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In thisessay, I will be comparing the film Casino Royale and the game LA noire. I willbe looking at 3 main elements; Genre, Cinematography and Representation.
Genre
LA Noire seems to be set in 1940's California in“a city” near Hollywood. The voice over has a deep husky, American-Italianaccent which connotes danger and crime, relating to the Mafia. Relating to miseen scene, the costumes relate to the genre of film. The men wear suits and aresmartly dressed, and the women are wearing casual dresses but with perfectlypinned hair. This was the stereotypical fashion for the 40's. The city whichthe narrator is describing seems to be again a stereotypical city. However heimplies that not everything is as it seems. This signifies danger and mysteryto the game. In my opinion, this game seems to be a gangster genre with hintsof crime, danger and action. It is a typical man’s game because it appeals tohis adventure side of life.
Similarly, in Casino Royale, the main theme in thebeginning is action. Even in the first few minutes, murder, guns and crime arebrought to the viewers eyes. Furthermore, the characters never seem to be inthe centre foreground. For example, when we first see Bond, he is the the verycorner of the room. This suggests that he has something to hide and he doesn'twant to reveal it all by being in the centre limelight. Casino Royale wasreleased by Columbia pictures, which is an American studio. In most actionAmerican films, british people play the bad guy. Here in the first few scenes,the person Bond is there to kill has a very strong, posh English accent. Thisis a cliché thing to have in an American action film.
Cinematography
LA Noire uses colour filters and long but slowmoving shots to show how pleasant “the city” is to an outsider. The wide angleshots also show how the rest of the people are interacting and going abouttheir day. Although it may be lightly focusing about a few characters, it'stalking about the city in general. The clip shows different peoples lives andalthough everything looks good on the outside and the city is described as “acity of dreams,” “not everything is as it seems”. The clip seems to be aperformance for a commercial; showing new people what the city looks like andinviting them into the city, but in reality it seems fake and put on, like thenarrator is trying to cover up the dangerous side to the city.
However, on the other hand, Casino Royale uses ablack and white filter to connote the uncertainty of the characters future andif he is going to survive. The diegetic sound creates an eeriness to the sceneand allows the viewer to become submerged in the characters actions and whathis fate will be. The long shadows in the office create a deeper effect to themeaning of the scene. It's not just a normal, proceeded killing, it makes Bondrealises that killing isn't just part of the job, it's personal. The opening sceneuses quick cuts to make the action seem more heightened and frantic, like thereis a panic. It also gives the idea of a POV from the viewer, like they areblinking and missing part of the story. The low key lighting follows the trendof danger and wrong-doing. This hints to the viewer the genre of the film andhow the rest of the film will proceed. They use mid shots to show the actionwhile at the same time the characters expressions, long shots to show the whole'picture' to the audience and extreme close ups to display true aspects of thecharacters personality.
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LA Noire shows peoples everyday lives and jobs andhow the “city” has made their life better. Firstly, it shows how owning a caris a sign of “freedom” and how without it, your life is constrained. This couldlink to the recent past of the great depression and how people were restrictedof life by the amount of money they owned. It goes on to explain how having ahouse is like a “castle”, it's each and every persons own bit of land. Thenarrator carries on to say that California is a “land of dreams”. This againreflects how people saw California as a sign of the promised land, because itheld everything people needed: money, jobs and land. Ambient sound is also represented to produce acommon scen effect. The scene also usesan L cut to produce the sound justbefore the next scene to make the edit feel smoother. At the end of the openingscene, an illuminate reference is given from the narrator. He explains thatthis city has “no boundaries and can stretch as far as the eye can see” and ashe says this the camera pans over a building with an eye in a triangle. Thissuggests that there is a superstition to the city.
In Casino Royale, singular words make Bond havememories. In this memory, he is the opposite to everyone else. Instead ofenjoying the cricket game he is watching something else and while everyone elsewears white or light coloured clothing, he wears a black suit as he stands inthe shadows, like he has something to hide. It represents Bond as an outcast tothe norm. As bond chases the victim through the building, the cricket matchcarries on, completely senseless of the chaos happening inside. The last shotin the opening scene is the victim trying to shoot Bond. It shows Bond down thebarrel of the gun. This represents Bond as a target and how he always seems tobe getting into the wrong situations. The blood dripping down the screen symbolizesthe power of blood and how it can save or destroys lives.
In conclusion to this, both LA Noire and CasinoRoyale use many micro film elements like mise en scene and sound to create agood opening scene for a thriller action film and game.
Media Studies Summer Task
What are thesimilarities and differences between two clips?
What are thesimilarities and differences between two clips?
1. Casino Royale opening scene, http://youtu.be/HNvzNWuzI9Y
2. L.A. Noire Upon Reflection, http://youtu.be/HQyWNFBK94Q
Theopening scene to Casino Royale sees along shot establish the somewhat luxurious, overseas location of Prague, CzechRepublic, immediately connoting an upper-class mise en scene to the audience. Theclip has been rendered black and white, again adding to the obvious classical sophisticationof the occasion and the events that we expect to follow. By quickly asserting aclassy, elitist, more intellectual setting – through chic costumes and modern props– the viewer will be enabled to grasp the archetypal representation of JamesBond, the protagonist. Although a man of action who frequently finds himselfexposed to the hidden uglier side of life, he maintains great refinement and elegance,reinforcing the upmarket genre at which the film is pitched. The perpetual tastefulnessof Bond’s world that is consequentially created helps an audience indulge inescapism, which perhaps heightens audience appeal.
Ina similar sort of way to which the greyscale filter featured in Casino Royale addresses connotations ofhigh-class living and wealth, the voiceover introduced at the start of L.A. Noire forms an equal environment ofmuch desired stylishness, culture and riches, but allows the gamer toacknowledge the nasty side of the city as well. Though arguably Hollywood andthe majority of Los Angeles are lathered in more glamorousness than Casino Royale’s still-very-plush set,combined with the opening soundtrack of casual jazz and expensive attire, JamesBond deals with deviants and rogues in situations enveloped in extra class and quality.The lighting in the villain’s office in the first video is heavily shadowed,making the antihero appear enigmatic, mysterious and unpredictable. Once more, L.A. Noire’s mise en scene sharedshadowy scenery, alluding to comparable dark connotations of evil and theunknown.
Stereotypesare never challenged in the short duration of either audiovisuals. For example,when Bond confronts the antagonist in his office, he both outsmarts and outwitsthe older man with smooth ease, and in doing so does not oppose conventionalarchetypes of ageism and the young beating the elderly due to the relative aidof faster physical and mental capacity. The generic views reinforced instead ofbroken in L.A. Noire are probablymore subtle, but still exist. Like many action-adventure thrillers (games aswell as films) in the media, women are marginalised massively. Whilst the Casino Royale clip achieves this by excludingfemale presence virtually entirely, L.A.Noire depicts the female inhabitants of the city as ‘dreamers’, which, whencontrasted beside hard-boiled male cops and fearless male criminals, becomesalmost discriminatory, as it advocates the female population to be perceived asobstructions – maybe to male success – as well as trophy figures for after theyhave ultimately succeeded.
Unitingall women negatively and categorising them as one absolute is a pattern thatlots of patriarchal media copies. Underestimating a woman’s capability toperform tough, often physically demanding challenges, and ability to handleweapons of destruction implies that the route most scenes in L.A. Noire descended into are simply toodifficult and too violent for females to endure, which isn’t wholly accurate.Likewise, the beginning of Casino Royale’sopening sequence entails little speech and a lack of sound, but falls hastilyinto violence, reiterating to its viewers that the films target audience ismale-dominated. Each exotic set – Prague, and Lahore in Pakistan – contain patriarchalpopulations and offer as much opportunity of danger as they boast luxury andglamour. This yet further states the predominant gender orientation of the filmand suggests that men are somewhat socially superior to women, who cannot befound so readily experiencing the finer things in life within the extract.Alternatively, L.A. Noire paints anunfair image of females by applying a parallel concept; the ladies in Los Angelesappear to be the only residents with enough freedom from duties to indulge inacts requiring little responsibility, such as watching movies at the cinema.This results in them seeming careless and serving no greater purpose than thatof distracting hardworking men from advancing as they deserve.
Bothextracts utilise rather differing camera angles and shot types. Casino Royale cuts straight to a lowangle shot of the antagonist, from roughly the shoulders up, after the longestablishing shot referenced previously sets the scene. By cutting practically instantaneouslyto the primary source of threat, the audience can gain insight into the powerand superiority of Bond’s opposition. He is, because of the shot type selected,portrayed taller, stronger, almost omniscient, and omnipotent, enforcing from theoff the jeopardy he can impose and place people in. Even in latter scenes, in whichhe can be seen conversing with Bond, low angle shots are still used in order toremind the audience that at the present time he still has the upper hand overthe protagonist.
| Violence and representation: Fighting commences in a public toilet, resulting in the death of a foreign man |
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RockstarGames, publisher of L.A. Noire, optedto install fewer close up shots on the other hand. Their absence meant thatdespite the player actually undergoing a more interactive experience whileplaying the game, it doesn’t feel it in comparison to watching Casino Royale, which incorporates closeups to include the audience in the action as oppose to ones positioned fartheraway to see situations as a bystander. Viewers might feel that they areexperiencing at the same time as James Bond, but observing their character in L.A. Noire, despite the latter being thegame of the two.
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Anotherfeature that differs between CasinoRoyale and L.A. Noire,distinguishing James Bond – our known and loved, loyal protagonist – from thecop characters in the second clip is the fact that he leaps into the heart ofthe action while they piece together what remains of it. Bond, who globalaudiences are familiar with, believe him to do the right thing almost alwaysand automatically – we know him to be brave and good, but the cops you are toplay as in L.A. Noire are lessreliable and trustworthy.
Withthe addition of fast-paced editing, the fight scene in which Bond catches theman fleeing him produces even more archetypal roles for the audience tointernalise. As the discord unravels and develops a tendency to get messy, morehand-held filming is included (jumpy camerawork was previously present as thepray took off running, trying to escape his predator – the protagonist – as hepursued him upstairs and through a hall of doorways), constructing a chaotic,hazardous sense of panic as the conflict continues to death. The compositionsresume balance after the captor is killed. The defeat, however, furtherreinforces traditional stereotypes of foreigners in action-adventure thrillers.While the native protagonist exits the scene as more of a hero than he was whenhe entered it, the foreign man drowned in the attack dies having beenoutsmarted and outwitted by Bond, just like the elderly villain he later goesonto beat also. A birds-eye-view angle is inserted in amidst the battle too,placing viewers in ‘control’ of the hectic scene, for they can see both partiesinvolved with more
| Escapism and reality: Gun possession is glorified in both extracts, as handling weapons becomes normality |
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claritythan either parties can make out one another. Contrastingly, in L.A. Noire,when one out of the two protagonists is ambushed by a suspectedmurderer they are questioning, medium close ups are the only shot typeemployed. As the section reaches disequilibrium, the viewer remains at adistance from the action – only when the disagreement is resolved are close upsused again.