A Woman's Face Opening Scene Analysis

Mise-en-scene is utilized as a part of a couple of scenes of Do The Right Thing to feature their significance to the plot. For example, Close to the begin of the motion picture, Mookie advises Buggin Out not to contend with Sal about the photos on the divider. As they leave the pizzeria to talk outside there are no cuts until the point that Mookie gets back to the restaurant. The issue of the photos later heightens to the uproar toward the finish of the film. In a later scene, Radio Raheem and different individuals from the area battle to see whose music can be louder. The scene backpedals and forward between the two blast boxes without cutting. This scene features the significance of the melody Radio plays, which will later turns into a contributing component in the mob. In another scene Sal and Pino talk about the area, Pino voicing his discontent with working in a dark

Alfred Hitchcock’s 1958 drama Vertigo explores the mystery and relationship through ex-detective Scottie and elusive Madeleine. Although some see it as a love story hidden within a psychological thriller, it is also a critique of cinema, gender, and the sexist issues of the time. The dynamics between Scottie and Midge and Scottie and Madeleine/Judy demonstrate these issues. Hitchcock uses Scotties character to portray the uncomfortable male-centric viewpoint of most films through plot, mise en scene, and character blocking.

The light is directional when inside coming from the windows creating a raw aesthetic in the cinematography. The camera work that is at times shaky representing the unstableness of life itself. My favourite shot of the film is after Jayden reads Grace a story about an octopus searching for a friend that acted as a metaphor for her situation at home. It shows the two huddled together on the ground, it brings the two characters to the same level after Grace learns her and Jayden are more similar than she realised. There is a soft warm glow around the two, creating a warm inviting environment. The camera is placed just outside the door frame as if it is inviting the audience in to a intimate moment. Whilst around the edges of the frame it is more dark reminding us of the world

By making the sleeping area the main focal point of the set Heffner implied that it would be the most important part of the play. The large stereo, tv, and gaming system in the bedroom also show off the families money. Heffner was able to capture the families money just as Spencer was able to do with the costumes. The lighting, also done by Heffner, captures the time of day perfectly. The room is lit by lamps and “ceiling” lights implying night while the window above the table changes between several shades of blue to imply the setting of the sun. Heffner does and amazing job of capturing the viewers attention by dimming the lights in the apartment and drawing the gaze of the audience out into the hall when the characters are outside the

Nervousness rises as the characters become more paranoid and suspicious of what they call ‘the others’ in their house. The usage of light is particularly significant in the bedroom scene where both Anne and Nicholas are in twin beds sleeping, when ‘Victor’ who is seemingly messing around with the curtains suddenly awakes Anne. Anne quickly wakes up Nicholas to tell him ‘Victor’ has opened the curtains. In result of the curtains being open we can now see the children’s face and the audience can’t see anything in the background apart from shadows due to the

The contrast between light and dark is repeated in many aspects of the scene. A cold toned light illuminates stage left while the rest of the stage is dark, forming focus which intensifies the scene. The cold light is coupled with the lightning and fog which not only represents Dracula’s aim but fashions the setting of Lucy’s room, through the formation of the cold and stormy weather outside her window, and foreshadows Dracula’s arrival, which builds tension of expected. A trapdoor behind the window landing allows for Skubij to appear suddenly producing a contrast of visuals that shows his inhumane side and shifts the tension into tension of unexpected. The juxtaposition of red blood against Lucy’s white nightie represents her losing her innocence and purity and shows her as the dark. The red blood against Dracula’s pale skin emphasises his longing to be with someone and portrays him as the light. The contrast of the two characters, symbolising light and dark, and their movements along with lighting and sound establishes place and shapes tension that drives the fear of

Mis-en scene simply refers to the setting and surrounding of an event within film. This element of a film is another way for a director to add more detail to an important scene, or to simply enhance an atmospheric understanding. Alfred Hitchcock’s use of mis-en scene within a film accompanies his rich portrayal of suspense, avidly depicted throughout the majority of his films. Mis-en scene incorporates a large number of features including costume design, actors, lighting, props, colour and sound. A good director knows how to use Mis-en scene to create a better all-round picture and story line for his/her film. If a directors use of mis-en scene is successful, the audience is able to have a clear understanding of even the subtlest features of the story line. It is through the control of mis-en scene that the

He has adopted a sort of fixation around the aesthetics of their family home, however, it can be more truly regarded as a method for him to hide who he really is. As Alison walks through and observes her home, she relates the decorations to the deeper ongoings within the house. She states, “His shame inhabited our house as pervasively and invisibly as the aromatic musk of mahogany. In fact, the meticulous, period interiors were expressly designed to conceal it. Mirrors, distracting bronzes, multiple doorways” (Bechdel 20). Through this dialogue she explores how he has constructed a literal labyrinth within their home that serves a greater purpose of helping to hide who he truly is from both his family and himself. Like Nel, Alison recognizes the incredible struggle her parent endures and vows to lead the life he wished he could have had by exploring her own personal

Hitchcock’s Rear Window (1954) builds a distinct view of the world and how, in the director’s opinion, men and women fit in it. Through dialogue and mise-en-scene, Hitchcock’s always seems to be making a statement about how men and women should be viewed in his films. Rear Window pinpoints some recurring elements about men and women present in multiple Hitchcock films, where men are shown as damaged and needing help, while women are shown as care-givers. Men are always reluctant to take action, until the desire of the women to solve the mystery presses them into confrontation. Men think women are interested in money or status or success, while women are only interested in love. Love and marriage are also a recurring theme within Hitchcock’s works, and it can be explored through various lenses, but in this essay I will explore it through gender roles and voyeurism, specifically in Rear Window.

world, and that this is a sci-fi film, Mise- en scene is often used as

The element of Mise en Scene is used to achieve a number of effects. This is to highlight the

Throughout the play the lighting design (Matt Frey) had an important role in indicating when a scene finishes and when a new one starts. Changes of scenes were noted when the room became completely dark to a point that the audience could not see anything; this was a good strategy to move objects around when needed for a scene without the audience noticing. Moreover, the lighting design had an important job in intensifying the differences between the Almedin and the Osman family houses. Since the Almendins live in West Village, New York, the

Set in a 1940’s film studio, the film “Illusions” is dominated by white males dedicated to producing a misleading image of reality. Mignon Dupree, a bold assistant executive desirous of change in the industry, is deeply troubled by its artificial and racist nature. Throughout the film, the audience is exposed to many of the illusions created by techniques such as lighting, sound, camera angling, and visual layering. Thus, in large part, Dash’s film is a commentary on the film making process itself and how it is structured to appeal to a certain audience. As the narrative progresses, we also witness dichotomies within the protagonists themselves: in reality, Mignon is a black woman passing as white to maintain her authority in the workplace.

In this essay I will discuss how the change in political and social contexts influenced a more favourable representation of women in neo-noir films and argue that although a change has occurred, there are still patriarchal, misogynist values instilled in the femme fatale. Film noir is often identified by its stylistic elements; low-key lighting, gritty, urban landscapes and murderous plots. Specifically, film noir refers to an era of film from the 1940s to late 1950s and is prominently considered a response to the war. Narratives of these films were all commonly driven by criminality, corruption and sexual desire.

The author put a large amount of emotion into the story. She tries to comprehend each situation that the woman of the prison are going through, and how they will one day have to explain to their children why they were gone from their lives for so long. The author wants her nephew to be a good citizen, and to believe that he lives in a country with a fair legal system. She wants him to have faith that he lives in a good country, a country that watches over it’s most vulnerable citizens: its women and children. The only problem is that she doesn’t even believe that