7. Seven Sequence

The vision Christopher Nolan had for The Prestige (2006) was to add to the outbreak of street magician film, whilst playing a large dramatic subplot equal in grandeur to the magical performances within the film. In the final sequence of the film, I will analyse how the cinematography and sound resolves the plot so that it summarises the themes present in the film, whilst also invoking a response from the audience. Nolan predominantly uses close up shots, non-diegetic sound (music) and dialogue collaboratively to convey the dramatic, personal subplot of the characters and their relationships, whilst appealing to the audience bringing forth an emotional response from the audience. The heavy, slow, dramatic atmosphere of the ending sequence uses various techniques to summarise and uncover the underlying mysteries of the events throughout the film and consolidate themes introduced during the exposition.

Kyle stands in the middle of the stage and does another show-and-tell type speech on the play. Whilst he is standing in the middle of the stage, he incorporates direct address and space as he stands by himself in front of the audience. There are no sounds, the light is only on Kyle and this mood is made so that the audience concentrates on his story as it is an important information on the play. Like the previous speech, he begins with a very lovely story about how he founds and loves a cat. However, when he starts to talk about when his father found the cat, the story takes a dark turn and tension builds. Kyle’s voice becomes faster, louder and shaky to show the emotions which he feels. The actress which plays Jessie morphs into the cat at this point by using the conventions of multiple roles to assist in telling the story. This story is very important in the play as the plastic bag which his father used to kill his cat becomes a major symbol throughout the play in various types of scenes. Whenever he feels threatened, upset or sad, he pulls out the bag and put it around his head and neck. Thus, this shows the audience his emotions and let them link the symbolism with the scene without having to physically talk. This shows that Kyle’s life is affected by his violent father and

There is also a change in costume in if…., for the final scene, the main protagonists change into a causal military style

The producer, René Clair, made many important changes throughout the movie, one major change stood out, the mood. He incorporated the lighter mood with a variety of comedic and tacky scenes, with characters chasing each other, peeking through keyholes, and childish music, which left the audience happy and laughing at each of the characters. With a little romantic touch, it developed two characters to stand out and feel sympathetic for them. But with each joke, the characters make the

He is able to use these parts to manipulate the audience’s emotions. The music playing from the car is an on-screen sound. As the man gets attacked, the volume increases. The sound helps intensify the scene that has been created by the film’s visual elements. The audience then subconsciously forms ideas, opinions, and feelings about what they are seeing. The viewers develop scared feelings as the scene intensifies to the happy upbeat tune. The increasing volume of the cheery song reflects the violence and the sinisterness of the scene. The song stops with the slamming of the car’s driver-side door as the man is abducted. There is a moment of silence and then a new song abruptly entered the silent scene. The music is non-diegetic and is an offscreen sound. The song is screechy, high pitched, and jagged sounding at first, continuing the anxious and scared mood. The song shifts into a sort of soulful hymn. The tone shifts along with the song. The audience begins to feel relieved and relaxes to the peaceful song.

Like Alice, the camera warbles before it goes through the glass. The realization is made that the camera is no longer a view of the reflection, but is now inside the strange parallel world through the mirror. Text at the bottom of the screen announces six months have passed since the night at the motel. Mort is asleep on the couch. The silence of the film adds an uncomfortable eeriness. Also, every sound there is seems to be emphasized and startling. A confident knock on the door wakes Mort. Mort puts on his glasses and stares out the door. A lanky man wearing a wide brim black hat stares back as Mort opens the door. “You stole my story.” Mort dismisses the strange southerner as another crazy reader before shutting the door in his face. Hiding, Mort hears shuffling on his porch before the stranger revs his engine and drives off. Mort reopens his door to find a well-loved manuscript on his porch weighed down by a large rock.

Unlike most films, Baby Driver integrates sound and cinematography in a unique manner, creating a symphonic orchestra of film composition. The initial heist and getaway of the film is a prime example of how audible and visual filmmaking can have such a large influence on each other, creating a piece of cinema that is driven by a distinct beat. Although in most films no actions are arbitrary, Baby Driver takes this premise to an entirely different level, directing every action to sync with the music in the scene: whether it be diegetic or non-diegetic to the character. Within the first five minutes of the film, the audience is introduced to the characters, setting, plot, and general motivations of the story without any dialogue. The opening scene employs a brilliantly creative combination of cinematography, music, and directing to convey the characters’ location, purpose, and emotion. This scene also sets the mood and tone for the rest of the movie. Director Edgar Wright and Director of Photography Bill Pope’s manipulation of mise-en-scène—through the use of sound, shot composition, and direction—creates a masterful scene of cinema that captivates the audience, pulling them into the world of crime and the story of a reluctant getaway driver. Each shot and beat is perfectly paired with a specific purpose to communicate the story to the audience. As a result, the opening scene of Baby Driver is an archetypal example of how to communicate a story to an audience without any

In the mystery-thriller Seven from 1995, we meet the two homicide detectives William Somerset and David Mills, played by Morgan Freeman and Brad Pitt. Together they are hunting a serial killer who uses the seven deadly sins as reasons for his murders. At the end of the movie, the two detectives are out in the desert together with the murderer, John Doe. He has told them that they are going to find the last two corpses. The two detectives have already found five of his victims, so the last two bodies will make his work complete. After a while, the sixth victims’ head is delivered in a box. It belongs to Detective Mills’ wife, Tracy. This makes Mills so upset that he shoots John Doe, who becomes the seventh corpse.

The suspense and creepy mood only continues to grow as it describes “the rustling sounds of the purple curtain” getting closer, and closer listening to the sounds it describes the speaker freaking out

The audience is aware that the events shown take place within a day, as well as the location of the characters. This thorough editing style is suddenly interrupted by an unconventional montage. The montage is unconventional in the sense that instead of using cuts, it uses movement to proceed to the next scene; for instance, a car would pass through the original scene that the spectator was viewing and then the new scene would be in its place. The montage also appears to be peculiar because of its random nature. The scene before the montage shows Casper engaging in sexual intercourse with Jennie, who is unconscious on a couch while surrounded by other unconscious kids. Despite whispering no, her intoxicated struggle against him fails and the scene fades to black. Their hushed voices are replaced by somber music, which ushers in the montage of the film. The audience is then presented with random takes of a man rocking back and forth on a street corner, a man banging his head against a gate, and a man with his hands lifted toward the sky in a park; while people walk by as if their behavior is ordinary. The montage allows these random elements to be joined together to provoke insight into the character’s environment and how it has caused them to believe that their behavior is normal; because they are surrounded by sex, drugs, and

In life, everyone has a time where they feel they don’t fit in. With boldness and confidence, you can always find where you belong. The two stories, All Summer in a Day and Counting by 7s portray this universal idea. All Summer in a Day takes place on Venus, where it rains constantly. Margot, who recently moved to Venus from Earth, remembers what all the other children cannot, the sun.

The director made the audience feel like I was in the movie being pressured by the guests. I feel like I am in Benjamin’s shoes trying to escape for some peace and quiet. When Mrs. Robinson exposes herself to Benjamin the camera goes back and forth between the two. The camera showing her naked body and Benjamin’s face which shows an emotion of nervousness. It looks as if he is stuck between the two options of looking or turning away.

The other most prominent noise in the film is a bright typewriter ‘ding.’ The ‘ding’ noise, in literal terms, means that the writer has reached the end of a line, and must now return the carriage back to its starting position. In the film, Alan Berliner takes advantage of this thought process conditioned in the audience and uses the noise like an aural comma, separating ideas and anecdotes. The ‘ding’ punctuates sentences like “What was more important to him? His being a part of the future of Japan? Or this family?” Immediately afterwards, the film discusses the nature of Japanese workspaces, and the ‘ding’ has acted like the beginning of a new paragraph. These noises refuse to let the audience ignore the pacing of the film, and Berliner wants the viewer to understand the thousands of active choices he made. Overall, Alan Berliner uses the sound motif of the typewriter to create the structure and timing Intimate Stranger.

His lack of social skills becomes much more apparent once he leaves the house for the first time. He has no intended destination, and wanders the streets. Once he is hurt by the limousine, he is given an injection to ease his pain. As the doctor fills the needle, he wants to show fear, not because he has had this experience before, but because "he visualized all the TV incidents in which he had seen injections being given" (Kosinski 33). Just like the prisoners in the cave, he was trying to understand a reality based on pictures in order to react to the world around him. One thing that he has never experienced is any type of a sex life. He found himself in a room with EE, where she made a sexual advance towards him. He thought back to a situation on TV where he could imitate an actor in a similar scene. He remembers a close embrace and kissing, but unfortunately

How Is The Character Different At The End Of The Movie From When The Movie Began?