk to
- 01:23:14the camera but I'm here because I want
- 01:23:16to let you know something very important
- 01:23:17which is that the vinyl night of the
- 01:23:20coconut soundtracks produced by Mondo
- 01:23:24are in stock and shipping now if you
- 01:23:27want one because um if I'm being honest
- 01:23:29I think these are pretty much the
- 01:23:30coolest thing that has ever come from
- 01:23:33these videos and this channel uh I mean
- 01:23:36we have this incredible gorgeous artwork
- 01:23:39by Colin Murdoch uh the obviously
- 01:23:42amazing music by Brian molus featuring
- 01:23:45on vocals Khloe Holgate and Matt torpy
- 01:23:48and um I just think it's so cool that
- 01:23:50these exist and uh and I love them so
- 01:23:54much much uh the the special editions
- 01:23:57are available from the nebula merch
- 01:23:59store those have the yellow vinyl and
- 01:24:02all of them are signed by Brian and
- 01:24:06myself uh and then the regular editions
- 01:24:08uh featuring brown coconut vinyl um are
- 01:24:12available from the Mondo store so you
- 01:24:15can get whichever one you want or both
- 01:24:17but that seems like Overkill um anyway I
- 01:24:20just want to let you know because I love
- 01:24:21these so much I'm so thrilled that this
- 01:24:24happened and uh and that's all so you
- 01:24:27know whether you're an avid vinyl
- 01:24:29collector or maybe you don't even have a
- 01:24:31record player but you just want this on
- 01:24:34display as a cool piece of art in your
- 01:24:37home um you know it works for everybody
- 01:24:40great gift as well okay I'm Shilling too
- 01:24:42much now um the other thing that I want
- 01:24:44to mention is that for those of you who
- 01:24:45are following along with the topic
- 01:24:48Tournament of 2023 the big tournament to
- 01:24:51decide which fans submitted video topic
- 01:24:53would get turned into a real video um
- 01:24:56Muppet Cinema one and so by the end of
- 01:24:59the year I will make and release a video
- 01:25:03about Muppets and movies I think it's
- 01:25:06going to be great so that's all there's
- 01:25:08a lot to get excited about um I got to
- 01:25:11go work on the next video the the stuff
- 01:25:13we have coming up I think is going to be
- 01:25:14really fun anyway that's that's enough
- 01:25:17of me talking goodbye
- Film Analysis
- Cinema Studies
- Visual Language
- Sound in Film
- Editing Techniques
- Movie Themes
- Lens and Lighting
- Home Alone
- Cinema History
- Creative Choices