Elise Booth Film Studies

'The Lady from Shanghai' (1948)  and ' Blade Runner': The Directors Cut (1992) can both be shown as making significant  statements  about the power struggle of women in context to when the films were released.  The   Lady from Shanghai  exemplifies the tensions  between a studio (Columbia) and auteur (Welles).  Despite heavy studio cuts, the film remains a visually  striking, unsettling film noir, notable for exceptional  chiaroscuro lighting, compositions and camerawork.  Blade Runner  is a  bleak and dystopian neo noir fable that draws on the conventions of film noir and science fiction.  D e spite   Ridley Scott  encountering  similar production issues as Orson Welles, the film's   i mpressively  oppressive aesthetics crossing at times into the absurd draw the spectator into a horrific version of the future that puts the death humanity at its  cent er  through its exploration of mortality, memory and identity.    Uncomfortable close ups are used to make

When we began to plan our short film, we really wanted to focus on one character's story and a problem that they encounter, and create a sense of mystery. We chose to base our story upon the idea of waking up in an unknown location, alone and confused. This was an interesting starting point and gave us a lot of flexibility when scripting the events that lead to such an occurrence.  Once our script was complete we planned the locations and dates for our shooting. Nearby to college there's a field that has interesting features in the background that adds depth to the frame. Furthermore it was a good location as it had a lot of long grass, bushes and trees - which we took advantage of in our filming. There were a few problems minor problems we had to face. Because we were filming in a public area we encountered many members of the public, particulalry dog walkers, we overcame this by simply pausing and reshooting some interupted scenes. As well as members of the public,