Alien Critical Essay: PCQEs 7, 8 and 9: Click HERE!
If the clips wont play from within Powerpoint, you can find them
here:
Alien-07a-Ripley Emerging-00-23-36-00-24-00.wmv
Alien-07b-Ripley Emerging-00-29-54-00-30-28.wmv
Alien-08-Ripley Emerging-00-33-50-00-35-32.wmv
Alien-09-Facehugger-00-35-32-00-39-37.wmv
Sunday, March 4, 2007
Higher - 'Alien' - 7, 8 and 9.
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7] Ripley Emerging
[P] Ripley’s nature for investigation and also her
common sense are shown very early on in the film.
(C) When Dallas, Lambert and Kane are investigating
the alien ship
a) Cinematography
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Low level framing shows and emphasises that now Dallas
is off the ship Ripley is now in charge.
Tracking is also used, Ripley is shown to be high in
the camera further emphasising her power
Mise-en-Scene
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Low level lighting also shows that Ripley is in a
relaxed mood.
b) Basic Terms
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In this Scene a sequence takes place which shows the
power struggle between Ash and Ripley. The camera angle
is still low which shows Ripley is still in control, but
she backs down to ash and accepts his answer.
Mise-en-Scene
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Low Key lighting is used to show that Ash is angry
when Ripley tells him that she thinks it may be a warning.
She is interfering with Ash's mission.
At the end of the scene Ash fades off into a new scene
which is accomponied with a sigh of relief and his wrist
being wiped across his forehead.
MISE-EN-SCENE:
Costume:
The costume shows a division - Ripley comes down to the crews veiwing area, dressed in dark colours when the rest of the crew are drssed in white, showing the seperation there is between her and the crew at the moment.
The only person who agrees with Ripley is Parker, who is a black man, there is a connection between Ripleys outfit and parker here, ans they were both minority groups at the time of filming
Kane is dressed in white in the white medilab, and Ash and Dallas stand out dressed in green: green represents life - plants etc etc and perhaps, as Kane is in some sort of coma, he is no longer thought of as alive.
Decor:
There is a clear contrast between the two rooms - the medilab is open and white, where the crews veiwing area is dark and womblike, lit only from the light shining through from the veiwing window - it is almost claustrophobic. Shows division between crew and Ash & Dallas
CINEMATOGRAPHY:
Framing:
When Ash about to cut the "digit" off, we see the back of his head out focus, with Dallas' face on the RH side in focus. This highlights the division
The crew are on the shown on the RH side of the screen and the medilab. This, along with the fact that they are shouting orders at Dallas again highlights the fact that he has little control over his crw and comands no respect.
When Kane is being moved in to the XRAY pod, the camera is looking down on him from behind Ash. This is reference to a baby being put in a cot, which strengthens the idea of Kane being enwombed. This also suggests early on the control that Ash has over the crew in regards to the Alien. This is also imprtant to what Ash says later on, once Alien is running free in the ship, and refers to the Alien as "Kane's child". by looking after Kane, Ash is looking after the Alien.
When Ask and Dallas are trying to save Kane, they are rushing around him rather clumsily, in mild panic. The alien is cotrolled and effective, and is sustaining Kane. Here, the alien seems superior, or at least equal. and thsis is shown when the camera shows all three in shot, and is level with Kanes head.
PCQE 8 – Ripley Emerging 2
[P] Ripley’s nature for investigation and also her common sense are shown very early on in the film.
[C] When Dallas, Lambert and Kane are investigating the alien ship..
[E]
Mise-en-scene
As the crew members enter the outer hatch of the Nastromo, the viewers see that Lamberts emotions take over, when refused to be let in. This clouds her judgement, contrast to that of Ripley’s. Ripley sticks to procedures and mapping out consequences decides not to open the inner hatch. This shows her sensible character and she stands out as thoughtful and logical.
Cinematography
The pull-back shot at the beginning of the scene, moves away from the alien ship to reveal the setting. Low key lighting and a misty exterior also present the mysterious nature of events.
Editing
Editing and close-ups reveal struggle between characters. Cross cutting/parallel editing increases in pace which suggests an intellectual battle and the quick trail of thought inside the minds of the characters. The camera moves from Ripley to Ash and then the crew coming in the ship intensifying the apprehensive nature of events and tension. The camera is placed at a low angle, pointing up at Ripley to create an impression of power and importance.
Sound
Sounds in the background contrast one another. It is quiet inside which suggests safety, whereas louder, harsh conditions outside highlight chaos and the danger out with the Nastromo and “mother’s” control. The viewers are taken from the inside to the outside, where Dallas, Lambert and Kane are on their way back, returning from the alien ship. As they approach the Nastromo, the howling wind and unpleasant atmosphere suggest that danger is about to be introduced.
Alien 7b
in this scene, Ripley has interpretated the signal/message that mother recieved from the
strange ship which turns out to be a warning and not a stress signal as they first thought.
Ripley tells this to Ash over the intercom and says that she is going to go and warn Dallas,Kane and Lambert
who are out investigating the ship from which the signal came from.When she tells Ash about
her plans he quickly stalls her and changes her mind.His tone of voice is sharp and he
stutters when he tries to give Ripley a valid reason not to go out after the others. When
he finally convinces Ripley not to go out, he looks relieved but Ripley looks suspiscious
of Ash.
mise-en-scene:
lighting;- dull with a single light shining on both Ripley's and Ash's faces.
mood;- tense
sound:-electronic noises coming from the computer interpretating the signal,water noises
like raining.noises from the switches as Ripley flicks them.Also a sigh of relief
coming from Ash as he's convinced Ripley not to go out after the others.
Editing;-the camera cuts between Ripley and Ash.
Cinematography;- is a close up on Ripley then a medium close up on Ash and then a close
up on both characters as the camera changes between them.
joe is gay
in this scene,Dallas,Lambart and Kane return from investigating back to the mother ship
with Kane having something attached to his face.as tehy go back into the ship they get cleaned
and are awiting to be let inside the ship by Ripley who does not let them in as it
would break quarantine.Ash then undermines her authority and lets the others in.
mise-en-scene:
lighting;- dull and eerie looking and the only brightness is when Ash is at the inner hatch.
mood/feel;-tense
sound;- wind howling/hustling.noise from the hose that cleans them-a vaccum sound.
editing;-the camera starts off on the strange ship then cuts to Ash and then on to the
others who are returning back to the mother ship.Cuts to Ripley,back t Ash and then
to the others who are now on the platform ready to take them back inside.the
camera then goes back to Ripley and then to the others who are now at the inner
hatch ready to get clened.It then cuts to Ash who is outside the inner hatch.
It then focuses on the others who are getting cleaned and then cuts between
them and Ripley and continues to do this until it cuts to Ash who is waiting
impatiently for the hatch to be opened.It then cuts between the others,Ash,Ripley
and back to the others.It then goes back to Ash who lets the others in and the
camera finally cuts to a surprised/shocked Ripley.
Cinematography;-the scene starts off with a decending shot of the alien ship then cuts to a
long shot of Ash and then to a long shot of the others.It then cuts to a medium
close up of Ripley which is also looking up at her to give a sense of power.the
camera then cuts to a close up of Ash and the camera then follows him before
cutting to the others with a mid shot of the others on the platform.It then has a
medium close up of Ripley again looking up at her.Then have a nid shot of the others
and then a long shot of Ash walking to the inner hatch.Mid close up on the others
getting cleaned and then again a close up of Ripley still looking up at her.A
close up on Dallas and Lambert and then a close up on Ripley face-on.A close up on
Dallas with Lambert in the backround and then back to a close up on Ripley.It then
goes back t a close up on Dallas and Lambert and then an extreme close up of
Ripley which continues to to this before a long shot on Ash who is still waiting
at the inner hatch.Back to a close up on Dallas and Lambert then to an extreme
close up on Ash which then changes to a long shot of Ash opening the inner hatch.
Finishes with a medium close up of Ripley looking stunned.
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