yearbook 2004/05 - The European Film College

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whiteness of the frost. The situation is very calm, underlined by the shot turning into a tracking shot, following D’Hubert from the road into a large field. The calmness of the entire situation makes us anticipate a dramatic change in the action, thus changing the mood. The next shot is a cutaway to the end of the woods (his Point Of View). This is a time cut, which becomes apparent as he is now sitting eating an orange. This enhances the impression that he is waiting for someone. Furthermore, the warm colour of the orange contrasts dramatically to his pale face. It looks as if he is already dead. The camera zooms in on him. He is completely calm, the surroundings are completely silent. It is the silence before the storm. Suddenly the footsteps of three men approaching from the fringe of the woods, breaks the silence. The camera changes to his POV of them approaching. Two of the men block the view of the third but we sense the presence of Feraud in the background. This is what we have been waiting for. As the three men approach, seen from D’Hubert’s POV (wide shot) the two strangers form an unstable triangle with D’Hubert as the downward point. They also FROM THE STUDENTS appear threateningly larger than him as they are places in the foreground in a shot filmed with a wide-angle lens. All of the persons are shown in multiple closeups, except Feraud, who is kept in the background, rendered faceless – as a threatening ghost. D’Hubert says “…We have come here to kill each other; any ground is suitable for that” and by that he shows his rational point of view and his contempt of the concept of duelling. But Feraud is determined to go through with the duel and D’Hubert can not refuse. Feraud is shown in a close-up of him (the first in the sequence) – he is now taking part in the action, agreeing on the rules set up by the protagonist. The dialogue pulls to an end and the adversaries are seen preparing for the duel in the wide shot seen earlier. The silence and seriousness of the situation creates a lot of tension. As the antagonist walks off into the woods, leaving the protagonist waiting for the sign for the duel to begin, we hold our breath, waiting alongside with him. When the assistant says “Forward” we can finally breathe again. The storm begins. D’Hubert starts walking to the forest when one of the helpers says “Forward”. With this shout the final duel starts. From that moment on and until the first shot, the music underlies the sequence in which the duellists search for each other in the forest and around the ruins. When D’Hubert enters the forest he walks from lower left to upper right of the frame, it suggests how the duel will end (this movement signifies the rise of the character). On the other hand
FROM THE STUDENTS Feraud walks from upper right to lower left in one of the following shots (this movement signalling the downfall of the character). In the following shot Feraud is walking towards the camera and is lit with a strong backlight. He is underexposed and therefore appears as a silhouette in the foggy morning. This emphasizes him as the threatening character. In a following wide shot Feraud crosses a bridge in the background when D’Hubert enters in the foreground looking away from Feraud. When Feraud sees D’Hubert he runs into the ruin and hides and from this moment the spectators know that D’Hubert is being followed. Just before the first gun shot D’Hubert thinks he is safe hiding behind the wall without realizing that Feraud is just around the corner. When he leans against the wall he exhales in relief and the music stops for the first time throughout the sequence. In the next shot the camera has been moved a few metres backwards and now Feraud is seen in the background sneaking up on him. The spectators attention is first to D’Hubert because he is in the foreground and because he is in the lightest spot of the picture. 0 From the feet of D’Hubert the spectator’s eyes are led to the diagonal lines that the ruins form in the frame and following these lines the attention is directed towards the darkest spot. Then it moves and the spectator realizes that it is Feraud approaching as he fires at D’Hubert but misses. In the end Feraud has used both his bullets while D’Hubert still has one left. D’Hubert aims the gun at Feraud and, to underline the conflict of the movie, the montage sequence shows flashbacks of previous duels where Feraud commands D’Hubert to fight him. The calmness and beauty of the scenery is in strong contrast to the intensity of the duel. This makes the spectator feel the absurdity in the same way as D’Hubert feels it. At the end of this sequence D’Hubert meets the helper of Feraud in the field where the sequence began. In this sequence it is not shown whether D’Hubert actually kills Feraud but at the end of the film it is revealed that D’Hubert let him live. By that D’Hubert finally frees himself from the romantic conceptions of honour and death of the Duel that Feraud has imposed on him.
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The Yearbook of the European Film C
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The Yearbook of the European Film C
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Executive Board og the European Fil
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Life after the EFC By Jens Rykær I
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Creating the documentary on Don Rob
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was to make extreme efforts to show
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The New Student Lounge Cleaning Dut
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stone. Now she has made a feature-l
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Photo: Jens Rykær The summer that
Page 19 and 20: SUMMER 2003 Irm Hermann Morten Arnf
Page 21 and 22: SUMMER 2003 Harriet Knitter and the
Page 23 and 24: SUMMER 2003 “For example”, cont
Page 25 and 26: Diary 2003-04 By Jens Rykær SUMMER
Page 27 and 28: SUMMER 2003 Chr. Brand Thomsen & Ho
Page 29 and 30: Photo: Jens Rykær Christopher Wint
Page 31 and 32: SUMMER 2003 0
Page 33 and 34: Jubilee Celebrations By Mark Le Fan
Page 35 and 36: During the weekend, guests from abr
Page 37 and 38: Ebeltoft Lecture By Mark Le Fanu EV
Page 39 and 40: EVENTS spent a wonderful summer wor
Page 41 and 42: EVENTS ly. Peter left school early
Page 43 and 44: Photo: Jean Leander News Year’s C
Page 45 and 46: at the school we began the behind-t
Page 47 and 48: FROM THE TEACHERS Visiting the Film
Page 49 and 50: Ghosts of EFC By James Fernald FROM
Page 51 and 52: Why Seek Globally... By Esben Høil
Page 53 and 54: FROM THE TEACHERS lectic process of
Page 55 and 56: FROM THE TEACHERS Having said that
Page 57 and 58: FROM THE STUDENTS At a slight angle
Page 59 and 60: Present State of Art and some Recom
Page 61 and 62: FROM THE STUDENTS [The] artists wer
Page 63 and 64: The Greeks at the EFC By Persefone
Page 65 and 66: A step on the journey By Nahed Awwa
Page 67 and 68: Framing the Subjective By Laurent Z
Page 69: The Duellists By Bue B. Petersen Em
Page 73 and 74: The Berlinale Experience By Kjetil
Page 75 and 76: My left foot AWAY FROM THE EFC Rott
Page 77 and 78: AWAY FROM THE EFC
Page 79 and 80: Are you bored? LET’S GO TO THE MO
Page 81 and 82: Photo: Jens Rykær LET’S GO TO TH
Page 83 and 84: This also meant that all teachers a
Page 85 and 86: Staff News By Jens Rykær WHO’s W
Page 87 and 88: Principal and teachers: Jens Rykær
Page 89 and 90: to the “script”: preliminary re
Page 91 and 92: Guess who’s coming to dinner The
Page 93 and 94: Richard Martin: Teachers’ assista
Page 95 and 96: education as a kitchen assistant in
Page 97: Students 2003-2004 Adler, Sonny Ana
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