Teaching Young Sherlock Holmes ysh 1 Teaching Young

Teaching Young Sherlock Holmes ysh 1

Teaching Young Sherlock Holmes 1. Holmes and Detective Fiction 2. Young Sherlock Holmes -Production History 3. Category and Genre - generic hybrid; tone 4. Narrative - two narratives, plot and story, narrative structure 5. Language - mise en scene, cinematography, editing, sound 2

1. Holmes and Detective Fiction 3

Holmes and Detective Fiction 17 th C. growth of journalism - broadsheets would be rushed out after major crime or execution although writing about crime been going on a long time, genre really took off in 19 th century 4

Holmes and Detective Fiction Detective fiction given boost by real life detective: Eugene Francois Vidocq Former criminal, became police informer, finally policeman Founded the Sûreté - first professional police force in France Gerard Depardieu as Vidocq 5

Holmes and Detective Fiction Innovator - card-index records; introduced police to ballistics Master of disguise (as is Holmes) and surveillance Set up first private detective agency Published his (unreliable) memoirs which influenced subsequent crime fiction 6

Holmes and Detective Fiction Edgar Allen Poe (1809 -49), Poet and novelist Drew on Vidocq’s memoirs and created “tales of ratiocination “and brilliant detective Auguste Dupin (eg “Murders in the Rue Morgue”) Highly intelligentleman crime-solver, tackling crime police unable to solve Conan Doyle great admirer (even if Holmes not!) 7

Holmes and Detective Fiction Born Edinburgh 1859, studied medicine in Edinburgh University where he started writing Holmes thought to be partly based on Professor Joseph Bell, known for his ability to observe patients and deduce facts about with amazing accuracy First significant work, novel “A Study in Scarlet” 8

Holmes and Detective Fiction Wrote four novels and fifty-six Holmes short stories. All but four stories are narrated by Holmes's friend and biographer, Dr John H. Watson. Grew tremendously in popularity when started to appear in Strand Magazine in 1891; further series of short stories and two serialised novels appeared until 1927. Stories cover a period from around 1878 up to 1907, with final case in 1914. 9

Holmes and Detective Fiction What Holmes shares with general corpus of detective fiction. Detective story defined as “a novel or short story in which a crime, usually a murder – the identity of perpetrator unknown – solved by a detective through a logical assembling and interpretation of palpable evidence, known as clues. ” * Good detective story generally follows six “unwritten rules” : * Hugh Holman “A Handbook to Literature” 10

Holmes and Detective Fiction The Good Detective Story 1 Crime must be significant, worthy of the attention it receives 2. Detective must be in some way a memorable character -must be very intelligent, clever and observant. Should -also stand out because of some individual style, eg -eccentricity of dress or speech. 3. Must be an outstanding opponent, a criminal clever enough to be a match for the hero. 11

Holmes and Detective Fiction The Good Detective Story cont 4. Because large part of the attraction of genre is opportunity for the reader to try to figure out the solution along with the detective, all suspects must be introduced early. 5. All clues detective discovers must be made available to reader as well as detective. 6. Solution must seem obvious, logical, possible – not result of accident or supernatural causes; and detective must be able to explain all aspects in reasonable way. 12

Holmes and Detective Fiction Useful to get pupils to apply these rules to Holmes stories Does it work for “The Speckled Band”? Does it work for other Holmes stories? Does it work for Young Sherlock Holmes? Effective exercise 13

Holmes and Detective Fiction Repertoire of elements? Term usually associated with film genres but can be applied to genre prose fiction Perhaps can even say there is a Sherlock Holmes genre 14

Holmes and Detective Fiction Popular image of Holmes combination of Conan Doyle and number of illustrators, esp Sydney Paget in Strand Magazine. Stage adaptation anchored Holmes image in popular imagination where has remained 15

Holmes and Detective Fiction 16

Holmes and Detective Fiction The ‘corpus’ of genre consists of works of Arthur Conan Doyle, ie “the canon” (Conan? ) But might also be said to consist of works emanating from canon to include • stage plays - particularly important in establishment of Holmes image in public imagination • adaptations (film and TV) • pastiche works • graphic novels 17

Genre Holmes Genre: Repertoire of Elements • Holmes props: Deerstalker, Inverness cloak, Meerschaum pipe, magnifying class, scientific instruments, • “Catch-phrases”: “The game is afoot”; ”Elementary, my dear Watson” (exact words not used in Conan Doyle)’ “You look but you do not see” 18

Genre Holmes Genre: Repertoire of elements • Holmes’s use of disguise (eg “A Scandal in Bohemia”) • No interest in women (apart from Irene Adler) • Holmes’s powers of observation and deduction eg in “The Speckled Band” - able to work out details of Helen Stoner’s journey that morning from a ticket and mud-splashes on her clothes 19

Genre Holmes Genre: Repertoire of elements Recurring characters: • Professor Moriarty - arch-nemesis • Inspector Lestrade (wants Holmes help but tries to take credit) • Baker Street Irregulars - street urchins who do odd jobs for Holmes (eg “A Study in Scarlet”) • Brother Mycroft 20

Holmes and Detective Fiction Examples of adaptations Basil Rathbone films of 1940 s ITV series with Jeremy Brett (1970 s) Tended to be reasonably faithful to original models though Rathbone films often switched settings to 1940 (eg wartime exploits against nazis) 21

Holmes and Detective Fiction Not just in Englishspeaking world: Russian television produced adapations from 1979 - 1986 with Vasily Ivanov 22

Holmes and Detective Fiction Many films used Sherlock Holmes myth for new works - either straight or pastiche or parody The Seven-Per-Cent Solution (d. Herbert Ross) based on novel by Nicholas Meyer. Pastiche of Sherlock Holmes adventure, focusing on Holmes’s drug addiction Nicol Williamson as Sherlock Holmes, Robert Duvall as Watson, and Alan Arkin as Dr. Sigmund Freud. Laurence Olivier played the brief role of Professor Moriarty. “"It is cocaine, " he said, "a seven-per-cent solution. Would you care to try 23 it? ” Holmes to Watson in “The Sign of Four”

Holmes and Detective Fiction Celebrated German director Billy Wilder’s The Private Life of Sherlock Holmes (1968) with Robert Stephens which speculated about Holmes’s ambiguous sexuality 24

Holmes and Detective Fiction Latest example in post-production (WB) Sherlock Holmes directed by Guy Ritchie . Watson played by Jude Law Holmes played by Robert Downie Junior Based on Lionel Wigram’s graphic novel (not published yet) 25

Holmes and Detective Fiction Young Sherlock Holmes and Holmes Genre will be considered in Section 3. 26

2. Young Sherlock Holmes Production History 27

2. Young Sherlock Holmes Production History Released USA 1985 Rleeased UK (as Young Sherlock Holmes and the Secret of the Pyramid) March 1986 28

Young Sherlock Holmes Directed by Barry Levinson (1942 - ) Films include: Diner (1982) The Natural (1984) Good Morning, Vietnam (1987) Rain Man (1988) (Oscar for Best Director) Bugsy (1991) Wag the Dog (1997) Toys (1992), 29

Young Sherlock Holmes Original script by Chris Columbus (1958 - ) Films include: Home Alone (1990) (director) Mrs. Doubtfire (1993) Harry Potter and the Philosopher's Stone (2001) (producer-director) Harry Potter and the Chamber of Secrets (2002)(producer-director) Harry Potter and the Prisoner of Azkaban (2004) (producer) 30

Young Sherlock Holmes Production Companies • Paramount Pictures • Amblin Entertainment • Industrial Light & Magic (ILM) 31

Young Sherlock Holmes Paramount Pictures One of traditional “Big Five” Hollywood Studios Subsequently involved in distribution and finance Rather than production 32

Young Sherlock Holmes Amblin Entertainment Founded in 1981 by Steven Spielberg and associates Frank Marshall and Kathleen Kennedy. Produces but does not distribute films 33

Young Sherlock Holmes Industrial Light & Magic (ILM) Visual effects company that was founded in May 1975 by George Lucas and owned by Lucasfilm. 34

Young Sherlock Holmes CGI in YSH impressive given the date of the film. Supplied by George Lucas’s Industral Light and Magic company which developed the effects for films such as Star Wars. YSH was the first film to use a CGI that actually interacted with the characters on screen. 35

Language 36

Young Sherlock Holmes 37

Young Sherlock Holmes Executive Producer suggests overseeing rather than hands-on role Spielberg had just finished Indiana Jones and the Temple of Doom (1984) (prequel to Raiders of the Lost Ark (1981) ) Notable influence on Young Sherlock Holmes -see section on genre -Modest box office (not much more than costs - c. $18 million) But posthumous life on video/DVD 38

Young Sherlock Holmes Certification USA: PG-13 UK: PG Could producers have toned down more frightening scenes (eg Elizabeth about o be mummified)? Same problem with Indiana Jones films 39

3. Genre and Other Categorisations 40

Genre most important aspect of film categorisation Based on similarities in the narrative and other elements from which films constructed. 41

Genre Films usually categorized in terms of genre according to their • setting: eg western • theme or topic or mood eg horror • audience eg teenpic, chickflick • protagonist’s occupation eg gangster 42

Genre Iconography - repeated visual (and sound) motifs associated with a genre eg western - desert, rugged landscape, frontier town, horses, stagecoaches eg gothic horror gloomy gothic castle, garlic, inn with locals crossing themselves at the name of the vampire 43

Genre Iconography - repeated visual (and sound) motifs associated with a genre eg sci-fi - gleaming meallic surfaces, advanced technology, aliens eg gangster backstreet urban setting, bars and clubs (speakeasys), weapons, sharp clothes (for top brass) 44

Genres never “pure”, even in early cinema Eg “singing cowboy” films combined western + musical “generic hybrids” But became more common post 1970 s eg Blade Runner : scifi + film noir eg Star Wars: scifi + action-adventure eg Prizzi’s Honor : gangster + screwball comedy 45

Genre Young Sherlock Holmes a hybrid of different genres. • detective genre • action-adventure genre Action-adventure itself a hybrid of action and adventure 46

Action film Usually include spectacle, high energy, physical stunts and chases, rescues, battles, fights, escapes, destructive crises (floods, explosions, natural disasters, fires, etc. ), non-stop motion Often two-dimensional heroes (“goodies”) battling villains (“baddies’) - all designed for pure audience escapism. 47

Action Examples: Die-Hard films Lethal Weapon 48

Action Often combine with other generic elements such as police-procedural, espionage, war The disaster film (eg Towering Inferno) might be classified as an action film eg James Bond 'fantasy' spy/espionage series, martial arts films, and so-called blaxploitation films. 49

Action Clip “Bond, James Bond”/”Holmes, Sherlock Holmes “ 50

Adventure Considerable overlap in that adventure films also action films but usually have new experiences or exotic settings. Can include traditional swashbucklers, serialised films, and historical spectacles, searches or expeditions for lost continents, "jungle" and "desert" epics, treasure hunts, disaster films, or searches for the unknown. 51

eg Adventure 52

Adventure Exotic locations usually mean some far-off country where things are different from what the audience is used to Resolution usually involves large-scale action, buildings destroyed etc Usually appeal to a younger demographic that straightforward action films 53

Action-Adventure Most successful example of genre in recent years Significant influence on Young Sherlock Holmes 54

Genre The detective film Other main genre strand of Young Sherlock. Holmes - detective film (often overlapping with suspense, thriller or mystery films) Focus on the unsolved crime (often murder, theft, blackmail or disappearance of one or more of the characters, or a theft), 55

Genre The detective film Focus on central character - detective. hero (either a policeman or a private investigator) who faces various adventures and challenges in cold and methodical pursuit of the criminal or the solution to crime 56

Genre Detective Plot often centers on the deductive ability, prowess, confidence, or diligence of the detective as he/she attempts to unravel the crime or situation by piecing together clues and circumstances, seeking evidence, interrogating witnesses, and tracking down a criminal. 57

Genre Detective films emphasize the detective solving the crime through clues and exceptional rational powers. 58

Genre Detective The detective studies intriguing reasons and events leading to crime - eventually determines the identity of villain - a murderer, a master spy, an arch fiend, an unseen evil, or a malignant psychological force). 59

Genre Detective Genre has ranged from early mystery tales, fictional or literary detective stories, to classic Hitchcockian suspense-thrillers to classic private detective films and films noirs. 60

Genre - Detective Some notable examples • The 39 Steps (1935) • The Maltese Falcon (1941) • Maigret voit rouge/Maigret Sees Red (1963) • Marlowe (1969) • Klute (1971) • Death on the Nile (1978) • Blade Runner (1982) • Dick Tracy (1990) • Lone Star (1996) Most based on detective novels 61

Genre In addition to the action-adventure and the detective elements, other genres make an appearance in Young Sherlock Holmes • Romance - the Holmes-Elizabeth relationship • Public school genre eg Tom Brown’s Schooldays (1951) 62

Genre Detective Overlap between detective and actionadventure detective genre put more emphasis on detection - • investigation (amassing of clues) • forensics (using science to solve crimes) etc. • logical deduction • Action-adventure emphasis on derring-do 63

Genre YSH and detective genre • Holmes establishes link early on between dead men 64

Genre YSH and detective genre Using forensics (chemistry), able to find origin of material worn by hooded figure - leads to warehouse in docks area and discovery of Rame Tep temple 65

Genre YSH and detective genre Intuition as well as deduction from evidence - cut on face reminds him of ring with Rame Tep symbol worn by Rathe) - leads him to identity of villain Clip 66

Genre YSH and detective genre 67

Genre YSH and detective genre • In detective genre, resolution (see section on Narrative) through deduction Resolution to narrative not discovery of the criminals (“who done it? ”) but confrontation with cult and final duel with Rathe Eh. Tar ie through action Clip 68

Genre 69

Genre Exotic locale a feature of action-adventure However, in Young Sherlock Holmes exotic is found close to home: the Rame Tep temple in. . . Wapping, East London Setting is exoticised 70

Genre Mise en scene - chanting sect members with shaven heads and eastern dress; torches, animal heads etc (Will be developed further in Language section) Clip 71

Genre Final battle brings down whole temple Holmes saved at last minute by Watson’s ingenuity Final confrontation with Rathe Resolution of YSH’’s narrative therefore more typical action-adventure than detective 72

Genre In detective genre, sometimes violence but minor key. Action-adventure however tends to ends with large-scale set-piece Compare climactic scene in Young Sherlock Homes with Indiana Jones and the Temple of Doom clip 73

Clips from Indiana Jones and from Young Sherlock Holmes 74

Holmes Genre How are the ‘repertoire of elements” deployed in Young Sherlock Holmes? Props: Deerstalker, Inverness cape and Meerschaum pipe 75

Characters Holmes Genre Lestrade shown as a younger detective - later (in the Conan Doyle canon) brings in Holmes to help - and tries to claim the claim credit - as Lestrade does in YSH Mycroft Holmes referenced - when Holmes is expelled 76

Holmes Genre Repertoire of elements • Catch-phrases: “Elementary, my dear Watson” Waxflatter says, “Elementary, my dear Holmes” • “The game is afoot!” Holmes says for first time when he is solving the mystery of the missing trophy • “You look but you do not see” Young Holmes says to young Watson 77

Genre Holmes Genre: Repertoire of Elements Narrative: 3 -part structure 1. case brought to Holmes’s attention 2. Holmes investigates 3. Holmes unmasks culprit. First person narration (by Watson), including coda where Watson asks Holmes to explain how he arrived at conclusions 78

Holmes Genre Watson narration an important feature of stories: in Young Sherlock Holmes, this done by (older) Watson’s voiceovers - Watson voiceover used throughout film for comment and exposition Narrative coda (explanation of how Holmes arrived at conclusions) done with a mixture of dialogue and voiceover Clip 79

Holmes Genre Useful exercise when watching film Get pupils to make a brief note when element from the repertoire makes an appearance (more able) Or provide a list and ask pupils to tick off as they watch film (less able) 80

Other Categories: Tone Excitement - flying machine heading for Wapping CLIP Suspense - will Elizabeth be mummified? Romance - Holmes and Elizabeth (tragic romance - as Elisabeth dies) 81

Categories: Tone Comedy Waxflatter’s attempts to get machine to fly - ends in failure each time Almost a “running gag“ (ie a joke, situation or line that is repeated several times, each time the comedy being reinforced by memory of the previous occurrence) Clip 82

Categories: Tone Comedy Graveyard scene - food attacking Watson Example of “tonal shift” ie, sudden change in tone -in this case from excitement/suspense to (almost slapstick) comedy -Does it work? Does the comedy detract from the suspense? CLIP 83

4. Narrative • The two narratives • Plot and story • Narrative Structure (Todorov) • Narrative Closure • Other aspects of narrative 84

2. Narrative Two narratives RAME TEP narrative: SCHOOL narrative: Murder of Bobster, Rev. Duncan Nesbit, Waxflatter lessons, rivalries, romance etc 85

Narrative Two narratives However, connections made between two narratives Mysterious visitor (we learn later is Cragwitch, one of group being targeted by sect) Mysterious hooded figure with jangling bracelet - appears in school library and school grounds 86

Narrative: two narratives At first kept (more or less) separate and merged into one after Waxflatter’s death and Holmes’s (subversive) return to Brompton Preceded by Watson’s v/o about Holmes’s triumph in his bet with Dudley: Clip 87

Narrative Plot and story Story = all the events we see and hear, plus all those we infer or assume to have occurred, arranged in chronological order, Plot =the way these events presented to the audience. In plot, story elements might be in completely different order 88

Narrative Plot and story STORY Inferred events Explicitly presented events Added nondiegetic material PLOT 89

Narrative Plot and story “A murder has been committed. That is, we know the effect but not the causes - the killer, the motive, perhaps also the method. The mystery tale depends strongly on curiosity, our desire to know events that have occurred before the plot action begins. It is the detective's job to disclose, at the end, the missing causes-to name the killer, explain the motive, and reveal the method. That is, in the detective film the climax of the plot line (the action that we see) is a revelation of prior incidents in the story (events which we do not see)” from “Film Art” (Bordwell & Thomson)90

Narrative Plot and story (a) crime conceived (b) Crime planned STORY (c) crime committed (d) Crime discovered PLOT (e) Detective investigates (f) Detective reveals a, b and c Bordwell &Thomson, Film Art p 67 91

Narrative Plot and story (a) Egyptian village burned down and protesting villagers killed by army protecting group of investors who desecrated sacred site. S T O R Y (b) Rame Tep sect swear revenge - send (Anglo-Egyptian) Eh Tar to England to seek revenge. When they grow up, he and sister employed at Bromton (where Waxflatter - one of investors based). (c) Attacks on members of investors group leading to deaths. P L O T (d) Holmes suspicious about ‘suicides’ - investigates - discovers sect, tracks down to their temple. (e) locates Cragwitch (mysterious visitor to Waxflatter); discovers the story behind sect and their revenge. (f) discovers Rathe’s role; causes temple to burn down. Defeats Rathe/Ethar but Elisabeth killed 92

Narrative structure: Todorov model Most common narrative structure in mainstream texts as analysed by Todorov 1 Equilibrium (state of normality) 2 Disruption - event that kicks off narrative 3 Resolution - moment when conflicting forces fight key battle 4 Return to equilibrium - new state of normality 93

Narrative structure: Todorov model Equilibrium Watson arrives at Brompton, meets Holmes; normal life of the school (lessons, rivalry, romance, etc 94

Narrative Disruption Attacks on members of the group leading to deaths Frequently, disruption is intimated before equilibrium has chance to be established so film opens with attack on and death of the banker Bobster 95

Narrative Resolution Climax in Rame Tep temple in Wapping destruction of temple, Holmes defeats Rathe/Eh Tar; Elizabeth killed 96

Narrative Return to Equilibrium • Rame Tep defeated • Holmes’s life without Elizabeth • Vows never to marry • Leaves Bromton 97

Narrative Individual narratives within the overarching narrative Eg Watson has his own narrative and own “new equilibrium’’ 98

Narrative [Make a montage of w at start and w at end] 99

Narrative closure Tying up of loose ends, bringing narrative to clear conclusion Traditional in mainstream films but left open for sequel potential Cf Watson’s final voice-over: “. . I was ready for whatever mystery or danger that lay ahead. I was ready to take on the greatest and most exciting adventure of them all and I knew it was bound to involve Sherlock Holmes” 100

Narrative closure - also post-credit ending Rathe/Eh Tar manages to survive - and become the arch nemesis of adult Holmes -Professor Moriarty, the “Napoleon of crime” 101

Narrative Other aspect of narrative: repetition and parallels help structure the narrative ‘The rule of three’ Certain events in the film occur three times, usually with an important variation each time 102

Narrative The rule of three • Three fencing duels with Rathe/Eh Tar • Three attempts to fly machine • Three confrontations with Lestrade 103

Narrative The rule of three Three fencing duels with Rathe/Eh Tar • First time Holmes loses - Rathe teaches him about the need not to let emotions interfere • Second time their match is declared a draw as Holmes was distracted by sunlight reflected on Rathe’s ring. • Third time Holmes is victorious 104

Narrative The “rule of three” Three attempts to launch Waxflatter’s flying machine (ie onscreen attempts - preceded by six others!) The first two end in failure but Holmes successful the third time - able to follow Rathe, who is driving coach and horses with Elizabeth tied up, back to Rame Tep temple in Wapping Cf Slide 50 105

Narrative “The rule of three” Three times Lestrade dismisses Holmes’s suspicions about the case. 1. When Holmes suggests there is a connection between the victims of the attacks (29. 12) 2. When Waxflatter’s dying words to Holmes make Holmes realise Waxflatter’s death is connected with the others. Lestrade will have none of it. (38. 49) 3. When they are taken to Scotland Yard after graveyard fracas where Lestrade refuses to have thorns analysed and throws them out. However, a thorn pierces Lestrade’s hand which will have consequences later. (1. 01 106 53)

Narrative “The rule of three” Three (apparent) suicides • Bentley Bobster • Rev. Duncan Nesbit • Professor Waxflatter 107

Narrative Parallels A number of parallels also structure the film and make it hang together: Watson arriving at Bromton by coach at the start Holmes leaving Bromton by coach by the end CLIP 108

Narrative Parallels Holmes is leaving Bromton, having been expelled. As he leaves, Elizabeth writes” I LOVE YOU” on the window pane Holmes is leaving Bromton at the end. Holmes looks up at the same window but Elizabeth is dead 109

Narrative Parallels 110

Narrative Parallels Holmes solves the case of the missing trophy in the first half of the film Holmes solves the case of the mystery suicides and the Rame Tep cult in the second half of the film Foreshadowing 111

5. Language • Mise en scene • Cinematography • Editing • Sound 112

Language Mise en scene - setting, props, lighting, blocking etc Cinematography - camera angle, camera distance, camera movement; framing Editing - pace and rhythm of editing; transitions Sound - diegetic and non-diegetic -particularly music: Bruce Brougham’s score structured in leitmotifs - particular themes for characters, locations and situations) 113

Language - mise en scene Mise en scene - important in historical film to create a convincing “diegesis” (story world) - kind of clothing, transport, decoration etc tells us we are in the nineteenth century. 114

Language - mise en scene The mise en scene of Brompton - wooden panels, gothic architecture 115

Language - mise en scene Within Bromton, mise en scene in Waxflatter’s quarters suggests something very scientific – not twentieth century scientific with white lab coats and shiny surfaces, but nineteenth century scientific, with tubes and jars and exotic-looking early scientific instruments. (cf Frankenstein) 116

Language - mise en scene 117

Language - mise en scene Contrast with Bromton mise en scene in the Egyptian tavern, with its oriental atmosphere created by characters’ clothing, musical instruments etc. 118

Language - mise en scene Contrast even more pronounced between church where the priest receives the poison dart and Rame Tep temple Mise en scene of the church– very traditionally English (or Western European) 119

Language - mise en scene Church contrasts with the mise en scene in the Rame Tep temple -connotes ancient Egyptian, with the sarcophagus, the candle–lit chandeliers, the pillars, carvings, costumes (and haircuts) of the sect members and priest Mise en scene essential for essential exoticism of Rame Tep, essential for action-adventure aspect of generic hybrid Clips 21. 31 - 22. 00 diss to 54. 45 - 55. 15 120

Language 121

Language - mise en scene Mise en scene - lighting and shadow Hooded figure effectively portrayed by use of light and shadow - combined with other elements such as music CLIP 122

Language Cinematography - camera angle Film follows traditional practice of using low camera angle to connote power or nobility and high camera angle to connote vulnerability Holmes’s winning Dudley’s challenge (to find school trophy) – confidence indicated by low-angled shots as he takes up challenge (23. 49) “The game is afoot!” 123

Language - Cinematography 124

Language - Cinematography - camera angle Later, as he walks towards common room – even if time almost run out. (26. 31). Soon after, more extreme low angle at his moment of triumph where the whole school cheering for him. (27. 23) 125

Language 126

Language - Cinematography - camera angle Another extremely low angle used when becoming clear that Rathe is a villain. After Elizabeth’s fight with Mrs Dribb, Rathe comes into the room, Elizabeth appeals to him and he replies, “So, my dear, you have discovered our little secret” (1. 15. 13) 127

Language - Cinematography - camera angle 128

Language - Cinematography - framing: “dutch angle” - use of canted frame to indicate that not all is right with the world: a cinematic tactic often used to portray the psychological uneasiness or tension in the subject being filmed. A Dutch angle is achieved by tilting the camera off to the side so that the shot is composed with the horizon at an angle to the bottom of the frame 129

Language - Cinematography Dutch angle 1 - occurs in pre-title sequence involving Bobster (a banker, one of the group of investors targeted by the Rame Tep cult) Very marked dutch angle indicates extreme psychological state which makes him, a short time later, jump out of a building to his death 130

Language - Cinematography 131

Language - Cinematography Dutch angle 2 - Used during Rathe and Holmes’s friendly duel before Holmes due to leave Brompton after being expelled. Perhaps dutch angle suggests that things not always as they seem and foreshadow Rathe’s real identity 132

Language 133

Language Editing Two aspects: • TRANSITIONS • RHYTHM 134

Language: Editing Rhythm one of the essential features of film decisively contributes to mood and overall impression on the spectator. Rhythm of editing - change in rate of cutting (ie moving from longer takes to shorter takes when need for more action, energy) 135

Language: Editing Transitions Refers to how editing joins two film clips Vast majority of transitions are cuts - we tend not to perceive them except in being aware of rate of editing etc 136

Language: Editing Transitions Other main transitions: • Fade (in/out) • Dissolve - Less common: • wipe • iris 137

Language: Editing - Transitions Fade (in/out) Traditionally, films use fades to begin the film (fade-in or fade from black) or to end it (fadeout or fade to black) Within film, fade used to separate parts of film (like chapters in a novel) and usually means some time has elapsed 138

Language: Editing - Transitions Fade and Dissolves Note from clip from Vertigo (Hitchcock 1961) Starts with fade, punctuates shorter scenes with dissolves (usually indicating time has passed and/or change of place) Ends with fade out, indicating a longer pause, almost like chapter marker in book Clip 139

Language: Editing - Transitions Fade (in/out) YSH uses fade-in/fade out to begin film and first post-credit sequence. However, does not fade out at end: surprise post -credit scene revealing Rathe/Eh Tar has survived and is Moriarty (Holmes’s nemesis) doesn’t fade to black but cuts to black reinforcing shock 140 Clip

Language: Editing - Transitions However, fades less common in recent times and Young Sherlock Holmes has very few fades or dissolves - favouring instead (abrupt) cuts to shift from one scene/sequence to another perhaps a way of imbuing film with greater energy In this sequence we go from street to curio shop to street to Egyptian tavern to Bromton library using only cuts Clip 141

Language: Editing - Transitions Dissolve: Transition between two shots during which the first image gradually disappears while the second image gradually appears; for a moment the two images blend in superimposition. Used as an alternative to a fade in/out, often used to suggest short time lapse (eg someone entering building - series of dissolves links various locations, cutting out “dead” time) Can also be used to go from waking state to dream 142 state, or from present to flash-back

Language: Editing - Transitions Like fade-in/fade out, dissolves in YSL are used sparingly, usually to indicate a (short) shift in time and space Here, we dissolve from the hooded figure climbing over the wall of the school grounds (returning after being chased by Elizabeth’s dog) to inside the church where she is going next Clip 143

Language: Editing - Transitions Wipe: transition between shots in which a line passes across screen, eliminating the first shot as it goes and replacing it with the next one. Mostly these horizontal (left to right or right to Left); occasionally from both ends towards centre; Sometimes wipe goes diagonally across screen. 144

Language: Editing - Transitions Wipe very noticeable and dynamic transition Often suggest a brief temporal ellipsis and direct connection between the two images Usually employed in action or adventure (or action-adventure) films. eg Star Wars (despite its setting etc, can be seen as much action-adventure as scifi) 145

Language: Editing - Transitions Wipes Young Sherlock Holmes uses on a few occasions, particularly in the second half where actionadventure becomes more dominant genre First example a diagonal wipe Next one a vertical wipe but coming from both ends of frame Clips 146

Language: Editing Cross-cutting or parallel editing. Editing that alternates shots of two or more lines of action occurring in different places, usually simultaneously. Two actions are therefore linked, associating the characters from both lines of action. Clip 147

Language: Sound Two broad categorisations of sound in film: . • diegetic sound - sound coming directly from story (if characters can hear it is diegetic sound) • non-diegetic sound - sound added to create atmosphere, anchor a particular mood etc (characters cannot hear non-diegetic sound) Young Sherlock Holmes employs both; 148

Language: Sound Diegetic. Most significant diegetic sound - tinkle from bracelet of hooded figure (actually “Mrs Dribbs”) Becomes a sort of leitmotif, alerting us to her presence imminence of a deadly attack eg in outside restaurant at start of film Clip 149

Language: Sound Distinction between diegetic/non-diegetic usually fairly straightforward but Young. Sherlock Holmes also used internal diegetic sound ie sound that comes from the story but only one character can hear because it activated by memory - ie sounds that actually happened within the story (even if decades before!) 150

Language: Sound Cragwitch remembers the burning of the. Egyptian village, the bullets, the explosions, the screams However, it is not audible by other characters and operates in a similar way to non-diegetic sound - ie to create an atmosphere Clip 151

Language: Sound Music in YSH. Main aspect of non-diegetic sound: music Bruce Brougham’s score organised in leitmotifs relating to character and situation 'Main Title’ - opens with lively flute melody - acts as recurring leitmotif for Holmes throughout the score, characterising his lust for adventure, indomitable spirit and inquisitive mind. 152

Sound Main theme very adaptable. By adding simple orchestral. effects, or by a change in instrumentation, Broughton able to make his central melody convey multiple moods - • youthfully ebullient strings of 'Fencing Lesson’ • playful multiple settings of 'Solving the Crime’ • spine-tingling heroism of 'It's Rathe!' - theme is reorchestrated to act as an action fanfare. 153

Sound 'Secret Ceremony' - large choral ostinato (continually. repeated musical phrase or rhythm) that appears during Rame Tep ceremony Cf Orff's “Carmina Burana”; John Williams' thuggee music from Indiana Jones and the Temple of Doom deep and sinister connoting sect’s murderous intent 154

Sound . Leitmotif cleverly carried over into the following two cues, 'Chase/Crypt/Pastries/You're A Hallucination’ - Holmes and Watson are pursued into a graveyard by cult's shaven-headed devotees 155

Sound 'India/The Letterhead', as Holmes finally. realises the identity of the Rame. Tep's high priest is Rathe 156

Sound Other important musical themes: . "flying" theme heard during 'Waxflatter's First Flight' and 'Another Failed Flight’ - depicting ill-fated efforts of the eccentric professor to take to the air. 157

Sound Romantic motif for Holmes and Elizabeth 'Library Love', 'Elizabeth in the Courtyard' and. 'Love Theme' - depicts nature of their relationship: chaste and honourable, full of tenderness. Orchestrated more tragically for Elizabeth’s death scene 158

Teaching Young Sherlock Holmes . desmurphy 47@gmail. com www. desmurphy. com 159