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1
ysh
Teaching
Young Sherlock Holmes
2
Teaching Young Sherlock Holmes
1. Holmes and Detective Fiction
2. Young Sherlock Holmes -Production History
3. Category and Genre - generic hybrid; tone
4. Narrative - two narratives, plot and story, narrative structure
5. Language - mise en scene, cinematography, editing, sound
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1. Holmes and Detective Fiction
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17th C. growth of journalism - broadsheets would be rushed out after major crime or execution
Holmes and Detective Fiction
although writing about crime been going on a long time, genre really took off in 19th century
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Detective fiction given boost by real life detective: Eugene Francois Vidocq
Former criminal, became police informer, finally policeman
Founded the Sûreté - first professional police force in France
Gerard Depardieu as Vidocq
Holmes and Detective Fiction
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Innovator - card-index records; introduced police to ballistics
Master of disguise (as is Holmes) and surveillance
Set up first private detective agency
Published his (unreliable) memoirs which influenced subsequent crime fiction
Holmes and Detective Fiction
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Edgar Allen Poe (1809-49), Poet and novelist
Drew on Vidocq’s memoirs and created “tales of ratiocination “and brilliant detective Auguste Dupin (eg “Murders in the Rue Morgue”)
Highly intelligent gentleman crime-solver, tackling crime police unable to solve Conan Doyle great admirer (even if Holmes not!)
Holmes and Detective Fiction
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Holmes and Detective Fiction
Born Edinburgh 1859, studied medicine in Edinburgh University where he started writing
Holmes thought to be partly based on Professor Joseph Bell, known for his ability to observe patients and deduce facts about with amazing accuracy
First significant work, novel “A Study in Scarlet”
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Wrote four novels and fifty-six Holmes short stories. All but four stories are narrated by Holmes's friend and biographer, Dr John H. Watson.
Grew tremendously in popularity when started to appear in Strand Magazine in 1891; further series of short stories and two serialised novels appeared until 1927.
Stories cover a period from around 1878 up to 1907, with final case in 1914.
Holmes and Detective Fiction
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Holmes and Detective Fiction
What Holmes shares with general corpus of detective fiction.
Detective story defined as “a novel or short story in which a crime, usually a murder – the identity of perpetrator unknown – solved by a detective through a logical assembling and interpretation of palpable evidence, known as clues.” *
Good detective story generally follows six “unwritten rules” :
* Hugh Holman “A Handbook to Literature”
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Holmes and Detective Fiction
The Good Detective Story
1 Crime must be significant, worthy of the attention it
receives
2. Detective must be in some way a memorable
character -must be very intelligent, clever and observant.
Should -also stand out because of some individual style,
eg -eccentricity of dress or speech.
3. Must be an outstanding opponent, a criminal
clever
enough to be a match for the hero.
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Holmes and Detective Fiction
The Good Detective Story cont
4. Because large part of the attraction of genre is
opportunity for the reader to try to figure out the
solution along with the detective, all suspects must
be introduced early.
5. All clues detective discovers must be made
available to reader as well as detective.
6. Solution must seem obvious, logical, possible – not
result of accident or supernatural causes; and
detective must be able to explain all aspects in
reasonable way.
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Holmes and Detective Fiction
Useful to get pupils to apply these rules to Holmes stories
Does it work for “The Speckled Band”?
Does it work for other Holmes stories?
Does it work for Young Sherlock Holmes?
Effective exercise
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Repertoire of elements?
Term usually associated with film genres but can be applied to genre prose fiction
Perhaps can even say there is a Sherlock Holmes genre
Holmes and Detective Fiction
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Popular image of Holmes combination of Conan Doyle and number of illustrators, esp Sydney Paget in Strand Magazine.
Holmes and Detective Fiction
Stage adaptation anchored Holmes image in popular imagination where has remained
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Holmes and Detective Fiction
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The ‘corpus’ of genre consists of works of Arthur Conan Doyle, ie “the canon” (Conan?)
But might also be said to consist of works emanating from canon to include
• stage plays - particularly important in establishment of Holmes image in public imagination• adaptations (film and TV)• pastiche works• graphic novels
Holmes and Detective Fiction
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Holmes Genre: Repertoire of Elements
• Holmes props:Deerstalker, Inverness cloak,
Meerschaum pipe, magnifying class, scientific
instruments,
•“Catch-phrases”:
“The game is afoot”;”Elementary, my dear Watson” (exact words not used in Conan Doyle)’ “You look but you do not see”
Genre
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Holmes Genre: Repertoire of elements
• Holmes’s use of disguise (eg “A Scandal in Bohemia”)
• No interest in women (apart from Irene Adler)
• Holmes’s powers of observation and deduction
eg in “The Speckled Band” - able to work out details of Helen Stoner’s journey that morning from a ticket and mud-splashes on her clothes
Genre
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Holmes Genre: Repertoire of elements
Recurring characters:
• Professor Moriarty - arch-nemesis• Inspector Lestrade (wants Holmes help but
tries to take credit)• Baker Street Irregulars - street urchins
who do odd jobs for Holmes (eg “A Study in
Scarlet”)• Brother Mycroft
Genre
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Examples of adaptations
Basil Rathbone films of 1940s
Holmes and Detective Fiction
ITV series with Jeremy Brett (1970s)
Tended to be reasonably faithful to original models though Rathbone films often switched settings to 1940 (eg wartime exploits against nazis)
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Not just in English-speaking world:
Russian television produced adapations from 1979 - 1986with Vasily Ivanov
Holmes and Detective Fiction
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Holmes and Detective Fiction
“"It is cocaine," he said, "a seven-per-cent solution. Would you care to try it?” Holmes to Watson in “The Sign of Four”
Nicol Williamson as Sherlock Holmes, Robert Duvall as Watson, and Alan Arkin as Dr. Sigmund Freud. Laurence Olivier played the brief role of Professor Moriarty.
Many films used Sherlock Holmes myth for newworks - either straight or pastiche or parody
The Seven-Per-Cent Solution (d. Herbert Ross) based on novel by Nicholas Meyer. Pastiche of Sherlock Holmes adventure, focusing on Holmes’s drug addiction
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Holmes and Detective Fiction
Celebrated German director Billy Wilder’s The Private Life of Sherlock Holmes (1968) with Robert Stephens which speculated about Holmes’s ambiguous sexuality
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Holmes and Detective Fiction
.
Latest example in post-production (WB)
Sherlock Holmes directed by Guy Ritchie
Based on Lionel Wigram’s graphic novel (not published yet)
Watson played by Jude Law
Holmes played by Robert Downie Junior
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Holmes and Detective Fiction
.
Young Sherlock Holmes and Holmes Genre will be considered in Section 3
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2.Young Sherlock Holmes Production History
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2.Young Sherlock Holmes Production History
Released USA 1985
Rleeased UK (as Young Sherlock Holmes and the Secret of the Pyramid) March 1986
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Young Sherlock Holmes
Directed by Barry Levinson (1942 - )
Films include:
Diner (1982)The Natural (1984) Good Morning,Vietnam (1987) Rain Man (1988) (Oscar for Best
Director)Bugsy (1991)Wag the Dog (1997)Toys (1992),
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Young Sherlock Holmes
Original script by Chris Columbus (1958 - )
Films include:
Home Alone (1990) (director)Mrs. Doubtfire (1993) Harry Potter and the Philosopher's Stone(2001) (producer-director) Harry Potter and the Chamber of Secrets(2002)(producer-director) Harry Potter and the Prisoner of Azkaban(2004) (producer)
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Young Sherlock Holmes
Production Companies
• Paramount Pictures
• Amblin Entertainment
• Industrial Light & Magic (ILM)
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Young Sherlock Holmes
Paramount Pictures
One of traditional “Big Five” Hollywood StudiosSubsequently involved in distribution and finance Rather than production
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Young Sherlock Holmes
Amblin Entertainment
Founded in 1981 by Steven Spielberg and associates Frank Marshall and Kathleen Kennedy.
Produces but does not distribute films
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Young Sherlock Holmes
Industrial Light & Magic (ILM)
Visual effects company that was founded in May 1975 by George Lucas and owned by Lucasfilm.
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CGI in YSH impressive given the date of the
film.
Supplied by George Lucas’s Industral Light
and Magic company which developed the
effects for films such as Star Wars.
YSH was the first film to use a CGI that
actually interacted with the characters on
screen.
Young Sherlock Holmes
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Language
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Young Sherlock Holmes
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Young Sherlock Holmes
Executive Producer suggests overseeing rather than hands-on role
Spielberg had just finished Indiana Jones and the Temple of Doom (1984) (prequel to Raiders of the Lost Ark (1981) )
Notable influence on Young Sherlock Holmes-see section on genre
-Modest box office (not much more than costs - c. $18 million)
But posthumous life on video/DVD
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Young Sherlock Holmes
Certification
USA: PG-13
UK: PG
Could producers have toned down more frightening scenes (eg Elizabeth about o be mummified)?
Same problem with Indiana Jones films
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3. Genre and Other Categorisations
41
Genre
Genre most important
aspect of film
categorisation
Based on similarities
in the narrative and
other elements from
which films
constructed.
42
Genre
Films usually categorized in terms of genre according to their
• setting: eg western
• theme or topic or mood eg horror
• audience eg teenpic, chickflick
• protagonist’s occupation eg gangster
43
GenreIconography - repeated visual (and sound)
motifs associated with a genre
eg western - desert, rugged landscape, frontier town,horses, stagecoaches
eg gothic horror - gloomy gothic castle, garlic, inn with locals crossing themselves at the name of the vampire
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Genre
Iconography - repeated visual (and sound) motifs associated with a genre
eg sci-fi - gleaming meallic surfaces, advanced technology, aliens
eg gangster - backstreet urban setting, bars and clubs (speakeasys), weapons, sharp clothes (for top brass)
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Genres never “pure”, even in early cinemaEg “singing cowboy” films combined western + musical
“generic hybrids”
But became more common post 1970s
eg Blade Runner : scifi + film noir
eg Star Wars: scifi + action-adventure
eg Prizzi’s Honor : gangster + screwball comedy
Genre
46
Young Sherlock Holmes a hybrid of different genres.
• detective genre
• action-adventure genre
Action-adventure itself a hybrid of action and adventure
Genre
47
Action film
Usually include spectacle, high energy, physical stunts and chases, rescues, battles, fights, escapes, destructive crises (floods, explosions, natural disasters, fires, etc.), non-stop motion
Often two-dimensional heroes (“goodies”) battling villains (“baddies’) - all designed for pure audience escapism.
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Action
Die-Hard films
Lethal Weapon
Examples:
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Action
Often combine with other generic elements such as police-procedural, espionage, war
eg James Bond 'fantasy' spy/espionage series, martial arts films, and so-called blaxploitation films.
The disaster film (eg Towering Inferno) might be classified as an action film
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Action
Clip “Bond, James Bond”/”Holmes, Sherlock Holmes
“
51
Adventure
Considerable overlap in that adventure
films also action films but usually have
new experiences or exotic settings.
Can include traditional swashbucklers,
serialised films, and historical spectacles,
searches or expeditions for lost
continents, "jungle" and "desert" epics,
treasure hunts, disaster films, or searches
for the unknown.
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Adventureeg
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Adventure
Exotic locations usually mean some far-off
country where things are different from what
the audience is used to
Resolution usually involves large-scale action,
buildings destroyed etc
Usually appeal to a younger demographic that
straightforward action films
54
Action-Adventure
Most successful example of genre in recent years
Significant influence on Young Sherlock Holmes
55
Genre
. Other main genre strand of Young Sherlock Holmes - detective film (often overlapping with suspense, thriller or mystery films)
Focus on the unsolved crime (often murder, theft, blackmail or disappearance of one or more of the characters, or a theft),
The detective film
56
Genre
.
Focus on central character - detective-hero (either a policeman or a private investigator) who faces various adventures and challenges in cold and methodical pursuit of the criminal or the solution to crime
The detective film
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Genre
Plot often centers on the deductive ability, prowess, confidence, or diligence of the detective as he/she attempts to unravel the crime or situation by piecing together clues and circumstances, seeking evidence, interrogating witnesses, and tracking down a criminal.
Detective
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Genre
Detective films emphasize the detective solving the crime through clues and exceptional rational powers.
Detective
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Genre
The detective studies intriguing reasons and events leading to crime
- eventually determines the identity of villain
- a murderer, a master spy, an arch fiend, an unseen evil, or a malignant psychological force).
Detective
60
Genre
Genre has ranged from early mystery tales, fictional or literary detective stories, to classic Hitchcockian suspense-thrillers to classic private detective films and films noirs.
Detective
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•The 39 Steps (1935)•The Maltese Falcon (1941)•Maigret voit rouge/Maigret Sees Red (1963)•Marlowe (1969)
Genre - Detective
•Klute (1971) •Death on the Nile (1978) •Blade Runner (1982)•Dick Tracy (1990)•Lone Star (1996)
Some notable examples
Most based on detective novels
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In addition to the action-adventure and the detective elements, other genres make an appearance in Young Sherlock Holmes
• Romance - the Holmes-Elizabeth relationship
• Public school genre eg Tom Brown’s Schooldays (1951)
Genre
63
Overlap between detective and action-adventure
detective genre put more emphasis on detection -
• investigation (amassing of clues)• forensics (using science to solve crimes) etc.• logical deduction
•Action-adventure emphasis on derring-do
Genre
Detective
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YSH and detective genre
• Holmes establishes link early on between dead men
Genre
65
Using forensics (chemistry), able to find origin of material worn by hooded figure - leads to warehouse in docks area and discovery of Rame Tep temple
Genre
YSH and detective genre
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Intuition as well as deduction from evidence
- cut on face reminds him of ring with Rame Tep symbol worn by Rathe) - leads him to identity of villain
Clip
Genre
YSH and detective genre
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Genre
YSH and detective genre
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YSH and detective genre
•In detective genre, resolution (see section on Narrative) through deduction
Resolution to narrative not discovery of the criminals (“who done it?”) but confrontation with cult and final duel with Rathe EhTar
ie through action
Clip
Genre
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Genre
70
Exotic locale a feature of action-adventure
However, in Young Sherlock Holmes exotic is found close to home: the Rame Tep temple in . . . Wapping, East London
Setting is exoticised
Genre
71
Mise en scene - chanting sect members with shaven heads and eastern dress; torches, animal heads etc
(Will be developed further in Language section)
Clip
Genre
72
Final battle brings down whole temple
Holmes saved at last minute by Watson’s ingenuity
Final confrontation with Rathe
Resolution of YSH’’s narrative therefore more typical action-adventure than detective
Genre
73
In detective genre, sometimes violence but minor key. Action-adventure however tends to ends with large-scale set-piece
Compare climactic scene in Young Sherlock Homes with Indiana Jones and the Temple of Doom
clip
Genre
74
Clips from Indiana Jones and from Young Sherlock Holmes
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How are the ‘repertoire of elements” deployed in Young Sherlock Holmes?
Props:
Deerstalker, Inverness cape and Meerschaum pipe
Holmes Genre
76
Holmes GenreCharacters
Lestrade shown as a younger detective - later (in theConan Doyle canon) brings in Holmes to help - and tries to claim the claim credit - as Lestrade does in YSH
Mycroft Holmes referenced - when Holmes is expelled
77
Holmes Genre
• Catch-phrases: “Elementary, my dear Watson”
Waxflatter says, “Elementary, my dear Holmes”
•“The game is afoot!”Holmes says for first time when he is solving the mystery of the missing trophy
•“You look but you do not see”Young Holmes says to young Watson
Repertoire of elements
78
Holmes Genre: Repertoire of Elements
Narrative: 3-part structure
1. case brought to Holmes’s attention2. Holmes investigates 3. Holmes unmasks culprit.
First person narration (by Watson), including coda where Watson asks Holmes to explain how he arrived at conclusions
Genre
79
Watson narration an important feature of stories: in Young Sherlock Holmes, this done by (older) Watson’s voiceovers - Watson voiceover used throughout film for comment and exposition
Narrative coda (explanation of how Holmes arrived at conclusions) done with a mixture of dialogue and voiceover
Clip
Holmes Genre
80
Holmes Genre
Useful exercise when watching film
Get pupils to make a brief note when element from the repertoire makes an appearance (more able)
Or provide a list and ask pupils to tick off as they watch film (less able)
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Excitement - flying machine heading for Wapping
CLIP
Suspense - will Elizabeth be mummified?
Romance - Holmes and Elizabeth (tragic romance - as Elisabeth dies)
Other Categories: Tone
82
Waxflatter’s attempts to get machine to fly
- ends in failure each time
Almost a “running gag“ (ie a joke, situation or line that is repeated several times, each time the comedy being reinforced by memory of the previous occurrence)
Clip
Categories: Tone
Comedy
83
Comedy
Graveyard scene - food attacking Watson
Example of “tonal shift” ie, sudden change in tone -in this case from excitement/suspense to (almost slapstick) comedy
-Does it work? Does the comedy detract from the suspense?
CLIP
Categories: Tone
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• The two narratives
• Plot and story
• Narrative Structure (Todorov)
• Narrative Closure
• Other aspects of narrative
4. Narrative
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Two narratives
2. Narrative
RAME TEP narrative:
Murder of Bobster, Rev. Duncan Nesbit, Waxflatter
SCHOOL narrative:
lessons, rivalries, romance etc
86
Two narratives
However, connections made between two narratives
Mysterious visitor (we learn later is Cragwitch, one of group being targeted by sect)
Mysterious hooded figure with jangling bracelet - appears in school library and school grounds
Narrative
87
At first kept (more or less) separate and
merged into one after Waxflatter’s death and
Holmes’s (subversive) return to Brompton
Preceded by Watson’s v/o about Holmes’s
triumph in his bet with Dudley:
Clip
Narrative: two narratives
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Plot and story
Narrative
Story = all the events we see and hear, plus all those we infer or assume to have occurred, arranged in chronological order,
Plot =the way these events presented to the audience.
In plot, story elements might be in completely different order
89
Plot and story
Narrative
STORY
Inferredevents
Explicitly presented events
Added nondiegeticmaterial
PLOT
90
Plot and story
Narrative
“A murder has been committed. That is, we know the effect but not the causes - the killer, the motive, perhaps also the method. The mystery tale depends strongly on curiosity, our desire to know events that have occurred before the plot action begins. It is the detective's job to disclose, at the end, the missing causes-to name the killer, explain the motive, and reveal the method.
That is, in the detective film the climax of the plot line (the action that we see) is a revelation of prior incidents in the story (events which we do not see)” from “Film Art” (Bordwell & Thomson)
91
Plot and story
Narrative
(a)crime conceived
(b)Crime planned
(c) crime committed
(d)Crime discovered
(e)Detective investigates
(f) Detective reveals a, b and
c
STORY
PLOT
Bordwell &Thomson, Film Art p67
92
Plot and story
Narrative
(a) Egyptian village burned down and protesting villagers killed by army protecting group of investors who desecrated sacred site.
(b) Rame Tep sect swear revenge - send (Anglo-Egyptian) Eh Tar to England to seek revenge.When they grow up, he and sister employed at Bromton (where Waxflatter - one of investors - based).
(c) Attacks on members of investors group leading to deaths.
(d) Holmes suspicious about ‘suicides’ - investigates - discovers sect, tracks down to their temple.
(e) locates Cragwitch (mysterious visitor to Waxflatter); discovers the story behind sect and their revenge.
(f) discovers Rathe’s role; causes temple to burn down. Defeats Rathe/Ethar but Elisabeth killed
PLOT
STORY
93
Narrative structure: Todorov model
Most common narrative structure in mainstream texts as analysed by Todorov
1 Equilibrium (state of normality)
2 Disruption - event that kicks off narrative
3 Resolution - moment when conflicting
forces fight key battle
4 Return to equilibrium - new state of
normality
Narrative
94
Narrative structure: Todorov model
Narrative
Watson arrives at Brompton, meets Holmes; normal life of the school (lessons, rivalry, romance, etc
Equilibrium
95
Disruption
Attacks on members of the group leading to deaths
Frequently, disruption is intimated before equilibrium has chance to be established so film opens with attack on and death of the banker Bobster
Narrative
96
Resolution
Climax in Rame Tep temple in Wapping - destruction of temple, Holmes defeats Rathe/Eh Tar; Elizabeth killed
Narrative
97
Return to Equilibrium
• Rame Tep defeated
• Holmes’s life without Elizabeth
• Vows never to marry
• Leaves Bromton
Narrative
98
Individual narratives within the overarching
narrative
Eg Watson has his own narrative and own
“new equilibrium’’
Narrative
99
[Make a montage of w at start and w at end]
Narrative
100
Narrative closure
Tying up of loose ends, bringing narrative to
clear conclusion
Traditional in mainstream films but left open
for sequel potential
Cf Watson’s final voice-over:
“.. I was ready for whatever mystery or danger that
lay ahead. I was ready to take on the greatest and
most exciting adventure of them all and I knew it was
bound to involve Sherlock Holmes”
Narrative
101
Narrative closure - also post-credit ending
Rathe/Eh Tar manages to survive - and
become the arch nemesis of adult Holmes
-Professor Moriarty, the “Napoleon of crime”
Narrative
102
Other aspect of narrative: repetition and parallels help structure the narrative
Narrative
‘The rule of three’
Certain events in the film occur three times, usually with an important variation each time
103
•Three fencing duels with Rathe/Eh Tar
•Three attempts to fly machine
• Three confrontations with Lestrade
Narrative
The rule of three
104
Three fencing duels with Rathe/Eh Tar
• First time Holmes loses - Rathe teaches him about the need not to let emotions interfere
• Second time their match is declared a draw as Holmes was distracted by sunlight reflected on Rathe’s ring.
•Third time Holmes is victorious
Narrative
The rule of three
105
Three attempts to launch Waxflatter’s flying machine (ie onscreen attempts - preceded by six others!)
The first two end in failure but Holmes successful the third time - able to follow Rathe, who is driving coach and horses with Elizabeth tied up, back to Rame Tep temple in Wapping
Cf Slide 50
Narrative
The “rule of three”
106
Three times Lestrade dismisses Holmes’s suspicions about the case.
1. When Holmes suggests there is a connection between the victims of the attacks (29.12)
2. When Waxflatter’s dying words to Holmes make Holmes realise Waxflatter’s death is connected with the others. Lestrade will have none of it. (38.49)
3. When they are taken to Scotland Yard after graveyard fracas where Lestrade refuses to have thorns analysed and throws them out. However, a thorn pierces Lestrade’s hand which will have consequences later. (1.01 53)
Narrative “The rule of three”
107
Three (apparent) suicides
• Bentley Bobster
• Rev. Duncan Nesbit
• Professor Waxflatter
Narrative
“The rule of three”
108
Narrative Parallels
Watson arriving at Bromton by coach at the start
Holmes leaving Bromton by coach by the end
A number of parallels also structure the film and make it hang together:
CLIP
109
Narrative Parallels
Holmes is leaving Bromton, having been expelled. As he leaves, Elizabeth writes” I LOVE YOU” on the window pane
Holmes is leaving Bromton at the end. Holmes looks up at the same windowbut Elizabeth is dead
110
Narrative Parallels
111
Narrative Parallels
Holmes solves the case of the missing trophy in the first half of the film
Holmes solves the case of the mystery suicides and the Rame Tep cult in the second half of the film
Foreshadowing
112
• Mise en scene • Cinematography
• Editing • Sound
5. Language
113
Mise en scene - setting, props, lighting, blocking
etc
Cinematography - camera angle, camera distance, camera movement; framing
Editing - pace and rhythm of editing; transitions
Sound - diegetic and non-diegetic-particularly music: Bruce Brougham’s score structured in leitmotifs - particular themes for characters, locations and situations)
Language
114
- kind of clothing, transport, decoration etc tells us we are in the nineteenth century.
Language - mise en scene
Mise en scene - important in historical film to create a convincing “diegesis” (story world)
115
The mise en scene of Brompton - wooden panels, gothic architecture
Language - mise en scene
116
Within Bromton, mise en scene in Waxflatter’s quarters suggests something very scientific
– not twentieth century scientific with white lab coats and shiny surfaces, but nineteenth century scientific, with tubes and jars and exotic-looking early scientific instruments. (cf Frankenstein)
Language - mise en scene
117
Language - mise en scene
118
Contrast with Bromton mise en scene in the Egyptian tavern, with its oriental atmosphere created by characters’ clothing, musical instruments etc.
Language - mise en scene
119
Contrast even more pronounced between church where the priest receives the poison dart and Rame Tep temple
Mise en scene of the church– very traditionally English (or Western European)
Language - mise en scene
120
Church contrasts with the mise en scene in the Rame Tep temple
-connotes ancient Egyptian, with the sarcophagus, the candle–lit chandeliers, the pillars, carvings, costumes (and haircuts) of the sect members and priest
Mise en scene essential for essential exoticism of Rame Tep, essential for action-adventure aspect of generic hybrid
Clips
Language - mise en scene
21.31 - 22.00 diss to 54.45 - 55.15
121
Language
122
Mise en scene - lighting and shadow
Hooded figure effectively portrayed by use of
light and shadow - combined with other
elements such as music
CLIP
Language - mise en scene
123
Language
Cinematography - camera angle
Film follows traditional practice of using low camera angle to connote power or nobility and high camera angle to connote vulnerability
Holmes’s winning Dudley’s challenge (to find school trophy) – confidence indicated by low-angled shots as he takes up challenge (23.49)
“The game is afoot!”
124
Language - Cinematography
125
Language - Cinematography
Cinematography - camera angle
Later, as he walks towards common room –
even if time almost run out. (26.31). Soon
after, more extreme low angle at his moment
of triumph where the whole school cheering
for him. (27.23)
126
Language
127
Language - Cinematography
Another extremely low angle used when
becoming clear that Rathe is a villain. After
Elizabeth’s fight with Mrs Dribb, Rathe comes
into the room, Elizabeth appeals to him and
he replies, “So, my dear, you have
discovered our little secret” (1.15.13)
Cinematography - camera angle
128
Language - Cinematography
Cinematography - camera angle
129
Language - Cinematography
Cinematography - framing:
“dutch angle” - use of canted frame to indicate that not all is right with the world:
a cinematic tactic often used to portray the psychological uneasiness or tension in the subject being filmed.
A Dutch angle is achieved by tilting the camera off to the side so that the shot is composed with the horizon at an angle to the bottom of the frame
130
Language - Cinematography
Dutch angle 1 - occurs in pre-title sequence
involving Bobster (a banker, one of the group
of investors targeted by the Rame Tep cult)
Very marked dutch angle indicates extreme
psychological state which makes him, a short
time later, jump out of a building to his death
131
Language - Cinematography
132
Language - Cinematography
Dutch angle 2 - Used during Rathe and
Holmes’s friendly duel before Holmes due to
leave Brompton after being expelled.
Perhaps dutch angle suggests that things not
always as they seem and foreshadow Rathe’s
real identity
133
Language
134
Language
Editing
Two aspects:
•TRANSITIONS • RHYTHM
135
Language: Editing
Rhythm one of the essential features of
film - decisively contributes to mood and
overall impression on the spectator.
Rhythm of editing - change in rate of
cutting (ie moving from longer takes to
shorter takes when need for more action,
energy)
136
Language: Editing
Transitions
Refers to how editing joins two film clips
Vast majority of transitions are cuts - we tend not to perceive them except in being aware of rate of editing etc
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Language: Editing
Transitions
Other main transitions:
• Fade (in/out)
• Dissolve
- Less common:
• wipe• iris
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Language: Editing - Transitions
Fade (in/out)
Traditionally, films use fades to begin the film (fade-in or fade from black) or to end it (fade-out or fade to black)
Within film, fade used to separate parts of film (like chapters in a novel) and usually means some time has elapsed
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Language: Editing - Transitions
Fade and Dissolves
Note from clip from Vertigo (Hitchcock 1961)Starts with fade, punctuates shorter scenes with dissolves (usually indicating time has passed and/or change of place)
Ends with fade out, indicating a longer pause, almost like chapter marker in book
Clip
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Language: Editing - Transitions
Fade (in/out)
YSH uses fade-in/fade out to begin film and
first post-credit sequence.
However, does not fade out at end: surprise
post-credit scene revealing Rathe/Eh Tar has
survived and is Moriarty (Holmes’s nemesis)
doesn’t fade to black but cuts to black -
reinforcing shock
Clip
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Language: Editing - Transitions
However, fades less common in recent times and Young Sherlock Holmes has very few fades or dissolves - favouring instead (abrupt) cuts to shift from one scene/sequence to another - perhaps a way of imbuing film with greaterenergy
In this sequence we go from street to curio shop to street to Egyptian tavern to Bromton library using only cuts
Clip
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Language: Editing - Transitions
Dissolve:
Transition between two shots during which the first image gradually disappears while the second image gradually appears; for a moment the two images blend in superimposition.
Used as an alternative to a fade in/out, often used to suggest short time lapse (eg someone entering building - series of dissolves links various locations, cutting out “dead” time)
Can also be used to go from waking state to dream state, or from present to flash-back
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Language: Editing - Transitions
Like fade-in/fade out, dissolves in YSL are
used sparingly, usually to indicate a (short) shift
in time and space
Here, we dissolve from the hooded figure climbing over the wall of the school grounds (returning after being chased by Elizabeth’s dog) to inside the church where she is going next
Clip
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Language: Editing - Transitions
Wipe: transition between shots in which a line passes across screen, eliminating the first shot as it goes and replacing it with the next one.
Mostly these horizontal (left to right or right to Left); occasionally from both ends towards centre;
Sometimes wipe goes diagonally across screen.
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Language: Editing - Transitions
Wipe very noticeable and dynamic transition
Often suggest a brief temporal ellipsis and direct connection between the two images
Usually employed in action or adventure (or action-adventure) films.
eg Star Wars (despite its setting etc, can be seen as much action-adventure as scifi)
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Language: Editing - Transitions
Wipes
Young Sherlock Holmes uses on a few
occasions, particularly in the second half
where action-adventure becomes more
dominant genre
First example a diagonal wipe
Next one a vertical wipe but coming from
both ends of frame
Clips
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Language: Editing
. Cross-cutting or parallel editing
Editing that alternates shots of two or more lines of action occurring in different places, usually simultaneously.
Two actions are therefore linked, associating the characters from both lines of action.
Clip
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Language: Sound
. Two broad categorisations of sound in film:
• diegetic sound - sound coming directly from story (if
characters can hear it is diegetic sound) • non-diegetic sound
- sound added to create atmosphere, anchor a particular mood etc (characters cannot hear non-
diegetic sound)
Young Sherlock Holmes employs both;
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Language: Sound
Diegetic.
Most significant diegetic sound - tinkle from bracelet of hooded figure (actually “Mrs Dribbs”)
Becomes a sort of leitmotif, alerting us to her presence imminence of a deadly attack eg in outside restaurant at start of film
Clip
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Language: Sound
.
Distinction between diegetic/non-diegetic usually fairly straightforward but Young Sherlock Holmes also used internal diegetic sound
ie sound that comes from the story but only one character can hear because it activated by memory - ie sounds that actually happened within the story (even if decades before!)
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Language: Sound
. Cragwitch remembers the burning of the Egyptian village, the bullets, the explosions, the screams
However, it is not audible by other characters and operates in a similar way to non-diegetic sound - ie to create an atmosphere
Clip
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Language: Sound
. Music in YSH
Main aspect of non-diegetic sound: music
Bruce Brougham’s score organised in leitmotifs relating to character and situation
'Main Title’ - opens with lively flute melody - acts as recurring leitmotif for Holmes throughout the score, characterising his lust for adventure, indomitable spirit and inquisitive mind.
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Sound
. Main theme very adaptable. By adding simple orchestral effects, or by a change in instrumentation, Broughton able to make his central melody convey multiple moods -
• youthfully ebullient strings of 'Fencing Lesson’
• playful multiple settings of 'Solving the Crime’
• spine-tingling heroism of 'It's Rathe!' - theme is re-orchestrated to act as an action fanfare.
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Sound
. 'Secret Ceremony' - large choral ostinato (continually
repeated musical phrase or rhythm) that appears
during Rame Tep ceremony
Cf Orff's “Carmina Burana”; John Williams' thuggee
music from Indiana Jones and the Temple of
Doom -
deep and sinister connoting sect’s murderous intent
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Sound
. Leitmotif cleverly carried over into the following two cues, 'Chase/Crypt/Pastries/You're A Hallucination’
- Holmes and Watson are pursued into a graveyard by cult's shaven-headed devotees
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Sound
. 'India/The Letterhead', as Holmes finally realises the identity of the RameTep's high priest is Rathe
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Sound
. Other important musical themes:
"flying" theme heard during 'Waxflatter's First
Flight' and 'Another Failed Flight’
- depicting ill-fated efforts of the eccentric
professor to take to the air.
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Sound
. Romantic motif for Holmes and Elizabeth 'Library Love', 'Elizabeth in the Courtyard' and 'Love Theme'
- depicts nature of their relationship: chaste and honourable, full of tenderness.
Orchestrated more tragically for Elizabeth’s death scene
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Teaching Young Sherlock Holmes
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