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submarine
submarine movie media studies notes
| Question | Answer |
|---|---|
| when was submarine released | 2010 |
| who directed submarine | Richard Ayoade |
| list 4 companies involved in producing submarine | the weinstein company, warp films, uk film council, welsh creative ip fund |
| which two companies distributed submarine | the weinstein compay, Optimum releasing |
| which two actors starred as oliver and jordana | craig roberts and Yasmin Paige |
| what did the BBFC rate submarine | 15 |
| 2 examples of how oliver tate breaks the fourth wall in the opening scene | voice over, eye contact |
| what does the submarine mural oliver is sat below in the opening scene represent | depression |
| 3 examples of intertextual references | drawing of woody allen, duffel coat and hunting cap reference holden caulfield |
| 2 reasons woody allen relevant to olver tate | alvy singer = self absorbed romantic, narrates film of his life |
| what meaning is created by the detail of Oliver's parents lightbulb (theory of semiotics Roland Barthes) | there is no passion in their relationship |
| what meaning is created by Lloyd and Oliver being staged below the fish tank (theory of semiotics Roland Barthes) | they are depressed |
| list three settings that conform to coming of age genre conventions (genre theory steve neale) | school, home, cinema |
| how does the general lighting of the film contrast with Oliver's romanticism | bleak realism VS idealism |
| what two instances of unrealistic lighting are there | Oliver's resurrection fantasy, two weeks of lovemaking montage |
| what does the white back-lighting of Oliver's resurrection fantasy connote | divinity |
| what 3 things does the warm dramatic and sometimes backlit lighting of two weeks of love making connote | romance, exitement, passion |
| what does unrealistic lighting reveal to the viewer about the scene | it is Oliver's fantasy and not real |
| what 2 things does olivers duffel coat tell us about him | awkward and immature |
| what 3 things does jordana's red coat connote | danger, love, rebellion |
| what does Jordana's bob reference | femme fatale trope in french new wave cinema |
| what does graham pervis's hair and jacket connote | rebellion |
| 2 example of non diagetic | oliver's voice over, alex turner's score |
| two ways alex turner's score suits oliver | melancholy, emotional self indulgence |
| example of diagetic sound | ambient waves |
| waht does oliver's staging alone at the centre of a long distance shot reveal about him | he is isolated and self-centered |
| what do hand held shots reinforce | the film is from oliver's perspective |
| what two things do jumpcuts connote | exitement, spontaneity |
| example of when hand held and jumpcut shots are used | two weeks of love making montage |
| when are steady medium distance shots used | in the Tate's home |
| what two things do the fireworks/sparklers, matches used around jordana ( in the TWoLM montage) connote | danger, passion |
| list 3 references to french new wave cinema | jordana's coat, jordana's bob, title cards |
| what is written on the first title card in the film | prologue |
| what type of cinematography are title cards an example of | non-continuity editing |
| list 3 themes in the film that conform to the coming of age genre conventions (Steve Neale) | self-discovery, romance family issues |
| how has oliver developed by the end of the film | learned to step out of his constructed, romanticised narrative |
| how is oliver's rejection of his self-constructed narrative represented at the conclusion of the film | him following Jordana into the ocean |
| is submarines conclusion clear or ambiguous | ambiguous |
| does submarine suit the high concept model | no |
| simulacra and hyperrealiy theory Jean Baudrillard | reality is replaced by a constructed, cinematic representation |
| what is an example of simulacra and hyperreality theory in submarine | two weeks of lovemaking montage |
| identity theory David Gauntlett | we use media to construct our identities |
| example of identity theory in submarine | Oliver defines his life through film |
| quote to demonstrate that oliver defines his life through film | "i imagine a camera craning up as I walk away" |
| chiaroscuro | high black and white contrast lighting |
| waht does chiaroscuro represent in submarine | emotional turmoil |
| 2 examples of chiaroscuro in submarine | oliver watching Pervis's show, new years eve |
| how does submarine subvert coming of age genre conventions (genre theory steve neale) | the narrative tone is dry and cynical not uplifting |
| 2 examples of submarine not using star theory | Oliver Tate and Jordana Bevan are played by unkown actors |
| 2 examples of submarine using star theory | Passy Considine and Sally Hawkins |
| list three binary opposites in submarine that advance the narrative (claude levi strauss structualism) | youth VS adulthood, family VS isolation, idealism VS realism |
| how does the binary opposition of youth VS adulthood manifest for Oliver | Oliver's immaturity VS life's complex problems |
| how does the binary opposition of realism VS idealism manifest for oliver | oliver's romanticism VS bleak reality |
| cultural capital theory Pierre Bardieu | indie films use cultural capital like critical acclaim to gain funding |
| 2 examples of cultural capital in submarine | director Richard Ayoade's reputation, musician Alex Turner's reputation |
| what is using Alex Turner' score in submarine an example of | horizontal integration |
| why is using Alex Turner's score in submarine an example of horizontal integration | Alex turner was signed onto Warp's record label |
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georgieN007
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