Essay \"Funny Games- Us (Analysis Of Editing)\" - Grade 61 PDF

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Funny Games- US (Analysis of Editing)...

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21.11.2014 Assignment One

Part One Funny Games- US (Analysis of Editing) Michael Haneke’s 2007 re-make of the 1997 Funny Games US is a psychological thriller, which premiered at 2008 Sundance Film Festival. With an indie setting the key aspects of the editing within film rely on blurring the line between fiction and reality giving the audience a sense of unease as they strive to figure out the non-linear twisted plot line of the film ultimately adding to the thriller genre. Focussing on the non-linear style Haneke uses editing to his advantage in order to confuse and further disturb viewers. Peter, one of the main two arguable antagonist characters of the film often makes reference to the expected suspense rules of traditional mainstream cinema, subtly hinting at the plot line of the film itself.

Using editing Haneke was able to introduce unexpected and surprising plot twists into the story. In one scene the captive family of three: Ann, George and their Son Georgie/George Jnr are pictured sat tied up in the family living room of their holiday home as the Assailants Paul and Peter challenge the mother, Ann, to recite a prayer backwards in order to control the rights to the way and order herself and her family are killed. In this scene we are provided with cuts of slow paced close-ups of the characters as the discussion ensues, adding to the tension, then, in a brief moment the editing becomes fast paced as Ann reaches for a gun and shoots one of her capturers, Paul. As Paul is shot dead, the cuts become sporadic, using the Kuleshov effect we are first presented with Peter, Pauls brothers reaction, alluding to the severity of

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Pauls gun wound intensifying the portrayal of the emotional reaction to the drama. Paul then takes back the gun and becomes seemingly distressed about the situation also shown through the range of the fast paced cuts of his reaction to reflect his ever-rising frustration. These rhythmically fast paced cuts provide the audience with a high intensity of drama displaying the chaos of the scene as the acceleration of the shots rise with the chaos; “A series of rapid shots leaves us little time to think about what we are watching” (Bordwell and Thompson: Film Art pg. 227). He then continues to look for the ‘remote control’, as he finds it a close up of him pressing rewind freezes on screen creating suspense and confusion among the audience as they’re forced to question the relevance of the never before mentioned remote control. As this image hangs on the screen the scene then begins to reverse finally returning to a freeze frame of Peter smiling and relaying the challenge to Ann. From this scene the film continues with an undeviating chronological forward narrative. In this scene we are shown Peter to be in control of the narrative to suit his characters aims. This unpredictable use of editing provides an untrustworthy narrator to the audience as the morally ambiguous Peter develops the narrative himself. Cutting into the drama of the scene we often see Peter directly talk to the audience, through these cutaways Haneke is able to show Peter’s character in a selfaware light. Creating this self-aware character puts a spin on a traditional protagonist of a film; Peter often breaks the fourth wall addressing the audience showing his awareness of their expectations. The dialogue he uses in these short, powerful close up cutaways act as a further way to confuse the audience through the untraditional editing style as they struggle to trust the characters narration.

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Varying from fast paced to slow paced cuts, the editing throughout Funny Games US entangles the audience with suspense and shocks. However, unlike most thrillers the editing in this film in certain scenes is little to none. As Ann struggles to escape from her tied ankles and wrists we are provided with a stationary long shot of the action, as her son lies lifeless in the corner of the room. The long shot is left on screen for over 2 minutes giving the audience a chance to take in all of the details of the devastating surrounding. This minimalistic editing enhances the tension of the scene as it provides realism to the drama as we see the scene unfold naturally with no distractions of non-diegetic sound and effects. We are left with a silent of action scene showing purely the natural distress and tension enabling audiences to empathise with the character as the realism comes to life in juxtaposition to the fast paced cuts.

Wholly Haneke’s 2007 Funny Games US acts as an irrefutable remake of the 1997 version. Through using updated software and techniques the editing of the 2007 edition is able to provoke high intensity emotion onto its audience through the juxtaposition of differing editing styles putting the audience at unease, on the edge of there seats throughout the film.

Word Count- 806

Bibliography- Part One

David Bordwell and Kristin Thompson (2013). Film Art An

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Introduction. 10th ed. NY: McGraw-Hill. 227.

Part Two Lady in the Lake (Narrative Analysis)

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Robert Montgomery’s 1947 Lady In The Lake is a classic Film Noir. This experimental period of Hollywood provides Lady In The Lake with unique and upcoming techniques to portray and entice the audience into the narrative. Using classic Film Noir devices such as chiaroscuro lighting and Dutch angles Lady in The Lake in fitted with the upcoming genre whilst also putting its own unique spin on these devices by filming almost entirely in a P.O.V shot. This original technique was used as a strong device for the promotion of the film, as they focused on its originality of first person narrative using Point Of View shots. Christopher Nolan (Director of Memento, a modern day Noir film) was once noted to say ”film noir is one of the only genres where the concept of point of view is accepted as a fairly important notion of storytelling.” (Bordwell, The Way Hollywood tells it, 2006, pg. 74)

The film relies heavily on main protagonist, Phillip Marlowe’s, narration to develop the narrative. Using an on-running P.O.V shot the audience are put in the eyes of Marlowe. Using this technique of perceptual subjectivity storytelling, viewers can wholly empathise with the character as they see the plot unfold through his perspective. Often this means the audience faces a restricted narrative, which, for this Detective film works perfectly to keep the audience in as much suspense and mystery as the character is placed in. Novelist, Ian McEwan described this forced tension as “Narrative tension is primarily about withholding information”(Bordwell and Thompson Film Art pg. 89). Upon entrance the film shows us a slowly increasingly closer shot of Marlowe sat stationary addressing the audience in a monologue explaining the murder case he is to be involved in. In this monologue he challenges the audience to solve the case- “You’ll see it just as I saw it... and maybe you’ll solve it quick and maybe you

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wont”. This opening then switches straight into the perspective P.O.V shot of Marlowe entering the Kingsby Publications office. This introduction gives a chance for the audience to become actively involved in the narrative through taking on Marlowe’s challenge of solving the case. Then switching to the P.O.V shot the audience are rushed straight into the narrative of the film deciphering the long takes providing optimum time to look at the details of the shots, as though they were detectives, looking for clues and enigma codes; “We find ourselves plunged into mystery, caught in a narrative trap of sorts that, for the films duration, we cannot escape” (J.P. Telotte Voices in the Dark: The Narrative Patterns of Film Noir pg. 106)

In one scene we are presented with Marlowe entering the house of his employer of the investigation, Adrienne Fromsett. In this scene we again look through Marlowe’s eyes. This means that the character of Marlowe can’t convey his emotions to the audience through his facial expressions. Audrey Totter’s performance of Adrienne Fromsett shows a rather in fitting theatrical and animated presence, expected of Film Noir, although however, perhaps this technique is so strongly displayed to make up for Marlowe’s inability for strong character development as he works as a pair of eyes for the audience rather than a character to feel sympathy for. In this scene however Marlowe follows Adrienne to a mirror where we can then see his reflection. This happens a couple of times throughout the film, acting as pauses in the P.O.V subjective story telling by readjusting the audience view to a more-so conventional and traditional style of cinematography giving the opportunity to focus upon the allusions of subtle romance between Marlowe and Adrienne. It has been said, that at the time of release Lady in The Lake

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received some negative critique for its lack of conventional romance, this scene however provides a way for the audience to relax into the external view and what they expect from the narrative of a Film Noir.

Lady in the Lake is chiefly remembered as an experimental film, many have said that upon the film release they did not feel involved as the P.O.V shot style expects. This is arguably down to the high level of dialogue Marlowe has, which ultimately defines the line between character and audience. However to combat this effect, the film has very little soundtrack, giving a more realistic structure to the film. Without the inclusion of background music we are truly shown exactly from Marlowe’s perspective. The involvement of Marlowe’s dialogue also helps to define his conventional Film Noir character style of an unsympathetic anti-hero. This wholly forwards the narrative as audiences can identify with the common protagonist of the main character. Therefore making Montgomery’s portrayal ultimately successful, by casting himself in the role of Marlowe, Montgomery was able to engage himself to the character enabling audiences to do the same and become similarly as enthralled in the narrative.

Word Count- 811

Bibliography- Part Two

David Bordwell (2006). The Way Hollywood tells it. US: University Of California Press. 74.

David Bordwell and Kristin Thompson (2013). Film Art An Introduction. 10th ed. US: McGraw-Hill. 89.

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J. P. Telotte (1989). Voices in the Dark: The Narrative Patterns of Film Noir. US: University Of Illinois Press. 106.

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