Scene 11: BCU of Dortlich’s facial expression

Shows Dortlich in pain, as if he knows he is about to be

claimed as Lecter’s victim.

Scene 12:CU of the rope

The blood splattering on the rope represents the death of

Dortlich.

Scene 13: CU of the blood splattered on Lecter’s face

CU shot showcases Lecter’s satisfaction of the murder.

Lighting

• Source: The point of origin and the direction of its beams

• Type of lighting: affects the meaning of shot

• Colour of the light

• Quality: includes the light’s brightness and continuity

(Butler A. M.,2005)

Lighting

• Outdoor lighting

• Outdoor illumination is primarily accomplished by sun

• Diffusion through the trees

• Constructs a horror/thriller mode

• Light can enhance the genre of a film such as the diffusion of light used in this film.

• E.g: in the lab, in the ship

In this scene, the light is diffused by the trees, thereby creating a soft illumination.

The dim light in the laboratory creates the ambience of horror.

The darkness of the lighting in the ship grabs the audience’s curiosity for the next scene of the storyline.

Costume • Act as a pointer to their personality or style

• Shows the status of a person

• Make clear to the audience what era is the film from

(Butler,2005)

The thick jacket is the hint to tell the audience that the weather is extremely cold.

Make-up

• Usually invisible, aesthetics of the film

(Butler,2005)

• The makeup on Grutas acts in portraying Grutas as a savage.

• Lecter’s face is clean and grime-free, this perhaps is indicative of the fact

that he comes from a refined, educated background.

• Make-up creates division between social classes.

Mise en shot

• The process of translating mise en scene into film is called mise en shot.

• To create a film an interaction must exist between mise en scene & mise en shot.

Continuity Editing

• To cohere various shots to produce a scene.

• The axis of action line

• The eye line match

• The match on action cut

The Eye Line Match

• Scene: When Hannibal finally puts Mischa to rest.

The Match on Action Cut

• Occurs throughout Dortlich’s strangulation scene.

Diegetic Sound

• Sound whose origin is to be located in the story world.

Narratives

• What is shown / depicted in the film.

• Comprises of actions, events & characters.

• Aid in the storyline’s cause & effect.

Narratives in 3 stages

• Pioneered by Tzvetan Todorov:

• A state of equilibrium.

• The disruption of this equilibrium by an event.

• The successful attempt to restore the equilibrium.

Linear & Chronological

• Narratives of a film: linear & chronological.

• A flashback disrupts the linear order of the film.

Upsets a film’s cause-effect logic

Additional Elements

• Exposition

• Obstacle

• Deadline

Narration

• A tool that determines how narrative information is conveyed to the spectator.

Omniscient Narration

• Viewers are offered the ability of all-seeingness.

• Functions to create suspense.(Buckland, 2010)

Psychoanalysis

• Coined by Sigmund Freud

• To describe his theories & techniques for finding & curing the mental problems of his patients.

Id, Ego & Superego

• Id

• It operates by The Pleasure Principle.• Selfish & yearns for immediate gratification.

• Ego

• It operates by The Reality Principle.• It battles against the Id.

Id, Ego & Superego

• Superego

• Super monitors the ‘Id-Ego’ battle.

• Described as our ‘conscience’ or ‘moral watchdog’.

The Libido

• Does not infer to sex drive in this particular context.

• But an INBORN ENERGY we have that motivates & enables us to survive.

The Defence Mechanism

• Functions in unconsciously protecting ourselves from unpleasant ideas.

• Helps in our everyday survival.

• Over usage causes fixation & identification problems.

Combating Defence Mechanism

• Displacement: diverting your energy (Libido) into another activity.

• If something frustrates or if someone annoys us, we tend to ‘take it out’ on someone else.

(Benson, 2007)

Bibliography• Anon., 2007. Official website: Hannibal Rising. [Online]

Available at: http://www.hannibalrising.com/site/index.html[Accessed 18 April 2014].

• Anon., 2008. IMDb.com, Inc.. [Online] Available at: http://www.imdb.com/name/nm0916424/bio?ref_=nm_ov_bio_sm[Accessed 18 April 2014].

• Bordwell, D. & Thompson, K., 1997. Film Art: An Introduction. 5th ed. New York: The McGraw- Hill Companies Inc..

• Buckland, W., 2010. Understand Film Studies. 4th ed. London: Hachette UK Company.

• Butler, A. M., 2005. Film Studies. 1st ed. Herts: Pocket Essentials.• Monaco, J., 2009. How To Read A Film: Movies, Media, and Beyond.

4th ed. New York: Oxford University Press.• Nelmes, J., 2012. Introduction To Film Studies. 5th ed. New York:

Routledge.