“a film is never really good unless the camera is an eye in the hand of a poet.” orson welles

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KEE’S CHARACTER “A film is never really good unless the camera is an eye in the hand of a poet.” Orson Welles.

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Page 1: “A film is never really good unless the camera is an eye in the hand of a poet.” Orson Welles

KEE’S CHARACTER

“A film is never really good unless the camera is an eye in the hand of

a poet.” Orson Welles.

Page 2: “A film is never really good unless the camera is an eye in the hand of a poet.” Orson Welles

AIMS FOR TODAY What are we doing?Looking at Kee’s character and how it is

developed in the film. Why are we doing it?Developing awareness of director’s choices

when creating character. To write an awesome film essay in the exam.

How are we doing it?Working individually an in mixed number

groups What should we achieve?Notes on Kee and links to techniques.

Page 3: “A film is never really good unless the camera is an eye in the hand of a poet.” Orson Welles

SHAPE ACTIVITY Draw a shape that represents the

number of people in your group and use the majority of the paper. Each side should be approximately the same length. Now draw a slightly smaller shape inside. Each side is owned by one person in your group. The middle is shared space.

Page 4: “A film is never really good unless the camera is an eye in the hand of a poet.” Orson Welles

KEE In the space closest to you, brainstorm all

of Kee’s qualities shown in the film. Do this individually.

Now share your responses, orally. In the middle of the shape, list Kee’s qualities, starting with the most important. You must all agree what this is.

Page 5: “A film is never really good unless the camera is an eye in the hand of a poet.” Orson Welles

TECHNIQUES TO DEVELOP KEE’S CHARACTERWhat do we learn about Kee at the school

when she is sitting on the swing? Shot type?

Page 6: “A film is never really good unless the camera is an eye in the hand of a poet.” Orson Welles

ON FILM

“The drama, the attraction, of film lies not so much in what is shot – that's the drama of subject – but in how it is shot and how it is presented through editing.”

James Monaco, How to Read a Film

Page 7: “A film is never really good unless the camera is an eye in the hand of a poet.” Orson Welles

What scene is important for Kee’s character?

We will watch this scene and consider editing techniques used. Remember that editing techniques include: Cut Jump cut Juxtaposition/ match cut Shot/reverse shot Insert cutaway Fade Dissolve Montage

Page 8: “A film is never really good unless the camera is an eye in the hand of a poet.” Orson Welles

KEE AND RELIGIOUS IMAGES What other religious images link with

Kee?

Page 9: “A film is never really good unless the camera is an eye in the hand of a poet.” Orson Welles

MAKING CONNECTIONS

What does this dialogue tell you about Kee? Consider her vocabulary and how this contrasts with the religious iconography that surrounds her.

Page 10: “A film is never really good unless the camera is an eye in the hand of a poet.” Orson Welles

MAKING CONNECTIONS How does this shot and camera

movement (tracking) develop Kee’s point of view for the viewer?

Page 11: “A film is never really good unless the camera is an eye in the hand of a poet.” Orson Welles

TECHNIQUES TO DEVELOP KEE’S CHARACTER How is lighting used in this shot to

develop Kee’s character?

Page 12: “A film is never really good unless the camera is an eye in the hand of a poet.” Orson Welles

MAKING CONNECTIONS

How does the shot of a small kitten clinging to Theo’s leg relate to Kee? This happens when Theo is at the house with Luke and has to rescue Kee and Miriam.

Page 13: “A film is never really good unless the camera is an eye in the hand of a poet.” Orson Welles

FINALLY You are now going to write a paragraph

about Kee’s character, using the information you have discussed. Pick out her most important characteristic, reasons for this quality and what film techniques are used to display the quality.

Quality Reasons for this quality Film technique(s) used to show this

quality Analysis of how the technique is used.