21 Jump Street Film Techniques

Be who you are and say what you feel, because those who mind don’t matter and those who matter don’t mind(Tim Burton). Who knew that a movie could be so much like the real world events? Two subjects projected in two single clips. One from sorrow and the other formed by fright, yet you can only overcome a fear if you face it. As shown in the Tim Burton clips.

Almost every piece of cinema seeks to give the viewer an understanding by intricately assembling shots in a coherent, and a sometimes muddled, manner; the techniques used in editing places various shots in purposeful sequences, to emphasize certain relationships between shots. The shots can be arranged smoothly and logically, or shift abruptly from shot to shot; different methods of the aforementioned arrangement of shots are utilized in either discontinuous or continuous editing. Sherlock Jr. and The War on Drug’s music video “Holding On”, are two motion pictures that offer spatial relations, by applying techniques of both continuous and discontinuous editing.

The Cutting Edge: The Magic of Movie Editing is a documentary about the art of film editing and the immensity of the job an editor is given. The reasoning of the film is to show the impact editing truly has on movies and our emotional attachment towards them. This documentary shows clips from different films to prove to it’s viewers the substantial effect editing has. Directors and editors speak out about the significance of editing, something not many viewers know nor think about.

Spike Lee does many fascinating things from a directorial standpoint, which makes his film (dare I say, joint), Do the Right Thing so interesting to watch. Writer, director Lee makes much use of the high and low angle shots. He does this to draw clear contrasts between the two elders of the block, Da Mayor and Mother Sister and to make conflict more apparent.

Stand by me is a film directed by Rob Reiner, one of the memorable scene in the the movie was near the end when they all found the dead body of Ray Brower, in this scene the director used a variety of filming techniques for this scene such as close up, medium shot and low angle,it also included music and voice over as well. In the scene where they found the dead body, it showed the filming technique close up when Vern found Ray Brower under the bushes, the director used this scene to show their emotion towards Ray Brower and how they are all very shaken to see the dead body of him, because they did not know he was dead. Also in the scene mid shot and the low angle was used to create the effect where the boys were made to look bigger and

Dirt flies up from the ground like kids jumping on a trampoline. The red, white, and blue #19 Tobias Slingshot flies past the red #026. In anger of losing his position. #026 closes the distance between the two cars. Mere inches separate the two vehicles. They touch. Even though the touch is as light as a feather, it sends #19 hurtling towards the wall. The sound of a gunshot is heard as the car ricochets of the wall at a 90 degree angle. The driver looks at the night sky. The sky is beautiful with the stars twinkling like diamonds. But, the beautiful sight ends as the car crashes into the ground. The drivers hands shoot forward. "Snap!" As the red flag comes out, sirens are heard in the distance...

The Help is an inspiring movie, centralized on themes of showing courage in the midst of adversity and racial desegregation. The selection of actors with specific attributes, lighting/camera angles, and music, allows the movie to entertain in detail, and highlight the prime issues of the 1960s. With the movie being directed with these specifities in mind, the author, Kathryn Stockett, is able to successfully relay her message in the screenplay.

'Shawshank Redemption' directed by Frank Darabont is a compelling film about the life of one of its prisoners, Andy. many film techniques were used through out the film as a clever way of conveying main themes. This essay is going to examine how Darabont used camera angles and colour effectively in this film to portray the idea of power.

The film Get Out is a definite must see for those who enjoy mysterious occurrences and unexpected plot twists. Unlike other films where usually there is one specific part that intrigues the audience, this film keeps you on your feet and full of suspense. There was never a dull moment. “Wait for those moments, scattered throughout the action, when the winces quicken into jolts and jumps; and consider how much is packed into Peele's terrific title, “ says Anthony Lane, one of New Yorks top critics (rottentomatoes.com) The organization of the events that happened, the characters along with their phenomenal acting, and the sudden shocking moments all brought this film together and made it one of the best to enter theaters in awhile. If you are worried about your mind wandering off from the movie and falling asleep, it will never happen.

One of the best examples of a great writer, editor and director working together is in the film Hot Fuzz, directed by Edgar Wright, written by Edgar Wright and Simon Pegg, and edited by Chris Dickens. The film showcases a sense of visual comedy unlike most films, utilizing a hilarious script, a defined directorial style and quick, concise and economical editing. A perfect scene that encompasses this is when Simon Pegg’s character, Nicholas Angel, arrives at the police station for the first time to arrest some underage drinkers. In most police/action films, they would usually have a shot of the cell doors closing with the kids in the it.

For instance, Affleck uses the jump forward technique as an editing approach to show the dreams and aspirations of MacRay after the final crime. The cutting in action is further used to show how Coughlin and MacRay move from one crime to another – including their strategy to escape the police and law enforcement after hitting a cash transfer lorry. Another editing technique is the L Cut and the J Cut. The L cut is used to enhance a smooth transition from one scene to the other, including the scene where the lead characters adorn in police attire after they are corned inside a building. The J cut technique is used to make the film flow naturally including offering a detailed history of the characters, their childhoods, and how they plunged into

I noticed that in editing comedy, scenes cannot be dragged and too much since the movie would start loosing focus. Therefore the fast pace of Marley coming into

Editing Time and Space in Movie Making Editing Time and Space in Movie Making Citizen Kane (1941) The manipulation of time and space in the film of citizen cane is different from that of Pulp Fiction in that it considers formal elements of film technique such as Mise-en-scene where it essentially involves a costume, setting and makeup staging and lighting (Belton, 46). The very important scene that happens in front of the camera appears in the final shot of the film. The setting function of the film has highlighted the key aspect of Kane’s life compared to Pulp Fiction that is seen to intersect in many venues (Belton, 37). Cinematography has been used in the process of capturing the moving images and the manipulation of such images (Belton,

The sequence is filmed at night, which signifies that they’re not good guys. When observing films, you always see that if there is something illegal happening, it is being done at night. The fact that they are travelling at night could propose that they are trying to avoid law enforcement. When the car is travelling and when it pulls over we can see that it’s on a narrow rural road far away from any witnesses. I know this because there are no street lights along the road and because they are driving through a wooded area.

The main functions of Montage are “to control rhythm, to create metaphors and to make rhetorical points” (Bordwell 1972: 9). Rhythm is the series of movement perceived from the consistent juxtaposition of shots. Continuity editing usually forms the rhythm of a narrative. Continuity editing as the name implies is “a system of cutting to maintain continuous and clear narrative action” (Bordwell and Thompson 2012: 500). Sergei Eisenstein (1949: 47) claims that, “the quality of interval determines the pressure of the tension and the phases of its tension is the rhythm”.