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EPQ Films To Research - Coggle Diagram
EPQ Films To Research
Modern and Contemporary Conflicts
Kajaki (2014) - Directed by Paul Katis
Use of wide-angle shots to show the desolate location of the conflict and lack of nearby civilisations to help the protagonists of the film.
A lack of a musical score to create an eerie, tense environment.
Use of prosthetics to make a more realistic and gory image of the physical impact to the soldiers of landmines.
Jarhead (2005) - Directed by Sam Mendes
Handheld, documentary-style camerawork to give a feel of it being real footage.
Bleached out lighting for daytime desert scenes combined with a high contrast, surreal visual image for night time scenes.
Avoids an overdramatic performance, capturing the dull, monotonous, repetitive life of everyday soldiers in the Gulf War.
Sniper: The White Raven (2022) - Directed by Marian Bushan
Natural lighting and shadow creates a gritty look which emphasises the tense and immersive atmosphere of the film.
Contrasting landscapes from the stark, natural environment of rural Ukraine to the war-torn urban battlegrounds.
Consultation with former snipers during production to create a realistic experience for the actions of the main protagonist, including the use of real-life equipment,
Lone Survivor (2013) - Directed by Peter Berg
Handheld camera to give a first person, documentary feel to the visualisation of the conflict.
Natural lighting to create a heightened sense of being in the situation, removing the artificial studio feel of filming and making you feel like your part of the conflict.
Long, continuous takes to maintain the films integrity and give a feeling of watching the event as a whole rather than through cuts of filming.
Multiple cameras that avoid filming from conspicuous angles, making it feel like your following the protagonist through their experience.
Black Hawk Down (2001) - Directed by Ridley Scott
Handheld camerawork to give a documentary-style immediacy.
Desaturated colour palette highlights the harsh, arid, sun-bleached environment of Somalia.
Integration of sounds to visuals, such as the camera reacting to gunshots and other sudden noises, creates a more personalised perspective of being in the conflict at that time.
World War 2
Saving Private Ryan (1998) - Directed by Steven Spielberg
Use of a handheld camera - gives a more direct perspective of the chaos and disarray of the landing.
Use of desaturated colours - gives a bleak tone that resembles the lack of glamour in war.
High shutter speed on camera - removes motion blur to give a harsher, faster view of the calamity of the D-Day landings.
Point-of-view (POV) camera shots - gives a more personalised view of the overwhelmed perspective of a soldier during D-Day.
Dunkirk (2017) - Directed by Christopher Nolan
Wide IMAX shots - shows a large-scale angle of the huge yet isolating battlefield of Dunkirk.
Minimal dialogue - allows the film to flow and be displayed through the visuals and sounds of the crumbling battleground.
Uses natural lighting and a minimal colour palette - exemplifies the dull, monotonous reality of conflict.
Shows land, sea and air - shows how the war affects all aspects of life, impacting everyone on every front.
World War 1
1917 (2019) - Directed by Sam Mendes
One shot illusion, feels like a continuous take.
Camera never leaves the protagonist - attaches better to their personal stories, highs and lows.
All Quiet On The Western Front (2022) - Directed by Edward Berger
Natural lighting and bleak colour
Wide angle shots of no mans land - emphasises emptiness and devastation.
Close-ups - used during scenes of mental breakdowns and intense violence to show the psychological toll of war.
Scenes of sudden violence with little build-up - creates a shocking realism.