Cinematography Treatment Example

Topics: Cinematography, Film, Camera Pages: 11 (4304 words) Published: August 17, 2010
The Might of Spite
Plot Summary
The movie is about a guy (Antagonist) and a girl (Protagonist) living together that get turns to do the laundry. The guy (Thando) is very lazy, watches TV the whole day and refuses to do the laundry even after the girl (Carrie), tries to force him physically. Carrie is miserable after that but then finds another way to get him of the couch. She tells him that his car is being stolen and when he gets outside, Carrie locks the door behind him. Thando sees his car isn’t being stolen. He then sees the washing basket outside and sees Carrie through the window enjoying the victory and waving the key mockingly.

When filmmakers and movie critics refer to a film genre, they generally mean a specific style, or subject matter. While a movie may have elements of a number of different genres, it is often classified under a single film genre for reference purposes. Film genres include Comedy, drama, romantic comedy, action/adventure, musical and experimental.*(, Michael Pollick). The Might of spite will classify in the comedy genre even though it is more of an everyday general situation. It is a very light hearted film with laidback comedic moments present, throughout the film. Binaries

Primary event binary is Tactfulness VS Spitefulness, because Thando was being spiteful by just refusing to do the laundry after Carrie has been tactful. Carrie then outsmarts Thando giving him no choice but to do the laundry. The binary of the protagonist is Mind VS Body. Carrie thought it is a losing battle after she tried to force Thando physically to do the laundry. She then used brain power to manipulate Thando into going outside where the clothesline is and locks the door behind him. The antagonist’s binary is Selfishness VS Contribution, because Thando refuses to do his part of the housekeeping and only watches TV and making more of a mess in the house. He needs to stop being lazy and help Carrie by contributing in cleaning the house. Conceptual and Emotional Relevance

The event problem in a story is when the character is put in a situation outside their normal environment. This is what happened to Carrie after Thando refuse to help her, because they obviously agreed to split some of the housekeeping duties. Conceptual Relevance is the event narrative structure in any story. It is the events in the narrative that will progress the story along. In all classic narrative the Conceptual relevance relates to a simple story line.*(Directing for film an introduction, p24, Brandon Oelofse, 2007). The conceptual relevance in this story is when Carrie tricks Thando into doing the laundry. At first she accepted defeat but noticed Thando’s car outside near the clothesline. She then came up with an idea and told him his car is being stolen and locked the door when he went out. This is relevant to the viewer because by outsmarting Thando she came out on top by approaching a problem with thought.

Character problem within the narrative can be described with this question. Why does the character react the way they do with different events? We know that Claire is being ignored by Thando and that physically forcing him can’t work either. That is why she locked him out with the laundry until it is finished.

Emotional Relevance is the heart of any story. It is the journey that the character will go through to achieve a sense of completion at the end of the narrative. *(Directing for film an introduction, p22, Brandon Oelofse, 2007). The emotional relevance in this story is that Carrie gave up at first but got up and tried again.

The Establishment Problem Solution Priority Order
We first see our antagonist Thando, a lazy guy drinking beer, sitting in front of the TV. We then meet our antagonist Carrie, a bright and hardworking girl, walking into the dirty living room, which she probably will have to clean, with a laundry basket in her hands.

The First...

Bibliography: *(Directing for film an introduction, p24, Brandon Oelofse, 2007)
*(Directing for film an introduction, p22, Brandon Oelofse, 2007)
*(Film directing fundamentals, Nicholas T. Proferes, p.46, 2005)
*(Kodak: the art of lighting-notes, 2003)
*(Picture composition for film and television, Peter Ward, p. 10, 2003).
*(Arrieflex 16 S operating instructions,p
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