GROUP VIDEO

Music had to be disabled, it was "not authorized by YouTube" but at least the sound works this time!

SCREENPLAY:
Shot 1: Establishing shot of a room from doorway, zooms into room, long shot of bed, tilt up into a high angle shot.
Shot 2: Lady Macbeth in bed twitching and mumbling.
Shot 3: Cut to dream scene: normal day, dressed nice, long shot behind her.
Shot 4: High angle close up of hands in sink, water will be blood right away. It will be in hue colors.
Shot 5: Cut to reaction shot of close up, still hue colors.
Shot 6: Cut to a specific drop of blood in the sink, b&w.
Shot 7: Cut to close up of Lady Macbeths face, hue.
Shot 8: Cut back to Lady Macbeth in bed, back to color.
Shot 9: Zoom in on face of sleeping Lady Macbeth, eyes pop open
Shot 10: Cut to living room. Establishing shot of Doctor and Gentlewoman sitting on the couch.
DOCTOR is talking with GENTLEWOMAN both are sitting on the couch.
DOCTOR: (turns to the Gentlewoman) I have two nights watched with you, but can perceive no truth in you report. When is it she last walked?
GENTLEWOMAN: Since his majesty went into the field, I have seen her rise from her bed, throw her nightgown upon her, unlock her closet, take forth paper, fold it, write upon’t, read it, afterwards seal it, and again return to bed; yet all this while in a most fast sleep.
DOCTOR: (Confused and in deep thought) A great perturbation in nature, to receive at once the benefit of sleep and do the effects of watching! In this slumb’ry agitation, besides her walking and other actual performances, what, at any time, have you heard her say?
Shot 11: Gentlewoman gets up and crosses to kitchen. Opens fridge.
GENTLEWOMAN: That, sir, which I will not report after her.
DOCTOR: (Comforting) You may to me, and ‘tis most meet you should.
GENTLEWOMAN: (In a conspirators tone) Neither to you not anyone, having no witness to confirm my speech.
Shot 12: Gentlewoman closes the door and sees Lady Macbeth.
Shot 13: Cut to long shot of Lady Macbeth as fridge closes, cue shriek.
Shot 14: Reaction shot of Gentlewoman and doctor.
Shot 15: Cut to close up of the doctor.
Shot 16: Cut to close up of Gentlewoman.
GENTLEWOMAN: (Shuts the fridge and sees Lady Macbeth) This is her very guise, and, upon my life, fast asleep! Observe her; stand close.
Shot 17: Long shot of Lady Macbeth , eyes open.
Lady Macbeth gets and appears in a trance like state is unaware of the doctor and gentlewoman.
Shot 18: Close up of doctor.
DOCTOR: (In wonder) How came she by that light?
Shot 19: Long shot of Lady Macbeth moving towards sink.
GENTLEWOMAN: (In an obvious tone, condescending to the doctor) Why, it stood by her. She has a light by her continually. ‘Tis her command.
DOCTOR: (Relief) You see, her eyes are open.
Shot 20: Walking to seats
GENTLEWOMAN: (Beginning to get frustrated) Ay, but their sense are shut.
Shot 21: Reaction shot of Gentlewoman and Doctor
DOCTOR: (Scientific and observational sounding) What is it she does now? Look, how she rubs her hands.
GENTLEWOMAN: (Lady Macbeth washes her hands in basin) It is an accustomed action with her, to seem thus washing her hands: I have known her continue this a quarter of an hour.
Shot 22: Close up of Lady Macbeth
LADY MACBETH: (Lady Macbeth washes hard and talks down to her hands) Out, damned spot! Out, I say! One: two: why, then ‘tis time to do’t. Hell is murky. Fie, my lord, fie! A soldier, and afeared? What need we fear who knows it, when none can call our pow’r to accompt? Yet who would have thought the old man to have had so much blood in him?
Shot 23: Fade to another close up of Lady Macbeth
LADY MACBETH: (afraid and in despair) The Thane of Fife had a wife. Where is she now? What, will these hands ne’er be clean? No more o’ that, my lord, no more o’ that! You mar all with this starting.
Shot 23: Reaction shot of Doctor and Gentlewoman
DOCTOR: (Alarmed) Go to, go to! You have known what you should not.
GENTLEWOMAN: (resigned) She has spoke that she should not, I am sure of that. Heaven knows what she has shown.
Shot 24: Cut to close up of Lady Macbeth
LADY MACBETH: (Frightened and regretful) Here’s the smell of the blood still. All the perfumes of Arabia will not sweeten this little hand. Oh, oh, oh!
Shot 25: Cut to reaction shot of Gentlewoman and doctor
DOCTOR: What a sigh is there. The heart is sorely charged.
GENTLEWOMAN: ( Sympathetic) I would not have such a heart in my bosom for the dignity of the whole body.
DOCTOR: Well, well, well-
GENTLEWOMAN: Pray God it be, sir.
Doctor: This disease is beyond my practice. Yet I have known those which have walked in their sleep who have died holily in their beds.
Shot 26: Cut to Lady Macbeth. Begin dolly shot as she goes back to bed
LADY MACBETH: Wash your hands; put on your nightgown; look not so pale! I tell you yet again, Banquo’s buried. He cannot come out on’s grave.
Lady Macbeth goes back to her bed.
Shot 27: Reaction shot of Gentlewoman and Doctor
DOCTOR: Will she go back to bed?
GENTLEWOMAN: Directly.
Shot 28: sitting in circle panning to each person
THREE PROPHETS: Foul whisp’rings are abroad. Unnatural deeds do breed unnatural troubles. Infected minds to deaf pillows will discharge their secrets. More needs she the divine than the physician. God, God forgive us all! Look after her; remove from her the means of all annoyance, and still keep eyes upon her. So good night. My mind she has mated and amazed my sight: I think, but dare not speak.
ALL: Good night!

Scene Analysis

The musical Rent is one that can be described as a musical that expresses the complex emotions of lower class New Yorkers. The opening scene starts the movie off with the idea that these people do not hold back these complex emotions. The producers of the movie Rent used continuous shots of panning and tilting around the scene and burning papers as symbols to convey the anger and despair of the tenants living in the apartment; that they are united as once to fight against just one man.
The opening scene of the movie Rent is crucial in establishing the idea that the people of this apartment complex are together as one in the fight against their landlord. As the song progresses, several shots are of the apartment complex in a long shot; where you can see all the residents on their balconies in anger. These shots then pan and tilt around the complex in one continuous shot. By having these continuous shots, it conveys the idea that every person singing on their balcony has the same actions and reactions to their landlord.
The continuous shots also convey the idea that the people are seen as one. By cutting it into individual shots, a producer gives the idea that each shot gives a different reaction to a situation. This producer, however, wants to show the unity of the residents, and therefore, uses one continuous shot. Every resident contains anger and despair, and by using one continuous shot, the producer tells the audience that they all feel the same way and come together as one group to protest. This emotion in the opening scene can be felt throughout the movie and is established through this scene.
As the song progresses and the residents began to get more angry, flaming papers are thrown off of a balcony and sets off the tone of anger. The burning paper is a symbol of this anger; and as more flaming papers fall to the ground beneath the apartments, the angrier and more animated the residents become. The flames continue to fall throughout the scene and are often the focal point. The large amount of burning papers that fall also show the large number of residents who are angry at this landlord and that they all express this emotion together.
The lighting of the scene is very dark, which contrasts with the brightness of the flaming papers, thus attracting the audience to the bright flames. The producers chose to make the flames stand out in order to emphasize the importance of what the flames represent, the heated anger that the residents feel towards their landlord. As the papers fall down to the ground, more and more people come down as well to surround their landlord. By emphasizing the flames, the producers make this symbol obvious to the audience.
Rent is a musical that shows the emotions of the lower class New Yorkers that live day by day. The opening scene conveys the idea of a group of residents of an apartment complex who are finally expressing their anger towards an unfair landlord. Their anger can be seen not only through the song itself, but through the bright flaming papers flying through the scene, and their unity to fight as one against their landlord can be seen through the continuous shots, where it continually pans and tilts around the apartment complex. These two editing techniques lead to the idea that when an emotion as strong as their anger needs to be heard, coming together as one is the loudest way possible.

Film Journal 2

Description of the scene
Pre-scene: the first thing the viewer sees is two men throwing paper in a bucket. The room is very dark, the fire in the bucket is very bright. The camera zooms in a circle.

Running Time: 1:01
Shot 1: Long shot of two men throwing papers in fire
Shot 2: Cut to the men picking up the bin and walking towards balcony, onto the balcony, and throw the papers out
Shot 3: Cut to shot of entire apartment complex, dolly shot of papers falling
Shot 4: Close up of the street
Shot 5: Cut to a close up of a specific car as it slows to a stop and others come running up
Shot 6: Car stops, man comes out
Shot 7: Man walks out of car
Shot 8: Cut to the two men; low angle shot; shouting in song at the man down below
Shot 9: Cut to close up of two men; no angle
Shot 10: Cut back to low angle shot
Shot 11: Cut to another balcony; low angle shot
Shot 12: Cut to apartment complex; dolly shot of papers flying down
Shot 13: Cut to silhouette of a man on top of a car
Shot 14: Cut to a woman on the balcony; high angle shot
Shot 15: Cut to street level; man in the center, everyone around him yelling at him in song
Shot 16: Cut to apartment complex; flaming papers continue to fall
Shot 17: Cut to balcony of two men; low angle shot; the men are very animated
Shot 18: Cut to other balconies; panning to different balconies of people singing animately
Shot 19: Cut to high angle shot of people on the ground who are all singing up at the people in the balconies
Shot 20: Cut to random men in balcony
Shot 21: Cut to entire complex. Panning and tilting around, until song and scene ends.
end of scene
Shot 20:

Film Journal 1

Movie: Rent

Scene: The end of the opening scene

Scene Running Time: The last 1:01 will be analyzed of the total scene.






Description of the scene: This last portion of the scene opens up with two men dumping a bin full of flaming papers out onto the street. It starts with the camera tilting up on the two men with a close up of just them before moving into the establishing shot of the entire apartment complex. The lighting is very dark, which brings out the color of the flaming papers that are fluttering down. It turns into a dolly shot as the camera follows the paper move down onto the street of cars. There is then a close up of a particular car that is on the street. The lighting continues to be dark and the focus continues to be on the flaming papers. The "noir" of this scene then jumps out of the car. He is dressed all in black, in the bad part of town. There is a dolly shot of him as he begins to sing his complaints. The shots shift between this man and the two men that are still up on the balcony as they shout at each other in song. The shot of the two men begin as a low angle shot before moving into a regular close up shot. As the song progresses, the camera pans around the apartment complex as everybody contributes to the flaming papers. All shots of people on the balconies are low angle shots. The scene ends with a low angle shot on the street, with the Noir guy standing in the middle of a crowd who is yelling at him. It then goes into another establishing shot before a low angle shot of the two men. It then pans and tilts around the complex again, before completely ending with the original two men.

Journal 14

During Creon and Antigone's argument Anouilh repeats many words and ideas. Choose a word or idea and discuss how Anouilh uses the term.

"You've said your yes" (Anouilh 35). Throughout their argument, Antigone often and simply says the word "yes" with an occasional "no". These one word answers are short, yet have such a finality to them. Anouilh uses this term to show the determination Antigone has to bury her brother. By simply saying "yes" with no other explanation, she has no reason to believe otherwise.

Sometimes Anouilh uses ambiguous terms, identify how the terms affect your interpretation of characters and their motivations.

The word "power" and words associated with it are often used. This word is used in many different ways. Creon has power because he is king. Antigone has power because she believes Creon fears her. Nurse has power because Antigone sees her as a strong woman. All of these different forms of power makes each character unique in what they have, what they want and what they need to achieve.

Journal 13

Anouilh's Antigone: Antigone

In this particular scene, Antigone begs for Nanny's protection. To everybody else, Antigone seems strong, daring, getting what she wants. But to the nurse, she is nothing more than just an ignorant little girl that needs the guidence and help that the nanny gives her. Antigone knows what she has done is bad and what the punishment is, so in this scene, her motivation is for the nurse to take care of her dog after Antigone passes. Though this may seem childish and unimporant to the plot, it is very important because it's a little part of the big picture that is being illustrated. Antigone knows that she will die; she knows what the consequence is going to be and yet she still buries her brother.

Journal 11

what do you know about the 1940s in Europe and how do you predict that will influence Anouilh's version of Antigone?

I know that the 1940s was a bad time in Europe, because you had the communists in the Soviet Union that was attacking from the east and the rise of the Nazis in central Europe. Hitler dominated much of Europe and took over many countries there. It will influence Anouilh's version of Antigone in that his interpretation will be altered according to his life, which at the moment is ravaged by the world war. Anouilh is French; and the French defeat by Germany was a huge event in that decade.