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A Dogs Purpose: Horror Film

Posted by Indee Phillpotts in Reel Reading · Giknis · D Band on Wednesday, May 31, 2017 at 11:20 pm

​

A Dog’s Purpose directed by Lasse Hallstrom is a fantasy/drama film that follows the story of a dog who is reincarnated several times until he ends up with his original owner. This film definitely falls under the umbrella of a feel good, family movie. We decided to recreate its trailer as if it was a horror film that could make even the strongest and fearless person scared of a chihuahua.

The first choice we made was to start the trailer in color and change to black and white when the scary and evil side of the dogs started to come out. This choice was made based on how older horror movies were made, like Psycho and Night of the Living Dead. The black and white gives the previously colorful trailer an eerie and lifeless vibe. The color change alone helped make this children's movie a lot spookier.

We used shorter shots when showing the dogs to confuse the audience. This way, there would always have something to look at but not enough time to completely react to what they just saw because the next shot would already be on the screen. By having these quicker shots, people aren’t focusing on the details in the shot as much. This gives a sense of urgency and suspense. Horror movies are known for being liked by “adrenaline junkies,” so that’s what we attempted to do with this. Some shots of the dogs were also reversed to mess with the audiences head. Even the slightest change, although not noticeable, could still catch someone's eye and be the shot that is remembered.

We also decided to keep the original song but gradually slow it down. This made it sound like the slowed down childrens lullabies used in a lot of horror movies. In general, deeper and more negative sounds increase the fear in people. The gong like sound that occurs when the audience first sees the dogs become evil is used throughout the trailer to bring the viewers back to that original fear of when they first heard it and didn’t know its meaning. We did the same thing with the line, “Maybe you should teach him some manners,” but instead made it come back in a more echoey sound so that it was like a memory. Having the change of shot on beat with this sound as well, connects what the audience is seeing and hearing. We added extra dog barks over top of the slowed down music to make the dogs seem more ferocious and gruesome because they originally were not. It makes it seem like there is more of a threat and something to look out for.

Our final product can be compared to many horror movies like The Birds or any zombie movie. It follows the trope of “attack if the killer whatever,” which in this case are dogs. The color and sound effect change makes it so that this originally light hearted movie hits you heavy and has you second guessing the saying, “dogs are a mans best friend,”

Link to trailer: https://www.youtube.com/watch?v=5O5ZgryzstY

Zoe Andersson and Indee Phillpotts

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Eraserhead as a Romantic Comedy

Posted by Harrison Freed in Reel Reading · Giknis · D Band on Wednesday, May 31, 2017 at 11:15 pm

​For this project, we cut scenes from Eraserhead into a trailer one might see for a more traditional romantic comedy. Our take on the surrealist classic was very much inspired by the trailer for the classic De Niro vehicle Meet the Parents, a romantic comedy wherein a hapless fellow (Ben Stiller) meets his dearly beloved’s rather quirky parents. The trope of the “love interest with a catch,” often found in romantic comedy, lends itself well to Eraserhead, particularly in the organization of the dinner scene. The catch in Eraserhead is that the love interest has birthed a mutant; for the purposes of a romantic comedy, pregnancy itself was enough of a catch, and so simple fatherhood was an angle we chose to magnify. This scene also contains shots similar to those used in Meet the Parents, with cameras placed to fit whole families sat at a dinner table in frame, as well as rom-com appropriate lines like our protagonist oh-so-awkwardly stammering to Mary’s mother that he loves her daughter. 
In our conversion, sound reigns supreme. Cheesy canned voiceovers provide setup to scenes that are in fact, quite unlike what is described. Obnoxious voice over work is a trope of the genre’s trailers and even of trailers in general. Though it’s near-impossible even for us to tell, Harry and the writer of this sentence actually alternated each voiceover segment. When coupled with the Hyrule Castle Courtyard theme from The Legend of Zelda: Ocarina of Time, the voiceover work creates an (in)appropriately whimsical and cheery atmosphere for the story. Another trope of the rom-com trailer is the sudden rock song, and it usually comes into play when a central tension of the plot is first revealed. We cut off our Zelda music with a cheesy record scratch, only to have our sudden rock song drop in the form of Fugazi’s “Waiting Room.” The recurrence of “Waiting Room” is used to frame the trailer, as snippets are played at the beginning, middle, and end.
Yet another rom-com trailer trope is emotional music that indicates the characters in the film will have character development and emotional experiences. Modest Mouse’s “Workin’ on Leavin’ the Livin’” fit the bill perfectly, as the majority of the song is based off of the “Lady in the Radiator Song,” originally composed for Eraserhead itself. It is perfectly ironic that a song about suicide and drunk driving should be used in the place of an uplifting song here, as it is totally conceivable that a rom-com trailer editor would expect so little of their target audience as to include so dark a song in this role.
In this trailer, what was originally played for discomfort or general oddness is played for laughs. For example, Mary’s father Bill’s quirkiness makes him seem like a classic sitcom dad instead of a lunatic who makes squirting chickens and makes sure pipes don’t grow [or makes sure that people know that pipes don’t grow. It’s left up to interpretation]. His more peculiar lines are edited out, and his quip of “This dinner’s getting mighty cold!” serves as an entertaining callback to the beginning of the trailer (when Mary first says “dinner’s almost ready”) rather than a bout of acute tone deafness. In a romantic comedy, directors are expected to keep things light and playful, and small jokes like this serve to maintain that tone. Our group not uses that trope and also subverts it by including the surrealist imagery of Henry tearing apart his offspring and being torn apart. Henry’s introduction to Mary’s parents is a cordial, if awkward, welcome, appropriate for greeting the parents of a love interest, whereas in the original film, bleak silence could occupy minutes of time before statements were responded to. Now? All that is left is rom and com.
Tags: cameron samodai
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The Wolf of Wall Street as a Film Noir

Posted by Michael Thayres in Reel Reading · Giknis · D Band on Wednesday, May 31, 2017 at 10:44 pm

​Video

Write-up

Spoilers maybe if you care. Submitting for Michael, Griffin, and Matthew since I don't know how to hyperlink 
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Stitch has a glitch

Posted by Amanda Bolli in Reel Reading · Giknis · D Band on Wednesday, May 31, 2017 at 10:19 pm

https://www.youtube.com/watch?v=mOzopgptO24

For our final English project Lilly, Vilma, and I chose to recreate Lilo and Stitch 2: Stitch has a glitch. We chose to do Stitch has a glitch because we wanted to take a child movie and turn it into something scary so they can see that their is a deeper meaning. The original movie goes for a more loving, caring, and gives a very valuable life lesson. The life lesson that we learn about is to not take anything for granted and to appreciate what we have because not everyone has the same thing we have.

In the first part of the trailer we decided to use the first time stitch started to glitch, because it shows that something is going to go wrong. Then we go into the scene where Jumba ( Stitches creator) is in the final stages of creating him. Jumba is sent away to a prison for illegal genetic testing, so he does not have enough time to let Stitches’ molecules form fully. Those two scenes are important to this trailer because it gives background information on why Stitch is now glitching. Stitch is now aware of the fact that he is glitching so he starts to act out. While he is acting out it is clear that Lilo is also being affected by his actions. We included the scene where Stitch glitches at the hula competition and hit Lilo. Throughout the glitches Lilo has been there for Stitch even though he is jeopardizing their friendship.  

As we got towards the ending of movie we made it so it ends with Lilo holding stitch in her hands crying as he is no longer breathing. This shows that Lilo really cared for Stitch and did not want their friendship to come to an end, but even the good things must come to an end. We created  this strong ending we wanted it to show that every story does not have a happy ending. We feel like showing that in a kids movie is better because the sooner they know that everything does not always end good it is better so they are more prepared for the real world. As kids we were always taught that everything has a happy ending or good thing always last. No one was there to tell us the truth until “we are old enough to know” so we had to wait and be surprised by it to randomly happen and not be prepared for how to respond to it. With this it gives them a sneak peek of what can happen and how one might respond to it. Kids should start taking things more seriously even though they are young they should see things for how they really are and learn how to accept them and that in the end everything is going to be okay, life will go on. I guess you can say we are trying to mature them at a young age but the sooner they know the better and the more prepared they will be.


Tags: Public, Vilma Martinez, Liliana Guercio
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Austin Powers: Film Noir

Posted by Juliana Concepcion in Reel Reading · Giknis · D Band on Wednesday, May 31, 2017 at 8:38 pm

Made by Juliana Concepcion, Cacy Thomas, and Ellie Kreidie

Drama, crime, and secrecy are all part of the game. As a staple of classic Hollywood film, film noir is unlike any other genre. With long complicated plots, dark and dreary sets, and cheap budgets, it is it’s own entity. Traditionally this genre is used to portray the characters in a film accepting their fate. They are solemn and sarcastic with a flare for static drama.

The theatrical conventions of film noir as well as the cinematography are born from the same origins. Some staple cinematic elements used in this genre are low-key lighting, hard shadows, black and white, and dramatic scoring.

Some well known film noir directors are Orson Welles, Fritz Lang, and Billy Wilder. Each man has produced a multitude of crime dramas using the cinematic techniques of black and white, sad and dramatic music, as well as dark shadowy settings.

Austin Powers in Goldmember is a groovy, tiedye blanket of a film. Mike Myers only adds to the mojo as a crime fighting, 70’s possessed spy trying to stop the adorably malevolent Dr. Evil. Evil has teamed up with Goldmember, a gold obsessed Dutchman, in order to kidnap Powers’s father and send him back in time. Along the way, Powers receives help from unlikely allies and scattered clues to find his father and return back in time.

With an all star cast beside him with the likes of Beyonce, Seth Green, Britney Spears (briefly), and Michael Caine, Mike Myers characterizes both Dr. Evil and the infamous Austin Powers. Known for its silly humor and constant laughs, Austin Powers in Goldmember is one of the most celebrated and treasured comedy blockbuster hits of the early 2000’s. Released in the US on July 22nd, 2002, with a box office intake of nearly $300 million, Austin Powers in Goldmember is the perfect parody of a classic film noir motion picture.

In order to create Austin Powers in Goldmember as a film noir we changed the entire physical look of the film as well as the feeling of lines spoken. We incorporated the key theatrical conventions that make noir what it is. This includes deep shadows in black and white, rain, jazz music, narration, smoking, a hard boiled detective, and a femme fatale. Each of these elements instantly transformed the action comedy of Austin Powers into comedic film noir. We also took lines from the original trailer and changed the style in which they were spoken so that it fit a mysterious film noir tone. The blocking was directed in a way that allowed for Austin Powers to sometimes be seen through an obstructed view, because we wanted to display him in as much shadow as possible. When compared to the original trailer, our version has much slower pacing and longer shots. We wanted to keep the sense of humor from the original Austin Powers’ personality, so we kept some of that, but also made him a bit of a tougher and more stern character. All of this mixed with the shady bridge location and ideal rainy weather made for the perfect Austin Powers: Goldmember film noir transformation.

Tags: Film Noir, Austin Powers, reel reading, Giknis, Austin Powers: Goldmember
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Scary Spiderman

Posted by Miriam Sachs in Reel Reading · Giknis · D Band on Wednesday, May 31, 2017 at 2:10 pm

​Trailer: https://drive.google.com/file/d/0Bz0KSlUUfw2POGNRdGdBMkc0ZHM/view?usp=sharing

Project by Miriam Sachs and Darius Purnell.
For our project, we turned Spiderman 3 into a thriller film. The original movie was portrayed as a superhero action movie, with Peter Parker being the hero disguised as Spider-man. However with the intentions of increasing the intensity, the film created frightening imagery quite often. The scenes could be scary on their own but kept from becoming complete horror through heroic music and Peter winning at the end. The film could be edited down to clips where they only show Peter walking through creepy places, which could give suggestions this is the sort of place he likes to spend time in. It is even possible to make Peter into a monster instead of a hero as he deals with Venom, who was only created from using him as a host. This parasitic alien, known as Venom, caused Peter to act mean towards his love, Mary Jane. To manipulate the story from love to villainous, in a trailer we will remove scenes of Mary Jane and Peter kissing; we will keep scenes where he hurts MJ and others, along with any other acts of misdeeds. He cheats on Mary Jane and ruins her performance at the restaurant she works at. These scenes can be manipulated to make Peter malicious towards her. The origin of Spiderman could also be manipulated. When Peter is first bit by a radioactive spider, he awkwardly takes a picture of Mary Jane on a school trip as her friends try to pull her away. In a twisted version of the story, the spider bite could then have motivated him to go after her instead of save people. This can be expanded to having Peter weird out Mary Jane. This concept has been done in other school projects and been posted online so this would be portrayed as a side story by having little time in the trailer. When Peter first gets his powers, he gets into a fight at school. The fight has lighthearted moments. Peter impressively doing backflips and other stunts is met with cheers. His opponent comedically gets food spilled on him after Peter knocks him down the hall. Peter’s friend smiles at him. When these parts are taken out and edited to a faster pace, the scene is left with Peter twisting the other student’s hand as both their faces twist in either anger or pain, and their classmates watch in horror. This works with building fear of Peter in Mary Jane because she is in the crowd, gasping and staring at Peter as people back away. There are also multiple frightening scenes that show how monstrous Venom is. At one point, Venum has demon like teeth though it is no longer on Peter, we can edit it to still have a human like form giving the illusion of it being Peter. There is also a scene where Peter struggles to get rid of Venom, and the black icky goo which is the parasite swirls around Peter. If shown without the context of Peter successfully getting rid of Venom, it may look as if Peter is going crazy, especially if played backwards.

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2016-17: 2nd Semester

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Science Leadership Academy @ Center City · Location: 1482 Green St · Shipping: 550 N. Broad St Suite 202 · Philadelphia, PA 19130 · (215) 400-7830 (phone)
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