Talk to Her question

EXPLORE HOW FAR THE APPLICATION OF A PARTICULAR CRITICAL APPROACH HAS EITHER REINFORCED OR CHALLENGED YOUR FIRST IMPRESSIONS OF YOUR CLOSE STUDY FILM.

My own interpretation of the film: A dramatic story about the power and destructive nature of love and repressed desires and the ambiguity of excessive, selfless love.

Focus critical approach: Rosemary Bechler
Peter Bradshaw
Jocelyn Gillece
Rebecca Naughten

Talk to Her articles

http://listverse.com/2009/01/06/9-gruesome-fairy-tale-origins/
https://en.wikipedia.org/wiki/Sleeping_Beauty
http://www.shmoop.com/grimms-fairy-tales/themes.html
http://nobodyknowsanybody.blogspot.co.uk/2011/08/comatose-women-in-forest-hable-con-ella.html
https://www.opendemocracy.net/arts-Film/article_2071.jsp
http://old.bfi.org.uk/sightandsound/feature/74

Sexism in James Bond sources

http://www.slideshare.net/christimothy12/laura-mulvey-the-male-gaze-26381318
http://keithmcmath.tumblr.com/post/37397269522/feminism-laura-mulvey-james-bond-and-the-male
http://realizziie.blogspot.co.uk/2010/03/female-gaze-vs-male-gaze-has-there-been.html
http://www.stylist.co.uk/life/feminist-watches-skyfall
http://panels.net/2015/04/20/male-gaze-vs-female-gaze/
https://benjbourne93.wordpress.com/how-women-are-represented-as-bond-girls/
http://www.academia.edu/1947424/Shaken_and_stirred_A_content_analysis_of_womens_portrayals_in_James_Bond_films
https://www.inter-disciplinary.net/wp-content/uploads/2011/08/nansgpaper.pdf
http://www.relevantmagazine.com/culture/film/james-bond-sex-and-masculinity
http://drceccoli.com/2013/10/on-men-shaken-and-stirred/
http://www.usnews.com/news/articles/2010/03/12/the-1960s-a-decade-of-change-for-women
https://sites.google.com/site/christineandelinkearns/project-2--lexical-by-decade
https://userpages.umbc.edu/~korenman/wmst/identity_pol.html
http://literary007.com/2014/05/17/interview-with-robert-caplan-on-the-feminism-of-james-bond/
http://www.huffingtonpost.com/matthew-parker/james-bond-and-the-fall-o_b_7033248.html
http://www.theguardian.com/commentisfree/2012/aug/01/bond-villains-javier-bardem-fears-era
http://them0vieblog.com/2012/10/04/a-view-to-a-bond-baddie-auric-goldfinger/
http://www.themarysue.com/bond-girl-the-spy-who-loved-me/
http://them0vieblog.com/2012/10/23/a-view-to-a-bond-baddie-le-chiffre/
https://books.google.co.uk/books?id=ZdqJJG1pRkwC&pg=PA158&lpg=PA158&dq=auric+goldfinger+what+he+represents&source=bl&ots=-YbVgTgNSB&sig=QWrlAF7ZmJNRFT9lFHx0SAzUHcc&hl=en&sa=X&ei=CTSeVYDBH8aS7AaX_aSoBw&ved=0CEkQ6AEwBw#v=onepage&q=auric%20goldfinger%20what%20he%20represents&f=false
https://books.google.co.uk/books?id=g4-sFrU8Xw0C&printsec=frontcover#v=onepage&q&f=false
https://sydeegee.wordpress.com/2014/05/04/men-on-top-women-on-bottom-gender-roles-in-goldfinger-how-the-bond-girls-resist-heteronormativity/
http://www.telegraph.co.uk/news/celebritynews/3024355/James-Bond-girls-are-feminist-icons-says-Cubby-Broccolis-daughter.html
http://www.123helpme.com/view.asp?id=148924
https://books.google.co.uk/books?id=pq0wBwAAQBAJ&pg=PA171&dq=bond+girls&hl=en&sa=X&ved=0CFAQuwUwCGoVChMIv4jt-43lxwIV6hfbCh1s4wOr#v=onepage&q=bond%20girls&f=false
https://books.google.co.uk/books?id=MmhQFeHHF_QC&pg=PA82&dq=Bond+girls&hl=en&sa=X&ved=0CFQQ6AEwCWoVChMI4rfOq5LlxwIVwq7bCh2cbwCn#v=onepage&q=Bond%20girls&f=false
http://www.existentialennui.com/2010/10/is-ian-flemings-james-bond-really.html
http://www.telegraph.co.uk/men/thinking-man/11836460/James-Bond-youre-a-sexist-but-we-love-you-for-it.html
http://the-artifice.com/james-bond-novels-sexual-subordination/
Use quote from The James Bond Phenomenon from page 60 onwards
http://literary007.com/2013/09/20/fleming-defends-bond-as-exclusive/
http://www.express.co.uk/life-style/life/449901/Dark-side-of-007-author-Ian-Fleming
http://thejamesbondsocialmediaproject.com/goldfinger-subtext-and-the-rape-of-pussy-galore/
http://pnayerbmetmedia.blogspot.co.uk/2013/05/goldfinger-goldeneye-and-quantum-of.html
http://007grandslam.com/2013/09/01/goldfinger/
http://turbandecay.blogspot.co.uk/2014/09/the-spy-who-loved-me-1977.html
https://books.google.co.uk/books?id=q92nCgAAQBAJ&pg=PT129&lpg=PT129&dq=feminism+in+the+spy+who+loved+me&source=bl&ots=JnZl68FtW9&sig=fAShjzqzcrGqulHZm7We_tKGxiE&hl=en&sa=X&ved=0CDgQ6AEwBTgKahUKEwie4uvc-bfIAhUBPxQKHcv1AZI#v=onepage&q=feminism%20in%20the%20spy%20who%20loved%20me&f=false
http://www.independent.ie/entertainment/movies/feminist-icons-or-spy-candy-26480190.html
http://www.moviesaboutgladiators.com/2013/05/bond-retrospective-10-the-spy-who-loved-me/
http://jamesbondmemes.blogspot.co.uk/2013/04/the-evolution-of-ms-role-in-james-bond.html
http://io9.com/5959082/skyfall-unquestionably-belongs-to-dame-judi-dench

Question

What are some of the issues for UK producers and audiences in terms of Hollywood's domination of film distribution?

Issues for producers:
The money goes back to America and British producers don't have as much money.
The backing of American studios of needed often for British films to be successful.
Co productions are usually required.
Without these, British films usually perform poorly.
British companies find distribution deals more difficult as the films don't get released as much.
First and Second World Wars disrupted the rise of British film.
Although plenty of British talent is involved in the film industry.
More people in America so more media.
The technology is American.
Poor perception of British films.
Hollywood dominates the British film industry.

PLAN
1. Hollywood has the money, so British films need vertical integration to succeed mostly. The Theory of Everything, Hawking.
2. America also has the technology, so British films are usually low budget and small scale. Those with big technology, such as Gravity, have links to America.
3. British audiences often only get to see American films.
4. British producers don't have the distribution money. Welcome to the Punch.
5. People are less interested in British films as most aren't blockbuster movies. All 5 Best British Film BAFTA nominees were fairly small scale movies.

Atonement

Working Title heritage film
Emphasis on characters, plot and quality
Based on a difficult to film novel
Very successful

Mise-en-scene shows the house is upper class and privileged
Briony is introduced with the fast, focussed cinematography and typewriter sound effects showing her ambition and focus on writing.
Cecilia is shown as privileged and upper class thanks to the mise-en-scene and focus on her property but she is seen smoking, so she has a more rebellious side too.
Robbie is shown as rebellious and more lively, and his actions and lack of care for the vase show this.

The characters are shown as stereotypical upper class British, but with Briony's writing ambitions and Cecilia's cigarette defies conventions a bit. Upper class characters with slightly working class behaviour.
A scene is seen from the distance to show Briony's perspective and then shown again to show how she is misreading what she sees.
The doll's house and toys on the floor show Briony's imagination and how she likes stories.
The cinematography emphasises beauty and setting, but there's a sense of tension as we keep seeing things from far away and looking around corners is seen a bit. There's a fair amount of intensity and some of the cinematography is unexpectedly kinetic.

Wallpaper and carpets are covered in flowers, so it seems natural. Briony is in control of a kingdom.
Picture shows girl praying- connotations of begging for forgiveness. The film tries to replicate the time period as accurately as possible.  Camerawork shows Briony's perspective.

Dunkirk scene- with one take the confusion and chaos of the evacuation is shown, as is how overwhelmed Robbie is. There's an emphasis on not doing things the easy way. The scene carries various anti war messages.
The film's success is partly due to the period setting and the exquisite representation of the time period. Americans are obsessed with British heritage, since they don't have as much heritage as we do. Viewers don't really require knowledge of the time to appreciate the film.

Exam Qs

Discuss a minimum of two Working Title British films in the question.

How far can it be said that there are particular kinds of storyline that are typical of your chosen production company?

How far can it be said that the films of your particular production company use stereotypes to communicate ideas and values?

Stereotypes- characters which look the same and act the same. The Working Title main characters have stereotypical qualities but as they develop, they transcend the stereotype. Side characters are sometimes stereotypes to aid the plot. They often give the main character something to react against.

How far can it be argued that Working Title has a particular set of British attitudes and values?  Question: How far do the narratives of the films you have studied for this topic communicate similar messages and values?

Atonement shows privileged characters leading their upper class class lives in stunning British countryside, showcasing the British heritage which Americans are obsessed with. Even while lounging by the lake there's still a sense of glamour. There is a strong emphasis on class, with the traditional British house and what the characters own. Roll's Royce shows Britishness and class. A lot of nature images around the house creates connotations of the British countryside. British sounding music. Relaxation despite the great weather. No need to work. Upper class people seem to be slightly lazy, while the servant is less so and the film promotes anti snobbery and anti laziness. The servant is far less privileged, and the upper class life seems idyllic.

Atonement is pro love and anti deception.

Representation in Working Title Films

They have a strong sense of identity
Is there such a thing as a Working Title film?
Yes
Is there such a thing as a British Working Title film?
Yes
Universal paid a billion dollars to get 60-75% share in the company
Their films have realism, due to locations, relatable characters, incongruous humour and universal story-lines.
They are the most successful British film production company ever.
They've grossed over $90 billion dollars worldwide.

Four Weddings and a Funeral: Directed by Mike Newell, written by Richard Curtis
Realism: Being late for a wedding is a very relatable situation, all cars featured are British, known British locations shown, British miss-en-scene, Americans love hearing British people swear, eccentric characters, classes, self deprecating humour.

NOTTING HILL

The British culture is shown in the mise-en-scene, as it's very tidy and reflects class a lot. The props all seem British and the clothing does as well.

The family lives in a terraced British house and all of the furniture seems British and aren't found as much in America. The house is noticeably occupied with props and looks different from American
houses.

Will: Awkward, endearing, self depreciating Anna: Modest, intelligent, humorous  Honey: Obsessive, emotional, eccentric   Bernie: Workaholic, down to earth, polite  Max: Inquisitive, deadpan, sharp  Bella: Slightly downbeat, pleasant, witty

Will: Awkward Englishman    Anna: Glamorous movie star   Honey: Eccentric  Bernie: Overworked businessman   Max: Quirky best friend   Bella: Humorous but hard done by figure

There are many self depreciating or affectionately insulting jokes and phrases throughout the scene. There are many characters being hard on themselves throughout, and also the dialogue captures the differences between the British and American characters.

Julia Roberts was a known American film star, while the others are actors known for playing British roles and therefore often eccentric ones.

Although the scene is a romanticised version of British eccentricity, overall it's a realistically awkward scenario and the dialogue feels slightly exaggerated but is an exaggerated version of realistic conversations.

Overall, it fits our perceptions and this is key to the effectiveness of the scene.