Double Indemnity And Lighting Techniques In 1940's Film

In Double Indemnity, lighting plays a key role in visual design. Throughout the film there seems to be and absence of light when something secretive is going on. It is night time (or dark outside) when Walter begins to confess his actions, when Phyllis and Walter continue to meet, and when murders take place. This aids in presenting the dark and mysterious actions of the characters and adds a sense of danger. Shadows, also a play on lighting, seem to follow Walter throughout the entire film. This may represent the idea that something menacing is following Walter, possibly a foreshadowing of the confessions that are soon to be revealed. The shadows are typically obvious and over exaggerated, giving the scenes more of an uneasy feel. There is also a significant shift in lighting when Walter first meets Phyllis. The day goes from bright and sunny to dark and rainy. This is also a foreshadow of what's to come. Walter will be stepping out of the light and into Phyllis’ darkness.

Double Indemnity is a well representation of the dark film both visually and verbally. The film and the novel were both presented with thorough description to get the metaphorical feel that there was a dark side to the story line, which was the whole purpose. The dark aspect of the story line can be first seen in the novel. The full visual scene is when Walter one of the main Characters talks about the "House of Death" or Mr. Nerdlinger's house. Yet, in the film the first scene is Walter knocking on the door of where he works, all mysterious, covered hardly any lighting that shows his face or any of his body.

The movie employed Chiaroscuro lighting in many scenes to highlight the black-white stock and to capture the intense, anxious atmosphere the characters live in. To further allude to German expressionism, black backgrounds were painted shadows and some walls and painted shadows on another to make them look ominous. Coppola was keen on capturing that atmosphere that he actually shot many scenes using a hand-held camera to let the audience feel that anxiety. prominent presence of clocks in the background was another clever cinematographic choice to one of the novel’s thematic elements. The time flow premise in the movie dealt with perception time vs its passing.

The Crucible In the 1958 “The Crucible’’ there’s plenty of different universal themes that apply to everyone. But a very common and consecutive theme that re-occurs several times in The Crucible is “Lies and Deceit.” For a God following village there sure is a lot of lying and deceiving. One of the main examples of this theme would be Abigail.

Most of the actors are wearing darker clothing as well which makes their faces stand out even more. This lighting style also adds to the tension and the mystery of the scene. It makes the audience on edge. The contrast filled lighting of film noir is also effective at bringing out the extremes of emotions and thought. The darkness of the genre makes anything that goes wrong seem less taboo, because the lighting of the genre sets up the norms for the world that the film lives in—and in that world, bad things happen. The lighting of the film helps the audience understand the world that the characters are in.

One of the ways why cinematography made the film was the lighting. To get the feel, the lighting appeared to be fake shadows that were painted on the set. The fake shadows that were painted on the set gave the lighting appeared to be harsh and sharper to set the mood for the audience. If it weren’t for the painted shadows, the movie wouldn’t have been so successful in the horror genre. Since it was a silent movie, if it weren’t for the shadows, you wouldn’t of seen it as a horror film, but as an original film that was trying to be creative.

Mental and behavioral health agencies who service American Indians should employ a culturally relevant approach. Cultural-specificity is essential for understanding beliefs, values, and first language colloquial speech. Cultural-specific assessment information can enhance our understanding of the client’s symptoms and the need for other appropriate evaluation techniques. Client assessment practice within Indian Health Services (IHS) supports multi-culturalism, cultural competence, and sets the precedence for Tribal agencies to follow. Most Tribal Health agencies do follow IHS guidelines. However, most of those

In my analysis I will be looking at a scene near the end of the film where Bud White and Ed Exeley take part in a shootout at the victory motel. The narrative conveys very common noir aspects here; the shootout takes place in a very dark room. The only light comes from outside. This shows the mood of the scene to be sinister and bleak. It puts the audience in a scared state as the shadows can conceal anything. It is also hard to see what White and Exeley are doing. The shadows are very menacing because they use a chiaroscuro lighting effect. This means that the rooms, people and settings are hidden from view by shadows. The blinds over the window cast strong grid shadowing over the characters showing uncertainty and anxiety. This lighting is very common in film-noir films as it shows the seediness of the settings. The

Lewis uses lighting to dramatize the opening scene of the film and characterize the protagonist of the story. The most noticeable utilization of film noir lighting is in the beginning

Lighting was a key cinematic technique that Well's used to project a character's persona in the film. He used shadows to hide or mask the faces of the seemingly corrupt characters, like the reporters who are trying to find the meaning of rosebud. He also used backlighting, when light is cast onto the characters from the opposite side of the camera, to create silhouette's .Single source lighting was another technique used to focus the viewers attention on a important prop or action that was taking place. For example, when the reporter is allowed to see the book of Kane there is one window through which all it's light is focused on the book emphasizing its importance.

War can destroy a man both in body and mind for the rest of his life. In “The Sniper,” Liam O’Flaherty suggests the horror of war not only by presenting its physical dangers, but also by showing its psychological effects. We are left to wonder which has the longer lasting effect—the visible physical scars or the ones on the inside?

I am writing about the use of lighting in the opening scene of The Godfather, (1). The

This extract shows that when someone dies, or gets so injured they cannot keep on fighting, there is not a lot of respect given to them. The word ‘flung’ indicates this, illustrating the fact that they are not provided a lot of care; and that they are just one person in about 20,000,000 who will not survive the war.

The persistent cross-cutting between scenes reminds us, as the audience that the War is still going, blood is spilt every moment. At the same time simultaneously, focusing on the on-going development of Alan Turing. The type of lighting used in this movie is low-key lighting and/or neutral lighting. This type of lighting is “high contrast dominated by deep shadows with a few bright highlights”. Now, I don’t know what you think? But I know what I think, and I think that this lighting has definitely contributed in defining the dull, dreary weather in the United Kingdom. Set in the early 1940’s, this film’s lighting, editing, soundtrack, setting and vintage clothing, accompanied by raw unedited World

expressions. Lighting was used in the film to portray this. Dim lighting was used whenever