Paige's Film Studies Blog

OCD  Possible title - ANNA - Symmetrical letters YouTube stories on OCD: https://www.youtube.com/watch?v=EXlMF8mfWsc https://www.youtube.com/watch?v=40t0CmdXKo8 https://www.youtube.com/watch?v=3lvzQWM8BKY Camera Shot Ideas for Storyboard & Script: OCD associated with controlled movements, even counting/blinking/stepping, organised surroundings.  Instead of the pictures completely reflecting the theme of the film, I'm going to make it difficult to watch, e.g. subject being in the first third, instead of the centre, the voiceover cutting off before reaching ten, etc.  Message of the film to break the misconceptions surrounding the disorder. Mixture of centred and off-centred images. Perhaps a cyclical structure? Split screen, action in the first continuing through to the second? Wes Anderson -  https://vimeo.com/89302848  - pouring of the drink down the centre. No non-diegetic music for an uncomfortable feel, trickling of water to shot to have long duration. Voice

He brings both Asian sensibility and French New Wave cinematic techniques to each of his stories. As with Wong’s other films such as  Chungking Express,   Days of Being Wild ,  Happy Together  and  Fallen Angels ,  In the Mood for Love  dictates the arbitrary nature of romance and the notion of the ‘missed moment’. He consistently employs a signature ‘parallelling’ and ‘intersecting’ rhetoric in which his characters arbitrarily cross paths.  Wong’s protagonists are most often revealed to be a set of individuals existing within the visual array of urbanity. Wong successfully grants introspective gazes at his characters (usually in sets of twos), exploring their insecurities, personal motives and ultimately the random nature of relationships. Again, Wong’s arbitrary rhetoric finds expression in the poetic and brightly drenched tones of his unique filmic aesthetic, and his much-loved themes of loneliness, isolation, and longing rise to the surface. At this time in 1962, 13 years a