Single Film Sequence

The camera uses different types of shot and focuses to show the emotion on Doris’s face, but also the room she is in and the time of day, these 2 are important because it gives you the typical layout and how she would struggle to move around obstacles, also that every time she goes further back into her past, the later it gets, and by the time she’s at the door it is getting dark, that’s why the

After this, the shot pans along the road, and turns into a shot of police cars storming down the street. The fact that the street name, which serves as an embodiment of Norma and all associated with her, is so low to the ground emphasizes that the images of grandeur often associated with Hollywood are a facade, and that the true Hollywood is dark and grim, like a dirty street curb. The street pictured is dirty and unkempt, with weeds peeking out the cracks and piles of loose garbage and leaves strewn all over. This image serves as a stark contrast to the typical impressions people have of Hollywood, and reinforces that the true Hollywood is not the one seen so often on the big screen. Rather than opening with a scene showing off Hollywood’s magnificence, Wilder exposes to the audience what the “real” Hollywood is: a degenerate place full of misery and squalor. Moreover, opening scenes tend to set the tone of the movie, and leave lasting impressions the audience that carry through the entirety of watching. By showcasing the dark side of Hollywood before anything else, Wilder asserts that it is this dark, twisted version of the city that truly defines its inhabitants. In addition to pan shots, Wilder also incorporates music in the opening scene, which further adds to the dark image being relayed about Hollywood. The score is borderline cacophony, trademarked by sharp bursts of drums and trumpet that build suspense and

Within the excerpt, the directors began with a medium shot. I understood the importance of making the viewer feel a part of the trio, therefore the condensed shot caused this; also, it allowed the musical announcement to have a greater emphasis on joy by beginning at a medium shot then zooming outwards as the characters spread apart. Once

The camera follows the elders of the block, Da’ Mayor and Mother Sister, as they talk in her bedroom. For a rare moment in the film Da’ Mayor’s and Mother Sister’s eyes are at exactly the same level, showing that as different as the two may have seemed, they are very much the same. Then the camera slowly pulls out as the two stand and sluggishly walk down a hallway toward a window. Now, where a director would typically have to cut and setup a new shot, Lee pulls the camera straight out of the window as Mother Sister and Da’ Mayor survey the block. The audience would expect to see next exactly what Da’ Mayor and Mother Sister are looking at, but instead Lee quickly pans over in the opposite direction to reveal Mookie standing in the street bellow. By doing this Lee makes a connection that both the elders and Mookie are, in the words of Mother Sister, “still standing.” The shot is not particularly tight but still has a cramped feel due to the clutter of things in the background, the heavy shadowing, and the red tint on the lighting. The red lighting gives sense of volatility to the shot, which is contrasted by the slow camera and character movements. These slow movements are analogous to the block as, regardless of how slowly, it too will go on and life will continue. This shot is in the tradition of mise en scene advocates like Bazin in that,

it is the start of the story. The window fills the whole frame of the

In the final scene from Thelma and Louise the cinematographic effects are astounding. Panning, reaction shot, and dissolve are all used in the last section of the movie clip extensively. These three cinematographic terms are perfect for this clip because of the intensity they add to the scene. Through the use of panning, reaction shot, and dissolve the actresses portray two extreme emotions of desperation and the tranquility of freedom.

After using a medium close-up shot during their conversation before the painting, the shot drops down to focus on Detective Bannings hand as she grabs her coat pocket; this is where the pause happens in the sound while she is deciding what painting she would want and just before the music enters. As the music does enter, the painting in the distance becomes clear and the focus of the shot, instead of Banning’s hand creating a long-span view of a specific object. By focusing in on the painting in the distance and causing a dramatic shift in blurs, the audience is clearly drawn to the painting as something important to pay attention to. Film movement is an important aspect to creating a clear vision of what the movie should depict to the audience, and in this way, it is obvious this painting is an important object. This movement only further draws the audience into feeling emotion for what the painting means and how it will be used later on as well as how the characters are feeling toward each

The long take begins with an alarm clock waking up a couple, sleeping out on their balcony. As the camera moves from window to window around the courtyard, we see a few brief snippets of characters’ lives. And finally, the audience sees inside the apartment that has been its point of view all along. Mise-en-scene, framing, and cinematography

Shot 7: Close up. Dorothy scared, nervous, and confused by this person. Tight head shot. Straight on camera shot, no movement. Music still constant.

or part of an advertisement on TV, it captured your attention and added emotion and

At the beginning of the sequence the camera dollies backwards to reveal Dorothy and her acquaintances; the Scarecrow, Tin Man, an the Cowardly Lion, staring up at the large flaming head of the seemingly mighty wizard. By having the camera move this way the directors and cinematographer are giving the more visual weight to the Wizard, making him appear important and god like. However later in the scene, during a three quarter shot of Dorothy and the Oz characters, the camera dollies backwards and pans to the left to reveal the green curtain where the wizard is concealed. Having the camera movement finish with the exposure of the green curtain foreshadows the reveal of the phony wizard. Once the wizard is revealed to the audience as an ordinary man, the camera too perceives him differently.

The film “Arranged” touches on many aspects that the readings discussed, and offers new insight into conservative religions and the interactions between people of different faiths. One particularly interesting aspect of the movie was the tension that the two women – especially Rochel – experienced. First there’s the tension within a religion: Rochel is really dissatisfied (at least at first) with the matchmaking process and says she doesn’t want to do it anymore. However, her mother is aghast to hear that and asks her to think about her family, because if Rochel doesn’t get married it hurts her sister’s marriage prospects and hurts the family’s reputation. In some way, this makes it seem like there’s a lack of personal choice in this arranged marriage system. And even though Rochel ends up with someone she really likes, it’s not truly because of the arranged marriage system – it’s because she meets Gideon in real life and Nasira is kind enough to help her and go around the traditional matchmaking process.

The film that I chose to write about is a Paramount Pictures presentation titled Mean Girls, starring Lindsay Lohan and also featuring a handful of Saturday Night Live cast members, including Tina Fey the author of this picture. The reason behind choosing this film is because it has a unique style of introducing characters, transitioning between scenes, and various tools to help spice up the film. Being one of my personal favorites, Mean Girls is a comedy about a home schooled teenage girl who enters high school for the first time. She tries to figure herself out by where she can fit in and who she needs to become friends with.

Montage, a name synonymous with Editing, is an original film style with different techniques used by the Soviet filmmakers between 1924 and 1930 to construct a film narrative. Montage is the connection between one shot and the other, a continuous or discontinuous relationship between shots. According to David Bordwell and Kristin Thompson (2012: 478), Soviet directors maintained that, “through editing, two shots give birth to a feeling or idea not present in either one”. This ‘feeling’ or ‘idea’ then guides a viewer into understanding or making a “conceptual connection” of the narrative (Bordwell 1972: 10). Strike (1925) and Mother (1926), directed by Sergei Eisenstein and Vsevolod Pudovkin respectively, are films made in the Soviet Montage era that show a juxtaposition between shots across the film. This essay discusses the different techniques used in these films that show the functions and effects of Montage.

Iñárritu uses a cutaway to a point of view shot through Chieko’s eyes. This shot positions the audiences directly into the shoes of Chieko, by providing us with the visual thrill of the party, but completely cutting off the accompanying sounds and music, leaving the audience with a somewhat uncomfortable silence. The scene continuously cuts between