Alien Critical Essay: PCQEs 10, 11 and 12: Click HERE!
If the clips wont play from within Powerpoint, you can find them
here:
Alien-10-Ripley and Ash1-00-41-39-00-44-56.wmv
Alien-11a-Facehugger leaves-00-44-57-00-45-30.wmv
Alien-11b-Facehugger leaves-00-47-46-00-49-36.wmv
Alien-12-Chestburster-00-53-10-00-55-22.wmv
Wednesday, March 7, 2007
Higher - 'Alien' - 10, 11 and 12.
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10:
sounds: non-diegetic background music as we move in on Ash.
- thumps as Ripley appears.
- Heavy footsteps as he walks to door.
- doors make a slight swishy sounds.
camera: tracking shot as it leads us to Ash.
- tilts upwards slightly then down-mimcks Ash's movements.
-medium close up of both Ripley and Ash.
-tracking movement as Ash departs room.
Lighting- is dim and artificial everywhere you go.
Space between Ripley and Ash appear to confined.
Costume: Ash continues to wear his labsuit whilst Ripley wears what she usually wears around the ship, a casual but official uniform.
editing: as we enter lab room, we see the use of establishing shot, which shows us the relations of the surroundings and people within the room.
11:
(E) MISE-EN-SCENE
•The low key lighting reflects on the mood of Dallas’ as he sits reflecting on the troubles that the crew are facing and are destined to face. The dark colour of Dallas’ costume helps reflect on his and the rest of the crews mood throughout the Nostromo. The décor is very black and dark throughout the Nostromo as well as in this scene.
EDITING
•The director uses a jump cut initially showing the viewer the underside of the ship, the front of the ship then it cuts to Dallas’ as we see signs him being a weak leader which is shown through his mood and body actions. This shot on Dallas takes a long time which helps to emphasis how annoyed he is in letting Ash persuade him to treat the alien with scientific curiosity.
CINEMATOGRAPHY
•Initially the camera uses still medium longshot in order to create a setting and context for the rest to follow. As we see Dallas’ - in conversation with Ash over Kane’s condition – the camera shows the viewer a close up of his face.
SOUND
•There is a non-diegetic sound playing in the background – this is known as postsynchronization - which creates a very negative and unpleasant mood which is reflected through Dallas.
11(b)
MISE-EN-SCENE
•The scene opens with high key lighting as Ash, Dallas and Ripley are discussing the procedure which should take place in order to deal with the alien. As Ripley and Dallas continue there argument along the Nostromo corridors the lighting changes to low key as the exchange negative insults.
EDITING
•In this scene there is a reverse shot used as the camera changes between close ups of the 3 crew members and the alien in the close up of the crew Dallas is very isolated and very much gives in to Ashs’ demands. The camera is at eye level with both the humans and alien which gives a wider prospective and shows us what each of them sees.
CINEMATOGRAPHY
•The scene opens with an extreme close up of the alien which shows the importance of the alien both scientifically and desire for knowledge of the alien. This also shows us the great detail of the alien which Dallas has stupidly let Ash deal with, with no knowledge or experience.
SOUND
•Ripley raises her voice above Dallas’ in order to - try to – assert her authority over him but this has little to no award as Ash is given power that Ripley feels is against ‘standard procedure’.
PCQE 12
MISE-EN-SCENE
•The lighting used is high key this allows us to witness everything that is happening around the dinner table and the derogatory comments that some of the crew members are saying. The table is very over crowded as Ash sits back, while the others help Kane. Then eventually when he sees’ the need to act he does and tries to take charge.
EDITING
•The camera jumps between Kane as he is giving birth – to an alien life form – and Ash watching on from the other side of the table self consciously knowing what is happening but with no intent of stopping the birth from taking place.
CINEMATOGRAPHY
•The background is very similar to the Colour of the crew’s uniform everything is very white from the crew, décor, costume/uniform and table. The camera initially uses a medium longshot to show all of the crew sitting around the table. Then it goes on to use close up of Kane as he shovels food on to his plate. It then switches between extreme close up of Ash as he watches Kane very carefully to see what unfolds. This emphasises the concerns Ripley has over Ashs’ identity. Finally there is an extreme close up of Kane giving birth to his son.
SOUND
•The conversation around the table is difficult to hear which makes it seem very realistic and as if there is no camera watching them. The sound is diegetic as it is all real and not added for effect
11 AN 12 WERE DONE BY ALASTAIR AND ROBBIE
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