A Black And White And Silent Movie Released

In 1920, Oscar Micheaux directed the silent film Within Our Gates which conducts an in-depth examination of race relations and discrimination within the United States. One of the outcomes of the film is a blatant failure of justice resulting in the lynching of an African American couple, The Landrys. Seemingly, time has not altered the inherent absence of justice concerning the treatment of Black men and women in situations where criminal activity is suspected, legitimately or otherwise. Evidence is found with the killings of Eric Garner, Michael Brown, Tamir Rice, and many other Black victims who died at the hands of police who are tasked with upholding justice and fail to do so. However, what was the popular sentiment toward failure within the legal system between 1920 and 2015? While not representative of this entire time span, in 1962, Robert Mulligan’s film To Kill a Mockingbird focuses on race relations and an African American male wrongly accused of rape who is ultimately killed in a suspicious police shooting. Within Our Gates and To Kill a Mockingbird each offer a presentation of a gross miscarriage of justice that is obvious to the omniscient viewer, but the reaction the films garner from the audience varies from outrage to resignation due to the implementation (or lack thereof) of a visual stimuli, telling of the time period in which the films were produced.

The director mainly used eye level shots, to leave it up to the audience to judge the two main characters of the movie, although certain power struggles in the film are shown from high angles to illustrate someone dominating a conversation or argument. Figgis also uses some point of view shots to show the imbalance during Ben’s drunken periods where the camera is placed at an oblique angle to show tension and approaching movements. The images in the film are in high contrast with streaks of blackness and harsh shafts of light to underline the dramatic events that occur.

Everything in the frame is in focus, which in a cinema viewing is a lot to take in, especially considering the films aspect ratio of 1.85:1. However, the audiences’ eyes are cleverly guided around the frame by almost unnaturally loud sounds, some of which are accentuated in post-production by Tati. The sounds against the floors create a reverbing echo, highlighting the absurd impracticality of the building. A man and a woman sit in the bottom left hand corner of the frame in what appears to be a waiting area. They are dressed identically in their monotonous grey colours, as if they are enslaved to the colours surrounding them. During the shot’s beginning, the audience is drawn to the nuns and their rhythmic footsteps as they enter the frame. Then, through a combination of actor gestures and dialogue, this gaze shifts to the two characters anchored in the foreground of the image. The rattling of a table being wheeled out by a man in white into the frame moves our eyes, as well as the couples own attention, to

Sherlock Jr. (Buster Keaton, the U.S, 1924) depicts a cinema projectionist and janitor who’s studying and dreaming about becoming a detective like Sherlock Holmes. The main character, Sherlock Jr. falls in love with a beautiful girl but another man shows up as his competition while he’s trying to win the girl’s heart. His rival intrudes on one of Sherlock Jr.’s dates with the girl and makes the girl’s father think that Sherlock stole a watch. Feeling tired and depressed at work, Sherlock falls asleep during showing of Hearts and Pearls, and dreams of his girlfriend as the heroine, and his rival as the thief who steals the pearls. Sherlock himself becomes a detective to solve the case. Though short compared to modern feature films, this

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

To see what they see, and compare our own thoughts with the evolution of the characters and the story. The dexterity of the images, and the impact that each scene has in portraying this theme, guide the viewer throughout the film with little use of dialogue and action. Our central character “Jeff,” is struggling with his casted imprisonment, his need for adventure is apparent as he watches outside his window. Conflicted with his girlfriend and conflicted with his theories, his character becomes more palpable, we begin to realize what is going on not only on the outside of him, but the inside of him as well. The aspects of the outside courtyard and the visual isolation of each apartment, help depict the humanity of each individual and sympathy for even the darkest characters. Hitchcock uses his camera, just as our protagonist does, to focus with him. The camera angles are depicted in a way to which we react with the character, rather than at the character, and eventually expose the minor elements of the story that bring to fruition the suspense of the movie and the thrills of discovery.

The lighting there is much darker than outside without any light. There is a medium shot from low angle facing the cellar door. Then, Lila opens the door and slowly walks down the stairs and proceeds to another basement room. The scene of walking steps from the door down into the room generates a mysterious mood and it symbolizes that Lila is going deeper into the hidden secrets. The shot then edited to another brighter room with lights on and a worn out setting continues with Lila opens the door producing a creaking noise. Then, it shows a medium shot of a back of a woman sitting on a chair with her hair-tied in a bun. Lila then walks closer to the woman and call Mrs. Bates. When she is walking, the camera is constantly stay and Lila is getting closer and the focus point changes from the hanging light bulb to her face. Her facial expression shows that she is curious about the appearance of Mrs. Bates in the cellar. She taps on the right shoulder of the woman and the body of the woman slowly jiggles back and turns over. There is still medium shot when she taps on her shoulder and audience can see the shadow of the woman reflected on the wall behind. Then, the shot is cut to a close-up shot with the skeletal of the woman’s corpse with empty eye

The picture then merges in to show a black and white long shot of a landscape. The camera pans rounds and the audience see a shot of two lines of prisoners doing hard labour, then a low angle shot shows them chained together. This could explain to the audience why none of the prisoners are trying escape. When the audience has seen the prisoners the camera goes into a wide-angle shot and shows three men running across a field and then jumping down. This can be quite comical as they are being very obvious and could easily be seen but never do.

This creates the effect of natural light coming through the window. The whole time the two are shot in the office it is a medium shot until Ford zooms in on Tom as he says “You were walking towards him when he fired his first shot remember?” The zoom stops as he finishes talking showing a close up of Tom Doniphon with a little bit of scruff on his face showing that he hasn't shaved in awhile. You can also see the bags under his eyes showing that he is truly giving up and not caring about himself anymore. Ford uses the traditions dissolve by having Tom release the smoke from his cigarette. As this happens the non-diegetic of violins creating the illusion that you going back in time. After the dissolve it goes to a flashback of the night Liberty Valance was shot. Yet instead of it just showing Ransom and Liberty it’s shot in the alleyway. After the dissolve finally makes it to the flashback there is a very faint hint of deep drums and trumpets creating and intense feeling in the atmosphere. Ford uses eye-line match to show people what Tom is looking at to give people the feeling of if you're there in that scene. Ford also uses side lightning. This shows people that Tom is hidden enough for someone who was really focusing on that area, but not enough for Liberty and Ransom to see him. The lighting also highlight part of Tom’s face and his white cowboy hat which symbolises that he’s good guy. The frame of the shot is than a four shot because Tom, Pompy, Ransom, and Liberty are all there at the time of the shooting. The lighting is also focus on Ransom and Liberty during this time. After Pompy gives Tom the gun Ford expertly has Tom’s and Ransom’s guns go off at the same time to make it sound like one shot, while Liberty’s gun goes off a second later as he pulls the trigger the minute after getting shot. All of the film techniques used in this film were to show that man

Camerawork in crime dramas tends to be used to create tension and mystery. Not enough is given away for the audience to easily guess who committed the crime. Long shots are used to show the scene, but also close up shots to show emotion, as crime dramas often focus on relationships as well as the actual crime. At the very start of Inspector Lynley, there is a close up shot of some cobwebs where the murder scene took place. This

They are greeted with musical stabs each time they appear and add suspense as the audience wonders that the signs are pointing at. The fourth time the direction sign shows up, the camera pans to the right and looks into a window. The open window reveals Vilette 's dead body and the music escalates very quickly. The suspense in the first 45 seconds of this film is expertly crafted and although the murderer is revealed directly after, it leaves the audience curious. Beside the corpse is the murder weapon (a blunt instrument) and you can clearly see Vilette 's head bleeding at the top, revealing how he was murdered. From the image of Vilette 's body, the camera pans to the doorway where the beaded curtain is left swinging showing the audience that someone has just left the crime scene.

Similar to the previous scene, the young man is dominantly in the foreground. Different from the previous scene, now the mother and mysterious man are in the mid ground and the boring plain house is in the background. Once again the boring background draws the viewer's attention to what is happening within the foreground and background. The shot used here is an establishing one, because it develops the setting, and once where the shot was POV and the viewer could really only interpret the mother's thoughts, as a spectator in this scene the viewer can interpret both thoughts of the young man and the mother. Unlike that used in the previous scene, J.Cole uses a spectator gaze, because the viewer needs the full image to be able to interpret what is actually going on because without both the view of the son and mother, the understanding for the scene can become skewed. From the pieces analyzed in this scene it can be determined that the young man and mother are equally in shock because the mother was caught in the act of infidelity. Where as “She Knows” was thought to the young man's mother knowing he stole and was a juvenile turned to “She Knows” as she is aware that he know she was having an

The beginning echoes with the end. Our goal is focusing on the slow motion of the cat by moving the camera in a little scope, so as to the catch cat’s tiny body action and illustrate his characterizes. To be mentioned, after the cat caught the sock ball, we did not move our phone camera in pace with the cat. Because we want to have an interaction with viewers, and leave viewers a short time association of what the cat is doing right behind the camera. And then we moved the camera back to

As the men enter the office, the thug-like demeanor of these men unravels and guns are brought into the picture. The camera then flips and whirls, clips are sped up; thus, giving off a feeling of manic and

Number of Shots in Selected Scene: There are four shots in this selected scene. The first one is a close-up shot to show Eliza’s face in frustration with her speaking lessons. The second shot is the long shot which is used for showing all the servants work. The third shot is the medium shot which is used to show Professor Higgins eating and drinking tea while the servants sing that “he doesn’t eat.”