Post by autumnsoul on May 23, 2010 1:52:13 GMT -5
This is going to be a little rushed (since if I don't get off the computer in time, my sister will break both my arms)
So long story short - Media studies film analysis assignment.
two films - analyze three how three narritives technique influence the story.
9 was one of them.
Hope Ya'll enjoy
- Autumnsoul
p.s. no offence intended to any 'Bolt' fans
External Conflict
Usually defined as the antagonising of (a) character(s) by events, situations or (an)other character(s); The narrative convention of external conflict is often used in a film, as it can show a change in a character and/or reveal a new aspect of the character.
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In “9” the use of external conflict is created in the narrative, due to the protagonists (a group of small, living, mechanical rag-dolls) – throughout a majority of the film – are under the threat of a series of bestial machines (a cat like robot dubbed “The Beast” - at first - then it’s mechanical creator and a series of minions that the latter creates) and in-fighting on how the matter is handled. An example of this is when a scorpion/pterodactyl-like robot locates where the characters 1, 5, 6, 8, and 9 are in hiding and attacks them. Although 7 - later in the conflict – make a surprise appearance; it is the actions of 5 and 6 who (by starting the engine of a propeller that the cable of the robot’s built in harpoon is snagged to) manage to end the conflict. In this scene, fresh aspects are given to the personalities of 1, 7 and 8 – as well as a development in the character of 5.
Prior to the conflict, 1 (the elderly leader of the rag-dolls) is presented as domineering, fierce-tempered and stubborn in his belief of protecting the rag-dolls, by keeping them in hiding; In one case Furiously berating 5 for going into “The Emptiness” (stating that “[5 could’ve] led the beast straight back to [them]”). This determination in his philosophy causing much disagreement with many of the other rag-dolls; 9 (a newcomer and the main protagonist) even going so far as to accuse him of acting under selfish motives (“You’re nothing but a coward.”)
However during the conflict, when the robot – after being pulled from its flight course – comes crashing down towards him and 9; 1 tries to shove the newcomer (alongside himself) out of its path of impact. This action not only demonstrates an unselfish aspect of 1’s character, but shows that he genuinely cares for the safety for the others (this is further emphasised by the fact that the character he saves has repeatedly, challenged his leadership in the past) Although this could be contradicted by the fact that, earlier, he and 8 (the groups guardian) – after being cornered by the robot – leave through an alternative exit than the others; the fact that the robot is turned away from 5, 6 and 9, disproves any selfish motives. This aspect of 1’s character is later touched upon in the film several times, the most notable ones being; when 1 – in a rage – reveals that he sent 2 (an elderly inventor) out into “The Emptiness” (where he discovers 9 in the beginning of the film) because of the former’s belief the latter’s quest for knowledge of the past would put the rest in danger; when 1 leads a second strike, in the films climax, to destroy the head-machine; and later – further fuelled by earlier self-doubt about his leadership - sacrificing himself to save 9 from having his soul absorbed into the head-machine.
Although 7 (a warrior and drifter from 1’s group) appears near the end of the conflict, a very important aspect to her is shown; although a skilled warrior (having decapitated “The beast” after only a brief moment in battle earlier on in the film) it is quickly revealed that she isn’t used to battling opponents like the winged robot (being more intelligent and less instinctual than it’s predecessor), which easily counteracts her attack and then spears her in the leg after she attacks a second time. This aspect is later touched upon another time in the film; when another robot attacks the group, 7 –although she manages to free 2’s body (which was built into the robot) – is easily defeated when she resorts to direct combat and is – alongside an earlier subdued 8 - made captive; something that ultimately leads the rag-dolls to launch the first strike against the head-machine. These defeats also work to mellow out 7’s character, from being a stubborn and somewhat aggressive character (Berating 5 and 9 for them wanting to go back to “The sanctuary” (the home of 1’s group prior to the winged robot conflict) and later on in the film, nearly kills 1 in a rage) into a more soft-spoken and compromising individual (Evidenced, when 7 willingly works under 1’s direction in the second strike against the head-machine, and when she gently tries to convince 9 that those whose souls where absorbed into the machine can’t be saved (citing that “They’re gone.”))
Prior to the conflict 8 is presented as simply being a childish thug (constantly bullying 5, 6 and 9 into doing following 1’s orders, prior to the conflict and joyfully looking on as 1 berates 5 and 9 (“He told you.”)) However during the conflict, his personality is elaborated on much further – demonstrating concern for the others and heavily implying a bond with and an emotional dependence on 1. These revelations are shown numerously by his actions in the conflict; the most notable instances being when he and 1 are forced to escape through an alternative exit than the others, 8 utters a whine of reluctance whilst looking worryingly in the direction of 5, 6 and 9 before following the elderly leader, and when – after catching/tackling a falling 1 and 9 – 8 can be seen holding onto him much longer after the newcomer is put down. These instances are also confirmed by the fact that straight after the conflict, 8 takes the time to comfort a despairing 1, and – in a flashback prior to the conflict – is seen giving the approaching rag dolls a – what is then seemingly out of character – smile. This more human side to 8 is later touched upon, in the scene prior to being captured by the second robot – he easily becomes stunned by 2’s body (which is connected to the robot now) and is quickly subdued. His capture, ultimately leading to his death by having his soul absorbed into the Head-machine, when brought to it by the robot; as well as being – alongside 7 – the cause for the other rag-doll’s first strike on the machine.
Finally, the conflict highlights a change in the personality of 5 (a one-eyed mechanic and medic). This is seen when he, with the help of 6, starts the propeller that the robot is snagged to. Although the action isn’t significant in itself; the change is illustrated by the fact that the usually timid 5 manages to accomplish it without being hindered by the clumsiness that had occurred when he has been emotionally strained in the past (seen when he accidentally knocks his tools of the shelf when being berated by 1, and when he struggled to load his crossbow – whilst he, 9 and 2 are being attacked by “The Beast” – because of his fumbling with the “arrows”). This strongly implies that 5 has become much bolder in personality than he was earlier on. This change is touched on several times in the film, most notably when – in the first strike against the head-machine – he stops 1 from lighting the barrel of fuel they’re using, in order to give 9 more time in his rescue mission in the factory – even standing up to 1 when the elderly rag-doll refuses to do so.
Multiple Perspectives
Defined as the telling of a narration from the point of view a character, other than the films main protagonist(s); the narrative convention of multiple perspectives is regularly employed because it can show fresh aspects of the involved character’s personality, present a fresh take on the narration, and/or – if there are important moments in the narrative’s plot done where the main protagonist isn’t present – provides a brief clarity to the plot that would present a confusing plot hole.
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In “9”, because of the narrative having nine protagonists, the use of multiple perspectives is employed throughout the film. Although the technique is mostly used in small sequences (I.e. when the point of view shifts to 5 and 6’s perspective during the winged robot conflict several times) it is also used in longer scenes. An example of this is when 1 – after wandering from 3 & 4’s (Scholarly twins and 7’s fellow drifters) “library” – is shown briefly soliloquising to himself; briefly wondering why 9 doesn’t heed his advice and convincing himself that “[he] know [they] need, [he] know what’s right.”, before being attacked by a snake/spider-like robot. This is important as, during this scene, it is heavily implied that 1 is beginning to doubt his leadership – an issue that is touched upon again several times in the film; the most notable cases being when 1 – after 9 halts the second strike against the head machine – willingly allows the newcomer to take charge, and, later, when he forcibly switches places with 9, in regards to who is to force the talisman off the head-machine – the elderly rag-doll allowing his soul to be absorbed by it instead on the newcomer’s (“Sometimes one must be sacrificed.”). In addition this change of perspective shows how 1 is ambushed, and without it, the narrative would be somewhat confusing for the average viewer.
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Characterisation Through Shot Types
The narrative convention of creating and/or building a character through shot types can easily be seen as the most frequently, and the most powerful, form of characterisation used. This is because different types of shots can reveal the visual actions and reactions of a character (I.e. expression, posture and movement) that reveal information about the character’s personality, or development in it and cannot be as easily seen, if shown from a different angle.
-------------------------------------------------------------------------------------------------------
In “9”, a long-shot of 9 shows him briefly pausing in his rush to the window to inquisitively examine the different texture of the paper under his feet compared to the wooden bench he was on. Later on, he is also shown in a mid-shot, picking up and tapping an unexploded bullet from 2’s cart in a similar way. This adds two aspects to his personality; 9 is both extremely curious and very naïve (the latter is unsurprising, seeing as he has only been “activated” for a brief period so far in the film). This become important as it is these traits that lead 9, (after “The Beast” has been defeated by 7 and 2 rescued.) to plug the talisman into a socket belonging to –what is unknowingly – the head-machine; an action that results in 2 having his soul absorbed into the machine, which activated it in the process. In addition, it is also this curiosity that leads 9 to search for the history surrounding the talisman and the head-machine, something that ultimately results in his discovery of how to use the talisman to recover the souls that head-machine absorbed. It is also interesting to note that, although naïve main characters are frequent in animated films, unlike other animated films (I.e. “Bolt”) 9’s development into a more a prudent character takes a secondary role in the film – with how interacts with the others being more focal.
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So long story short - Media studies film analysis assignment.
two films - analyze three how three narritives technique influence the story.
9 was one of them.
Hope Ya'll enjoy
- Autumnsoul
p.s. no offence intended to any 'Bolt' fans
External Conflict
Usually defined as the antagonising of (a) character(s) by events, situations or (an)other character(s); The narrative convention of external conflict is often used in a film, as it can show a change in a character and/or reveal a new aspect of the character.
-------------------------------------------------------------------------------------------------------
In “9” the use of external conflict is created in the narrative, due to the protagonists (a group of small, living, mechanical rag-dolls) – throughout a majority of the film – are under the threat of a series of bestial machines (a cat like robot dubbed “The Beast” - at first - then it’s mechanical creator and a series of minions that the latter creates) and in-fighting on how the matter is handled. An example of this is when a scorpion/pterodactyl-like robot locates where the characters 1, 5, 6, 8, and 9 are in hiding and attacks them. Although 7 - later in the conflict – make a surprise appearance; it is the actions of 5 and 6 who (by starting the engine of a propeller that the cable of the robot’s built in harpoon is snagged to) manage to end the conflict. In this scene, fresh aspects are given to the personalities of 1, 7 and 8 – as well as a development in the character of 5.
Prior to the conflict, 1 (the elderly leader of the rag-dolls) is presented as domineering, fierce-tempered and stubborn in his belief of protecting the rag-dolls, by keeping them in hiding; In one case Furiously berating 5 for going into “The Emptiness” (stating that “[5 could’ve] led the beast straight back to [them]”). This determination in his philosophy causing much disagreement with many of the other rag-dolls; 9 (a newcomer and the main protagonist) even going so far as to accuse him of acting under selfish motives (“You’re nothing but a coward.”)
However during the conflict, when the robot – after being pulled from its flight course – comes crashing down towards him and 9; 1 tries to shove the newcomer (alongside himself) out of its path of impact. This action not only demonstrates an unselfish aspect of 1’s character, but shows that he genuinely cares for the safety for the others (this is further emphasised by the fact that the character he saves has repeatedly, challenged his leadership in the past) Although this could be contradicted by the fact that, earlier, he and 8 (the groups guardian) – after being cornered by the robot – leave through an alternative exit than the others; the fact that the robot is turned away from 5, 6 and 9, disproves any selfish motives. This aspect of 1’s character is later touched upon in the film several times, the most notable ones being; when 1 – in a rage – reveals that he sent 2 (an elderly inventor) out into “The Emptiness” (where he discovers 9 in the beginning of the film) because of the former’s belief the latter’s quest for knowledge of the past would put the rest in danger; when 1 leads a second strike, in the films climax, to destroy the head-machine; and later – further fuelled by earlier self-doubt about his leadership - sacrificing himself to save 9 from having his soul absorbed into the head-machine.
Although 7 (a warrior and drifter from 1’s group) appears near the end of the conflict, a very important aspect to her is shown; although a skilled warrior (having decapitated “The beast” after only a brief moment in battle earlier on in the film) it is quickly revealed that she isn’t used to battling opponents like the winged robot (being more intelligent and less instinctual than it’s predecessor), which easily counteracts her attack and then spears her in the leg after she attacks a second time. This aspect is later touched upon another time in the film; when another robot attacks the group, 7 –although she manages to free 2’s body (which was built into the robot) – is easily defeated when she resorts to direct combat and is – alongside an earlier subdued 8 - made captive; something that ultimately leads the rag-dolls to launch the first strike against the head-machine. These defeats also work to mellow out 7’s character, from being a stubborn and somewhat aggressive character (Berating 5 and 9 for them wanting to go back to “The sanctuary” (the home of 1’s group prior to the winged robot conflict) and later on in the film, nearly kills 1 in a rage) into a more soft-spoken and compromising individual (Evidenced, when 7 willingly works under 1’s direction in the second strike against the head-machine, and when she gently tries to convince 9 that those whose souls where absorbed into the machine can’t be saved (citing that “They’re gone.”))
Prior to the conflict 8 is presented as simply being a childish thug (constantly bullying 5, 6 and 9 into doing following 1’s orders, prior to the conflict and joyfully looking on as 1 berates 5 and 9 (“He told you.”)) However during the conflict, his personality is elaborated on much further – demonstrating concern for the others and heavily implying a bond with and an emotional dependence on 1. These revelations are shown numerously by his actions in the conflict; the most notable instances being when he and 1 are forced to escape through an alternative exit than the others, 8 utters a whine of reluctance whilst looking worryingly in the direction of 5, 6 and 9 before following the elderly leader, and when – after catching/tackling a falling 1 and 9 – 8 can be seen holding onto him much longer after the newcomer is put down. These instances are also confirmed by the fact that straight after the conflict, 8 takes the time to comfort a despairing 1, and – in a flashback prior to the conflict – is seen giving the approaching rag dolls a – what is then seemingly out of character – smile. This more human side to 8 is later touched upon, in the scene prior to being captured by the second robot – he easily becomes stunned by 2’s body (which is connected to the robot now) and is quickly subdued. His capture, ultimately leading to his death by having his soul absorbed into the Head-machine, when brought to it by the robot; as well as being – alongside 7 – the cause for the other rag-doll’s first strike on the machine.
Finally, the conflict highlights a change in the personality of 5 (a one-eyed mechanic and medic). This is seen when he, with the help of 6, starts the propeller that the robot is snagged to. Although the action isn’t significant in itself; the change is illustrated by the fact that the usually timid 5 manages to accomplish it without being hindered by the clumsiness that had occurred when he has been emotionally strained in the past (seen when he accidentally knocks his tools of the shelf when being berated by 1, and when he struggled to load his crossbow – whilst he, 9 and 2 are being attacked by “The Beast” – because of his fumbling with the “arrows”). This strongly implies that 5 has become much bolder in personality than he was earlier on. This change is touched on several times in the film, most notably when – in the first strike against the head-machine – he stops 1 from lighting the barrel of fuel they’re using, in order to give 9 more time in his rescue mission in the factory – even standing up to 1 when the elderly rag-doll refuses to do so.
Multiple Perspectives
Defined as the telling of a narration from the point of view a character, other than the films main protagonist(s); the narrative convention of multiple perspectives is regularly employed because it can show fresh aspects of the involved character’s personality, present a fresh take on the narration, and/or – if there are important moments in the narrative’s plot done where the main protagonist isn’t present – provides a brief clarity to the plot that would present a confusing plot hole.
-------------------------------------------------------------------------------------------------------
In “9”, because of the narrative having nine protagonists, the use of multiple perspectives is employed throughout the film. Although the technique is mostly used in small sequences (I.e. when the point of view shifts to 5 and 6’s perspective during the winged robot conflict several times) it is also used in longer scenes. An example of this is when 1 – after wandering from 3 & 4’s (Scholarly twins and 7’s fellow drifters) “library” – is shown briefly soliloquising to himself; briefly wondering why 9 doesn’t heed his advice and convincing himself that “[he] know
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Characterisation Through Shot Types
The narrative convention of creating and/or building a character through shot types can easily be seen as the most frequently, and the most powerful, form of characterisation used. This is because different types of shots can reveal the visual actions and reactions of a character (I.e. expression, posture and movement) that reveal information about the character’s personality, or development in it and cannot be as easily seen, if shown from a different angle.
-------------------------------------------------------------------------------------------------------
In “9”, a long-shot of 9 shows him briefly pausing in his rush to the window to inquisitively examine the different texture of the paper under his feet compared to the wooden bench he was on. Later on, he is also shown in a mid-shot, picking up and tapping an unexploded bullet from 2’s cart in a similar way. This adds two aspects to his personality; 9 is both extremely curious and very naïve (the latter is unsurprising, seeing as he has only been “activated” for a brief period so far in the film). This become important as it is these traits that lead 9, (after “The Beast” has been defeated by 7 and 2 rescued.) to plug the talisman into a socket belonging to –what is unknowingly – the head-machine; an action that results in 2 having his soul absorbed into the machine, which activated it in the process. In addition, it is also this curiosity that leads 9 to search for the history surrounding the talisman and the head-machine, something that ultimately results in his discovery of how to use the talisman to recover the souls that head-machine absorbed. It is also interesting to note that, although naïve main characters are frequent in animated films, unlike other animated films (I.e. “Bolt”) 9’s development into a more a prudent character takes a secondary role in the film – with how interacts with the others being more focal.
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I hope you get a good grade XD
