Techniques used in Fields and Frames and Dance both intertwine with each other, and during our tutorial with Vicky she got us thinking more about the components we discussed in the Fields and Frames lectures and how they relate back to our film. 

Duration

Duration, as we learnt in lesson 2, is a measure of continuance. The duration of our film will be about 3 minutes. It will also be in slow motion as well, in order to achieve an underwater effect. This could also be seen however, to reflect how time slows down as they are in their final moments - similar to the idea that you see all you memories in a flashback. While in real time this would probably be very quick, for the person this could appear to be a lot slower in the dream like state before death.

Reflexivity

This is the process of film-making, such as camera and editing and making it the centre of attention. It can be self referential to this process. For our production we want to make the camera another dancer, rather than a separate physical object. It will weave it's way around the performance, and will reflect emotions and represent various actions as well. For example, at the beginning the camera will be spinning around the dancers, reflecting the chaotic-ness of their falling. It aims to add to the disorientating effect, along with the dancers movement (tumbling, spinning etc). As said before, it will be like the camera is another person, falling just like the dancers in view. This also references back to the poem.

In the movie Chronicle, there are several falling scenes that kind of show what I mean. The camera spins around, as it has no control over it. One of these moments can be seen at the end of the following clip : 

Perspective

Perspective is reflective of what the audience takes from the piece - their interpretation. To do this we're going to do a variety of different camera angles and positions. These are then gonna be viewed in a mixture of fast cuts (during the chaotic tumbling part) and slow paced ones (as they are floating in the second half of the film - representing the calmness and the relief of them being together).

Frame

It allows you to show instead of tell. It is like the boundary of the film, everything is confined to this. It can manipulate how you see things - a small frame can bring attention to a single person or small details while in a large frame, smaller things can get lost. In our film close up shots would be good at the beginning to show restriction, like the breathlessness of the characters as they are brought sinking down to their doom. As the piece progresses the shots will become wider to reflect that their boundaries have been lifted through death, and they are now free to be together forever.