Checkout My final portfolio for the semester. It is a compilation of the 5 main projects I did in Applied Aesthetics. Look at the Categories and you will see one devoted to my portfolio. Also check out my final project as well.
The Graduate (1967) is listed as a comedy, drama, and romance on imdb, and after watching this film it is hard to pin one genre to it. Their are many clever and funny aspects to the film, like Ben’s reactions to Mrs. Robinson’s advances. These corky scenes are in sharp contrast the scene when Mr. Robinson comes to confront Ben about his affair with his wife, and his pursuit of his daughter. One could say the film is lacking a sense of identity, which is similar to Ben’s confusion about his future after college. This film is full of contrast and parallels in composition, color, set design, costume design, lighting, and editing style. My first example of a parallel is between the set design of Ben’s room, and the composition of the scene where Ben sits at the bottom of the pool. In the beginning of the film we see Ben sitting in his room next to a large fish tank. The tank is a large focal point of many shots in his bedroom, and in the tank their is a small model of a diver. One is reminded of the diver in the tank in the scene where Ben is forced by his father to try out a dive suit in their pool. The camera pulls back from Ben’s mask and you see him standing in a similar manor as the figure in his fish tank. These too elements put together help show why Ben is so worried about his future. He feels his is just a show piece in a big tank. In his own words, “It’s like I was playing some kind of game, but the rules don’t make any sense to me. They’re being made up by all the wrong people” (The Graduate). The next thing I would like to look at is the contrast in Ben’s costuming from the beginning of the film to after his affair. In the beginning the film Ben is dressed very clean cut, in suits and dinner jackets. He seems to be constricted by the clothing as well. However, in the scenes right after his affair with Mrs. Robinson we see a big change in his wardrobe. He wears light lose shirts, and spends most of his time in his bathing suit in the pool. He also seems to move much slower and more relaxed. I feel this is supposed to show how Ben is angry with himself inside for what he has done, but being lost and not knowing what he wants in life it is like he is giving up. The Graduate has many other examples of contrast and parallels and they are used to tell the story. This is probably why it has become an example of classic film making.
For my first screening post I chose to write about Set Design for The Great Dictator (1940). I found the set Design most interesting, not because for its’ contrast, or depth, but the way the actors could interact with it to tell the story. What I mean is that, the way that Charlie Chaplin used the set as a prop lent to the style of comedy he was going for. For example, in the iconic scene where he dances with the globe, his office seems to function not only as an office but as a ballroom. And the globe as part of the set is able to be removed and integrated into the action of the scene. Another example, would be when Chaplin is waiting in the train station for Napaloni. The set is rather fat and does not have much depth, however it functions most effectively for the action of the scene. As they run back and forth following the train with the rug the flat space adds to the two demential action going on. I feel that one could think of this as a motif of Chaplin films, or just slap stick comedy in general. It is a way to make the set more useful than just as a place where action happens. Or, perhaps it is a stipulation of the equipment at the time. Cameras where larger and harder to move. So instead of having action moving fluidly through several sets they have one set. Of course this could be boring if all the action happens right there with only two or three different camera positions. However, if the set is made into a prop that gives more depth to the scene. If their are trap doors, moving furniture, doors that lead off camera, or removable objects in the set. Another example would be when Chaplin is hiding from the Tomanian Soldiers in the Jewish neighbors house. Every time the door is opened he jumps into a trunk at the end of the room. Then Schultz tries to jump in with him. So in conclusion the set design lends to the style of comedy and also adds an interactive detention to the scenes.
My name is Chris Wegman, and this is my first post on this blog.
