A Few Good Men Opening Scene Analysis

Split screen techniques divide the screen into three equal proportions creating a simultaneous depiction of Lola, Manni and the clock, allowing Tykwer to show the struggle to beat time. Adding to the dramatic urgency and reinforcing the power of time is the virtual real time of the film, meaning the twenty minutes of Lola’s life are shown in virtually twenty minutes of screen time. Hence, the distinctively visual provides an insightful image into Lola’s experiences placed under seize by the adamant nature of time.

As a group, we selected The Other Guys, a comedy movie taking place in the New York City police department. The story involves two mismatched detectives that attempt to seize an opportunity in the department. In the movie, The Other Guys, the department is run by Captain Gene Mauch. The atmosphere in the department runs in a way that focuses on two main detectives doing most of the action outside the office. These two-star detectives are Danson and Highsmith, who are played by Dwayne "The Rock" Johnson and Samuel L. Jackson. However, a shootout with robbers results in the deaths of Danson and Highsmith, leaving a hole in the department. After mourning the death of the detectives, everyone in the office desires the opportunity to be the lead detectives of the department. The movie follows two of the detectives in the department as they attempt to fill the role of lead detectives. These characters are Allen Gamble, played by Will Ferrell, and Terry Hoitz, played by Mark Wahlberg. Both Allen and Terry have pasts that have been plagued by bad luck. Allen was once a pimp turned detective after being rushed to the hospital from poison ivy in his butt. Terry shot Derek Jeter during the Major League Baseball Playoffs. Even though Allen and Terry have been plagued by bad luck, they hope that making the arrest of all time would turn their life around.

The signs of the time are also shown through the use of specific camera shots, which humble the characters and show their frailty. Long Shots, in particular, are used to exemplify the smallness of the characters (without power) in the vastness of the world around them. In the scene in which the

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

“You don't need a patch on your arm to have honor.” Lt. Daniel Kaffee, portrayed by Tom Cruise, says at the end of the movie to Lance Cpl. Dawson after the final ruling is read, stating PFC. Downy and Lance Cpl. Dawson are innocent but are dishonorably discharged from the military. A Few Good Men portrays the negative impact on military personally from strict obedience. Lt. Daniel Kaffee, along with Lt. Cdr. JoAnne Galloway and Lt. Sam Weinberg; played by Demi Moore and Kevin Pollack, must defend PFC. Downy and Lance Cpl. Dawson from being charge of committing a Code Red. However, Lt. Kaffee believes that PFC. Downy and Lance Cpl. Dawson committed the ‘Code Red’, but because it was a direct order

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

In Alfred Hitchcock’s Rear Window, L.B. Jeffries, played by Jimmy Stewart, becomes completely obsessed with spending all of his waking hours watching his neighbors from his wheelchair. He even uses a camera to better his view and thus enhances his role as both a spectator and a voyeur. This contributes to the creation of a movie being played right outside Jeffries’ window. In this “movie within the movie” his neighbors’ lives become the subject for the plot. Each window represents a different film screen, each which is focused upon only when Jeffries directs his attention to it. He witnesses both the anxieties associated with the beginning of a marriage and the heartache of relationships ending. The

The following work aims to take a closer look at cultures, leadership and paradigms in Columbia Pictures’ (1992) film; A Few Good Men. This film provides many examples of differing cultures as well as illustrating examples of leadership, management, and followership. Many lessons can be learned; standing up for what is right and standing up for what you believe in are apparent, as well as leaders not always making the best decisions. At the end of the day, one must be at peace with the direction of their own moral compass and actions.

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

Even as people call themselves individuals and claim to do as they please, it is in their encoding to follow a simple command from a superior even if it objects their own judgement. In a simple experiment, such as that performed by Stanley Milgram, one command can make or break your own sense of self. Even if the command isn't compulsory, as seen by the marines in the movie A Few Good Men, orders can be extremely hard not to follow.

Next, the audience sees a man in a priest 's clothes hurrying down the sidewalk late at night. The lighting is very important in this shot as it sets a very serious, ominous tone. The character also looks over his shoulder hastily as if he 's worried someone might see him. The camera goes to a wide shot to show that two young girls are right behind Keller as he briskly walks away from his crime. Then the shot fades into Keller walking towards the camera down an alleyway. The lighting is still extremely gloomy and shadowy as he takes off into a dark corner. The next shot has a "revealing" as Keller takes off his priest clothing and he looks around suspiciously.

Renoir develops this unique shot by using a technique called deep focus which falls within the mise en scene of “Frame Composition.” Deep focus means a technology that shows objects in the front, middle, and back of the frame with equal clarity. The reason Renoir does this is because he wants to create a fuller depiction of the action going on in the shot for the viewers. You first see Octave and Lissette at the front of the image as the centerpiece of the shot. Instead of making it a shot where Octave and Lissette escape to someplace to have a private conversation to get away from the hustle of the world to live freely in this weird ambiguous culture that they have going on. Renoir placed a vague blur in the background to prevent any possible distraction. In that background, you have a servant walking up on the left of Octave and Lisette as if something's he was going to have a going to have a conversation with Octave. Then directly to the right of them you a staircase with a mirror and some candles with creating plans for later action in the film

Screen space is first used in the sense of camera placement and angle. Throughout the film, many scenes are shot from eye level and placed behind the characters. In the beginning, the camera is placed behind a long line of men waiting up the stairs to the unemployment office. Because of the perspective of the shot, the viewer feels like they too are waiting in the back of the line for employment. This shot creates a sense of frustration, chaos, and panic for the viewer- emotions that mimic what many 1948 Rome citizens were feeling. This perspective continues in the middle of the film when Antonio finds his wife at the seer’s home. The camera is behind Antonia, who is in the doorway, as well as behind the long line of townspeople waiting for the seer. This choice of camera placement also makes the viewer feel as if they were in line for the seer. It

Routines are a brief, but necessary element to both films; they establish their leading characters as seeking security in repetition of societal norms, and serve to highlight the director’s signature style of camerawork in each film. For example, in reference to the title of Agnes Varda’s film, Cleo expects to receive her lover at 5 p.m., repeating a behavioral convention encouraged by French society to meet one’s lover at this time. She dons her wig and fluffy coat, lies on her bed in wait of her attractive but patronizing lover, and plays along with his shallow display of affection when he comes and goes—as, it is implied, she has done several times before. The practice of this routine allows the camera to advocate the underlying issue of the scene; the height of the