Textual Analysis and Representation

Camera Shots, Angle, Movement and Composition

- Shots: establishing shot, master shot, close-up, mid-shot, long shot, wide shot, two-shot, aerial shot, point of view shot, over the shoulder shot, and variations of these.
- Angle: high angle, low angle, canted angle.
- Movement: pan, tilt, track, dolly, crane, steadicam, hand-held, zoom, reverse zoom.
- Composition: framing, rule of thirds, depth of field – deep and shallow focus, focus pulls.

Editing

- Includes transition of image and sound – continuity and non-continuity systems.
- Cutting: shot/reverse shot, eyeline match, graphic match, action match, jump cut, crosscutting, parallel editing, cutaway; insert.
- Other transitions, dissolve, fade-in, fade-out, wipe, superimposition, long take, short take, slow motion, ellipsis and expansion of time, post-production, visual effects.

Sound

- Diegetic and non-diegetic sound; synchronous/asynchronous sound; sound effects; sound motif, sound bridge, dialogue, voiceover, mode of address/direct address, sound mixing, sound perspective.
- Soundtrack: score, incidental music, themes and stings, ambient sound.

Mise-en-Scène

- Production design: location, studio, set design, costume and make-up, properties.
- Lighting; colour design.

Our Waterloo Road Replication

Editing

What's Wrong With The British Film Industry?

In comparison to other locations, such as Hollywood, it can be argued that the British film industry is lacking in something, that it isn't as successful as some others. But it is unlikely to be due to lack of talent, as Britain have some of the finest technicians in the world who are very much wanted by Hollywood, even though they could make even more cost savings by shooting in Poland, or Romania, but still choose Britain. It can’t be down to a lack of facilities, as we have the biggest sound stages and all of the latest technology. It can’t be down to a lack of acting talent either, as today there are many more British actors working in America than there are Americans working in Britain compared to years ago. It isn't just the quality of British films being produced that is low - it's the quantity too. The number of films being made in Britain has fallen to the lowest level since at least 2003, with those that are being made on much lower budgets. On the consumer side, the British watch more films across more platforms than ever before, with record receipts of £988m at the box office. But the production side is a grim picture. The number of films made was down from 87 in 2009 to 79 in 2010. Total films made in Britain, including Hollywood productions and co-productions, fell from 150 to 128 last year. However many people hold a different opinion on the state of the British film industry as it is, for example Lord Smith: “British film is going through a golden period.  A run of British-made and British-based movies has been taking audiences around the world by storm.  But we cannot be complacent – this review highlights the things that the BFI, Government and industry can do to ensure that we continue to build on recent successes. British film is in prime position to make a major contribution to the growth of the UK’s economy, to the development of attractive and fulfilling careers for young people and to the creation of job opportunities across the country.” Like Lord Smith, some people see the British film industry as a huge boost to the economy and believe that when they want they can produce the best movies. The British film industry not only helps the economy out with money, it also supports over 35,000 jobs. Also in respond to the people who say Britain does not produce enough movies, last year independent British films took their largest market share in a decade, which illustrates that Britain does encourage people to produce/make movies and this has made an impact. The box office itself also made over £1 billion for the first time, even though Britain doesn’t produce as many films as America, we still contribute to watching them and financially helping the market. Britain also has the highest amount of cinemas in comparison to Europe, this also proves that we have a lot of people in the country that enjoy and contribute to the film industry, and obviously a large amount of money is gained from the public consuming films in this way. The British film industry has also invested £160 million in movies and gained  £800 million, in other words every £1 we have invested we have got £5 in return. The films produced in Britain have won over 300 awards worldwide and have also won some of the most prestigious awards such as the Oscars and BAFTAs. Britain have produced many successful films in the past such as Trainspotting, which created a lot of gain for the British film industry. If the Edinburgh tourist board didn’t have reason to thank the director of Trainspotting, Danny Boyle, for the adaption of Irvine Welsh’s novel of junkie street life, the British film industry and a million student walls and CD players certainly did.Also some of the more recent and most successful UK independent films were The King's Speech, grossing £46m in the UK, and The Inbetweeners Movie, grossing £45m. They also went to the top of the charts of the top 20 independent films since 1989, coming in above Slumdog Millionaire and Four Weddings and a Funeral.

In my opinion, I believe the British film industry doesn't lack talent or quality, but does lack the quantity that we need to be even more celebrated and create even more success.

Editing

Not all of the filmmaking is to do with in front or behind the camera; in fact the editing process is crucial for a film to be finished well, as it helps enhance mood, emotion and character. Editing involves combining the right shots into sequences, and combining the sequences into the finished film.

Editor’s tasks to finish a film include:

• Selecting and rejecting (if it’s not good enough) footage by the director
• Organising various shots into the finished film
• Co-ordinating one shot and a following to produce a moving narrative

The editor starts by looking at the various individual shots available to create a particular scene and they then use the script for the scene as a guide, and decide which shots would be best to create it. Sometimes a whole scene may be made up of just one shot if it is of correct length. Scenes are put together to create a sequence, a group of scenes set around a section of the narrative, and sequences are then put together to give a finished film.

Continuity editing

Most films and other moving images that we watch conform to this method of editing. Editing is hardly noticed by the audience, as we accept what is happening on screen if it follows the rules that we have learnt from watching other films.

These are some common features of continuity editing:

• ·         The establishing shot is typically used at the beginning of a film or sequence to ensure that the audience knows where and when the action takes place. This could involve the outside of a building, a landscape or a city skyline. This shot often then changes to the inside of a building that we can assume for example is the inside of the building that we saw in the establishing shot.
• ·         Shot reverse shot is commonly used during conversation, so that the audience can see how both people in the conversation respond and deliver pieces of information.
• ·         180 degree rule is the basic rule that ensures that the audience can understand the scene in terms of where things are within the location that the scene is being filmed. This rule can be deliberately broken by the editor to create confusion and disorientation amongst the film.

Cut

Film editors can connect one scene to another in several ways, including a straight cut, fade out, dissolve, wipe cut or jump cut.

These all affect the pace and mood of a scene. The three things that an editor will take into consideration when working on a scene are the quality of the shot, cinematic space and cinematic time. 

The quality of the shot includes what the shot actually contains, what’s happening in the shot, how has the shot been filmed and how does this relate to what is going on in the shot? 

The cinematic space refers to where the action takes place, for example in establishing shots we are shown the location of the scene in the first shot. What are the people doing within the space and what are we, as an audience, supposed to focus on? 

The cinematic time refers to the time a sequence takes to play on screen – compressed or extended.

To shrink time we can create a series of fast paced cuts to illustrate what is happening a lot quicker. For example, we see a character get in a car in one location and get out at another, so we can assume that a journey has taken place rather than showing the whole thing. 

To expand time we add additional details, e.g. a scene of someone sitting and waiting can be made longer by editing together cuts of the characters eyes, hands, and other body parts to portray their impatience, to create tension.

Editing sets the rhythm or pace of a scene. This could be due to either the music in the background or the mood created by the pace that a scene is edited. To build tension in a scene you could cut from one shot to the next very quickly. However in a relaxed scene shots will be cut at a much slower pace.

BBC News - Film Industry Boost to UK Economy

Film tax relief brings in at least £12 for every £1 spent on it, according to the British Film Commission, with three new creative tax reliefs planned for 2013.

The film industry is worth an estimated £1.6bn to Britain's GDP and employs about 44,000 people.

The BBC's Steph McGovern visited a motion capture studio to find out how the magic happens.

She was joined by Sir William Sargent, chief executive of visual effects company Framestore, and Samantha Perahia of the British Film Commission.

Hotel Babylon Clip

Race/Class

• Other races: audience empathises for the, as they are discriminated against
• White people are clearly the dominant race
• High angle: looks down upon immigrants shows authority/superior person
• Eye level: the audience sees eye to eye with the white people
• All of the immigrants are put into one very small room like they are insignificant

Sound

• Non-diegetic sound builds tension
• Music throughout the whole clip
• Diegetic: the shouting of the workers highlights their worry
• Knock on door then a long pause- creates tension for the audience
• Music is much slower at the end of the clip to portray emotion: sadness because a family member has been lost
• Music throughout reflects how you are supposed to be feeling

Mise-en-Scene

• Where the immigration workers lockers are situated looks very dirty/scruffy as if they arent looked after.
• Immigrants costumes contrast with those of a higher class
  High class: suits, royal blues, very smart etc.
  Immigrants: Ratty overalls
• Owner/manager of hotel is wearing a very smart/posh suit to emphasise her role
• Those working for the immigration patrol were wearing blazers to emphasise their higher role and higher class
• Police uniform: well known, authority, looked up too

Camera

• Panning shots
• Low angle when woman is on the floor for sympathy
• Pan up from hoover
• Tracking Shots
• Zoom into receptionist, we know the focus is on her

Editing

• Sharp, short cuts from each cut
• Constant change of angle

Paranormal Activity 4 Review

A battle between horror conventions and innovations has been steadily brewing over the course of the "Paranormal Activity" franchise, and in the fourth film, the conventional finally wins. Less reliant on slow-burn suspense and larded with fake-out jump scares, this is the first sequel in the series that fails to advance the overall mythology in any meaningful way. Whether the faster pace and less inventive thrills will matter to hardcore fans, there's little indication the "Paranormal" brand has worn out its commercial appeal just yet. B.O. should be positively frightful (in a good way) through the Halloween season.
Small children chatting with spirits. A virginal teenage protagonist fending off her horny boyfriend. Creepy neighbors dabbling in the occult. Auds have seen it all before, which would be less of a concern if this "Paranormal" followed in its predecessors' footsteps and found fresh ways to spin familiar tropes. Instead, directors Henry Joost and Ariel Schulman and screenwriter Christopher Landon (all returning from "Paranormal Activity 3") seem to be suffering from creative malaise, settling for a few too many shots of doors ominously opening on their own, and multiple instances of the family cat scampering past the camera to deliver a sudden jolt. "Paranormal Activity 3" circled back to the past to explore the childhood of the first two movies' sibling protagonists, Katie and Kristi. The fourth film picks up five years after the end of part two, when Katie disappeared into the night with her infant nephew, Hunter, after murdering her sister. Using their whereabouts as a lingering question, the film introduces two 6-year-old boys. Robbie (Brady Allen), a loner with a proclivity for menacing asides, lives across the street from Wyatt (Aiden Lovekamp), a rambunctious lad with a lovely teenage sister, Alex (Kathryn Newton), and two stable parents, Doug (Stephen Dunham) and Holly (Alexondra Lee). A mysterious accident at Robbie's house forces the neighbors to become his temporary caretakers; Alex is the only one who notices all the unsettling things that coincide with Robbie's arrival. Even before Alex and her wisecracking b.f., Ben (Matt Shively), rig the home with cameras to provide the series' trademark nighttime video recording, the film plays fast and loose with the requisite found-footage style. Viewers are rarely clued in as to what's being used to film the action or why it's being recorded at all, other than what seems like Alex's obsessive need to carry around her computer and engage in frequent videochats with Ben. Eventually, the creepy notion emerges that various webcams in the house are permanently recording, whether their users know it or not, but the filmmakers never really follow through on the paranoid potential inherent in such an invasion of privacy. The pic's sole visual novelty comes from the use of the Xbox Kinect gaming accessory, which blankets the family living room with tiny green projection dots, visible only when captured by an infrared camera. The gimmick adds an otherworldly quality to select nighttime sequences, while doubling as a quirky bit of product placement. At least it's more original than the multitude of setpieces blurring the line between ripoff and homage in the pic's use of a Big Wheel tricycle ("The Shining"), levitating body ("The Exorcist") and bathtub ("A Nightmare on Elm Street"). Performances are fairly routine for the genre, though young leading lady Newton summons agreeable echoes of Dakota Fanning and Evan Rachel Wood. Tech credits are also in line with expectations, but the creeping intrusion of flashy visual effects and prosthetic makeup into what started as a low-tech series may not be to everyone's liking. Gregory Plotkin's editing further violates unwritten franchise rules by breaking up the "found footage" with jarring cuts, occasionally utilized for quick shocks. The film is dedicated to the memory of Dunham, who died of a heart attack last month. In addition to playing his onscreen wife here, Lee was Dunham's spouse offscreen as well.

BFI London Film Festival

The 56th BFI London Film Festival in partnership with American Express started this week under the new creative leadership of BFI’s Head of Exhibition and Festival Director, Clare Stewart, bringing a rich and diverse programme of international films and events from both established and upcoming talent over a 12 day celebration of cinema. The Festival will screen a total of 225 fiction and documentary features, including 14 World Premieres, 15 International Premieres and 34 European Premieres. There will also be screenings of 111 live action and animated shorts. A stellar line-up of directors, cast and crew are expected to take part in career interviews, master classes, and other special events. The 56th BFI London Film Festival will run from 10-21 October 2012.

Sinister - Total Film Review

Like most struggling writers, true-crime novellist Ellison (Ethan Hawke) spends far too much time in his room watching films.
What's harder to swallow is that none of them are Insidious, with which Scott Derrickson's slick horror shares much of its DNA (not to mention its producers).
Both movies feature young families uncovering old secrets in new houses; both have child-snatching demons glimpsed only in passing; and both aim for that tricky combination of spooky and funny.
Happily, both mainly hit the mark. In terms of spooky, one of Ellison’s films (found, naturally, in the attic) shows a family hanging from the tree in his backyard, while another reveals a face that moves eerily audience-wards behind his back. Though a little less scary, Sinister tackles its comedy scenes better than the earlier film, particularly those featuring fanboy cop Deputy So-And-So (the brilliantly awkward James Ransone) who’s all too eager to help Ellison with his investigations. “That is a conversation I would not want to be around,” he offers when Ellison decides to tell wife Tracy (Juliet Rylance) they’ve moved into a murder house. Frankly, she might have guessed something was up by how much time hubby spends wandering around the attic swinging his baseball bat at shadows. Thanks to a dependably driven performance from Hawke, Chris Norr’s gorgeously glassy cinematography and several shiversome reveals, Sinister manages to be both an opportunistic Insidious clone and a much more consistent watch. It may be as subtle as Ellison’s trusty slugger, but there’s no denying it gets the job done. Verdict: An enjoyable, if boilerplate, boo-flick that maintains an enviable rate of scares per minute by throwing everything – demons, ghosts, snakes, loud noises – at the screen.

Hegemony: Leadership/an idea of dominance within people e.g. one social class over another.
Hegemonic: Having power

Waterloo Road - Replication Analysis

In this clip from the British TV school based drama, Waterloo Road, there is a very wide range of different camera shots, to explain the representational issue of teenagers, which is exactly why my group chose to replicate this specific clip. We decided this would be a good idea as having a range of different camera shots shows our skills as a group and it wouldn’t be boring. The clip starts with mid-shots of two male characters, one walking towards the other (who we do not see as clearly), followed by a gunshot sound, so even though we do not see the event so clearly on screen, we know what has happened due to the sound effects. After this main event in the clip, the editing is very much cut at a quick pace from scene to scene, and especially from character to character to show their feelings of fear, building up a feeling of tension amongst the audience. Following this we see a wide and high angle shot of all of the students outside of the school, having previously been evacuated, screaming and panicking. This birds-eye-view shot makes the audience feel as though they are seeing the effects of the tragedy from all angles, as you can see everyone in this shot. This cuts to a slow motion pan around the headteacher – who stands straight and emotionless, staring into space; rather than running around and screaming like the other, much younger characters. This illustrates to the audience that she has some importance as she stands out amongst everyone else – controlled and still amongst the storm. Also this could suggest that she is much older and wiser than the other clueless, panicking school children surrounding her. Straight away after viewing this character it cuts back to the screaming school teenagers to impact on the viewer the levels of panic and distraught brought upon these young people. After this we see Donte, the victim of the shooting, burst out of the building in no calm way at all, confirming that everyone has good reason to be panicked – it is unsafe to be in the building as he stumbles straight out of it and doesn’t look back. We then see a midshot of a girl running towards the character Donte, shouting his name and looking incredibly worried. She is held back by her father and told to run no further, creating a sense of suspense for the audience – the kind of scene that will make an audience sit on the edge of their seats, feeling empathy towards the young girl, despite her young age and stereotypical representation of a not very classy teenager, as she must watch her loved one suffer from afar and is unable to help him. The headteacher remains standing straight and almost emotionless, as she stares at all the commotion going on around her. The camera again pans around her but this time from a much lower angle, looking up at her, suggesting that she is about to gain the audience’s respect as she appears to come up with an idea. The teacher snaps out of her trance and the camera cuts to a midshot of the back of the character’s body as she turns around to run inside the building that victim Donte had previously burst out of in panic. This could suggest that she is about to be seen as the hero of the situation.

Verisimilitude

The appearance of being true or real.

Waterloo Road Analysis

This clip from Waterloo Road deals with several issues such as drug abuse, peer pressure and age. From the beginning of the clip we can tell as the audience that we are in an environment for younger people - the camera focuses on toilet cubicles covered in graffiti and litter, which we instantly associate with a secondary school. Next, the audience can tell that we are encouraged to look down upon the characters featured on screen as the camera starts at a very high angle and pans across the tops of the toilet cubicles, to where two girls are standing, handling and discussing drugs. As the third character cuts in, she is looking over the toilet cubicle wall, down at the two girls. As she stresses to them that they shouldn't be dealing with drugs, the camera cuts to the point of view of the two girls, looking up at her, as though she has more authority than them as she is the 'wise one' - she is giving them sensible advice that they both know they should listen to. The high angle in comparison to the low angle shooting may also be linked to age - perhaps the third girl is older than the other two, as she is looked up at in a way which represents her as old and wise, as well as speaking sense. Also towards the beginning, the camera pans from character to character as they question each other, creating a sense of confusion amongst the two girls.

Mode of address - how the text speaks to the audience, and involves them. It also involves how a text influences an audience to respond to a text in a certain way.

Definitions

Iconic Signifier - where the signifier resembles the signified, eg. a picture. Indexical signifier - where the signifier is caused by the signified, eg. smoke signifies fire. Symbolic signifier - where the relation between signifier and signified is purely conventional and culturally specific, eg. most words. Polysemic - The ambiguity of an individual word or phrase that can be used (in different contexts) to express two or more different meanings. Metonemy - The substitution of the name of an attribute or adjunct for that of the thing meant, eg. suit for business executive. Synecdoche - A figure of speech in which a part is used to represent the whole (eg. ABCs for alphabet) or the whole for a part.

Camera Shots

Very Extreme Close Up

Extreme Close up

Close up

Mid Close Up

Mid Shot

Long Mid Shot

Long Shot

Movement Shot

High Angle Shot

Low Angle Shot

Tilted Camera Shot

Double Shot

Profile Shot

Over The Shoulder Shot

Toronto 2012

The British film industry will be well represented at the 2012 Toronto International Film Festival (TIFF). In addition to nearly 40 British productions and co-productions films in the programme, a large number of British industry delegates will be attending the Festival to do business, sell new British films, get projects off the ground and promote the UK to the international industry. Providing a focal point for meetings and information will be a dedicated UK Film Centre, delivered by Film Export UK in partnership with Film London and with support from UK Trade & Investment and the BFI’s Lottery Film Export Fund. For the third year the UK Film Centre will take over the Festival Room at the Hyatt Regency Hotel and will be open for business from 6-13th September. It exists to serve demand from the British industry and brings together the UK’s film commissions, national agencies, producers and sales companies with an aim to generate business with international markets and investors, promote the UK films and talent at this year’s TIFF and showcasing the entire UK offer.
Ill Manors trailer - Bankside Films - a UK Film Company

Definitions

Semiotics is the study of sign processes, signs and symbols. Encode - the producer's message through a text. Decode - the way the audience interpret this message. Representation - refers to the construction of aspects of ‘reality’ such as people, places, objects, events, cultural identities etc.

Analysis of Advert - Southern Comfort

Southern Comfort

Clip Analysis

From the start, the camera angles very much represent the differences between ages amongst characters. Protagonist Amy, the teenager who has left school, is generally shot at a higher angle than the adult Paul. This suggests that Amy perhaps has less authority than Paul, and that he has power over Amy. Further on in the clip, when Amy’s secret is revealed, Paul appears at a very much lower angle than Amy, as he is punishing her and therefore holds authority. The high camera angle on Amy could suggest that not only is she young and has less power than Paul, but also that as an audience we should perhaps sympathise with this character as although she has done wrong, she is only young. During the scene of the car crash, the camera pans from character to character to show the confusion between them as the head teacher explains why exactly he is there. This focuses on the older characters more than Amy to portray that they are between them trying to figure out what is going on, and Amy is not so much a part of this as she is revealed to be only sixteen – to them, a child. Where as in the earlier scene Paul illustrates that he has trust in Amy by giving her the car keys to drive - the change in the way he treats her so suddenly takes away Amy’s authority. The music throughout the clip is non-diegetic, the characters cannot hear it but this is significant to the audience as it changes for the different age groups. At the very beginning of the clip, when Amy states that she needs to speak to the young male character, the music is more up-beat and modern to emphasise the fact that they are two teenagers or young adults. The music slows slightly and becomes more traditional on the scenes involving the older characters – they are perhaps much more mature. When Amy is collecting her things and leaving her bedroom, the music slows down a significant amount and becomes emotional and quite tragic, insinuating that we should empathise with Amy as she is clearly upset by her situation, and again that she is only young. Further back in the clip, just before Amy crashes, the other characters are busy sorting out the tools in the van. This is somewhat noisy and therefore distracts the audience from what is about to occur with Amy just around the corner. Also, in the scene when Amy is leaving the bedroom, it is made clear that Amy is being presented to the audience as innocent through the mise-en-scene. The teddy bear on Amy’s bed signifies that Amy is just a young girl who has made a mistake; again encouraging the audience to sympathise towards her. Magazines are in the background spread across Amy’s bed. These appear to be the type of magazines a teenager would enjoy and so this reinforces her youth and innocence. The scene with the head teacher conveys his old age and wisdom as he chooses to drink brandy when discussing Amy’s situation with Paul. The transitions throughout the clip are cuts – which are not rapid or panicked in any way, but are slow and calm which adds to the general calm countryside theme although the programme is clearly a drama. During the scenes in the clip where there is some kind of drama going on the cuts are faster to show worry amongst characters. At the end of the clip, the close-up mid-shot on Paul’s face is used to show his concern about Amy and makes it clear that he plays the adult father figure.

Definitions

Binary Opposition - where texts are organised around sets of opposite values such as good and evil, light and dark. Juxtaposition - to place side by side, especially for comparison or contrast

Hope Springs – Review by Peter Bradshaw, Guardian

Here is a syrupy Hollywood comedy about a sexless marriage in crisis, a subject for which, in this country, the two classic texts are Kingsley Amis's autobiographical novel Jake's Thing and Victoria Wood's song about being beaten on the bottom with a Woman's Weekly. Those are both very different from this film, which magics a saccharine happy ending out of thin air, and which despite the analysis theme is weirdly incurious about its characters' backstories. Meryl Streep and Tommy Lee Jones are Kay and Arnold, empty-nesters in a non-sexual rut. Arnold, a decreasingly lovable grump, has to be bullied into going with Kay to couples-therapist Dr Bernard Feld (Steve Carell) and talking about his feelings for the first time in 30 years … or maybe ever. The therapy scenes are great, in the beginning: daringly long, drawn-out, uncomfortable sequences. But as the couple try to rekindle the bedroom flame the note of cutesy comedy kicks in and the movie gets phonier and phonier. There are no secondary revelations about Kay and Arnold them-selves, or about their grownup children, or indeed about Dr Feld himself, who is a sphinx without a secret.

Daniel Craig to play James Bond in at least two more films

Daniel Craig will play James Bond in at least two more films after signing a deal to portray the secret agent beyond next month's Skyfall, reports Deadline.

Craig is now set to star as 007 in at least five films, making him the third longest-serving Bond after Roger Moore, who had seven stints in the hot seat, and Sean Connery, who had six (plus the unofficial Never Say Never Again in 1983). He will overtake Pierce Brosnan, who played 007 four times between 1995 and 2004.

Craig made his debut in 2006's Casino Royale and starred in sequel Quantum of Solace two years later. Skyfall, from Oscar-winning director Sam Mendes, has been delayed by financial woes at studio MGM but is due to arrive in cinemas on 26 October.

Deadline suggests that Craig could star in more than five Bond films, though he would be likely to be over 50 by the time he came to do so. Moore was 57 when he shot 1985's A View to a Kill, though most critics believe his best work as 007 took place before he entered his sixth decade.

Craig, 44, will be playing Bond for the third time in Skyfall, the 23rd Bond film, in which Dame Judi Dench will reprise her role as the dapper spy's boss, M, for the seventh time. British actors Albert Finney and Ralph Fiennes take undisclosed parts, while Javier Bardem will be one of the villains and Ben Whishaw debuts in the role of gadget guru Q.

Naomie Harris is playing a field agent named Eve and French actor Bérénice Marlohe is set to play an enigmatic Bond girl named Severine. The Bond movies celebrate a half century this year: Skyfall's premiere comes little more than a fortnight after the anniversary of the first Bond film, Dr No, which received its world premiere on 5 October 1962.