Analysis Of Alfred Hitchcock's Film 'Shadow Of A Doubt'

it is the start of the story. The window fills the whole frame of the

The first shot we see of this sequence is a low angle which shows, quite simply, the sheer enormity of the building Max is about to enter. The shot slowly pans down as the foreboding notes of the score

Once the flirtations between the two in intensify, Hitchcock transitions into using close shots, beginning when Eve discloses her bribe arranging Thornhill being seated with her, and her subsequent reveal that she knows Thornhill wanted for murder. The use of the close shot provides a better, more intimate view of their expressions as they banter back and forth and the sexual innuendos ramp up. Thornhill’s thoughts are particularly evident across his face as he changes from showing interest in the attractive woman across from him, to tension at being recognized by her, to unabashed glee at the prospect of sleeping with same said beautiful woman, and finally to alarm as he learns police are boarding the train.

One of the most important parts of the “Redrum” scene was the camera shots and Danny’s movements. Throughout the scene, we never really move through the room. The shooting is extremely immersive and makes you feel as if you 're standing in the room, following Danny with just your eyes. This is defined as a “Panoramic shot” or a

He starts off with a medium shot of the individual in the center of the screen; they start rapidly listing off racial slurs and stereotypes and the camera zooms in which emphasizes how violent it is. By the end of the rampage, the shot is an extreme close-up of the character’s face and you can feel the anger and hatred they have for that particular race. The climactic buildup at the end of the film was full of canted angles, shadowy lighting, dozens of fast shot/reverse shots that in full only lasted less than two minutes. The scene at the end of the movie, the hierarchy of confrontations and tensions between the characters, is a canted low angle shot of Radio Raheem and Buggin’ Out after they stormed into Sal’s Pizza Shop makes them appear more powerful and intimidating than Sal. All the shots of Sal are a counterclockwise tilt high angle, causing him to look inferior. The quick cuts back and forth between the two gives the film a sense of the tensions and anger. It is not until Sal rises up to the plate and smashes the radio, that he is being filmed at a leveled angle to show that he is not inferior anymore, but at the same

Lee makes excellent use of these shots as a way of bringing the viewer into the action of the movie. His use of high and low angle, point of view shots both heighten tension and give the feeling that the characters

The camera follows the elders of the block, Da’ Mayor and Mother Sister, as they talk in her bedroom. For a rare moment in the film Da’ Mayor’s and Mother Sister’s eyes are at exactly the same level, showing that as different as the two may have seemed, they are very much the same. Then the camera slowly pulls out as the two stand and sluggishly walk down a hallway toward a window. Now, where a director would typically have to cut and setup a new shot, Lee pulls the camera straight out of the window as Mother Sister and Da’ Mayor survey the block. The audience would expect to see next exactly what Da’ Mayor and Mother Sister are looking at, but instead Lee quickly pans over in the opposite direction to reveal Mookie standing in the street bellow. By doing this Lee makes a connection that both the elders and Mookie are, in the words of Mother Sister, “still standing.” The shot is not particularly tight but still has a cramped feel due to the clutter of things in the background, the heavy shadowing, and the red tint on the lighting. The red lighting gives sense of volatility to the shot, which is contrasted by the slow camera and character movements. These slow movements are analogous to the block as, regardless of how slowly, it too will go on and life will continue. This shot is in the tradition of mise en scene advocates like Bazin in that,

Camera shots and angles are also used by Ross as a cinematic technique. The lack of engagement in class of a close up of David’s face is an example. David’s face show the expression of boredom and tiredness, as he listens to the teacher talk. Another example of a camera technique is the close up of David asking out a girl. It shows the strength and courage David has in him, but a long shot shows us that the girl is hundreds of meters away. This conveys that David is too socially inept to

Shot 1: Wide shot. View behind Dorothy in black and white. Dorothy opens the door to the color world of Oz. She steps out into Oz and stops. Straight on shot, camera moves into Oz first through the door, followed by Dorothy appearing again in the foreground. Light

shot of husband walking on the street along shops, one which has "rokers" written on window on the left of screen. He walks towards the shop, pauses to stare at it and then walks in (4 seconds). Cut to.

Through the use of high and low angles (“a shot that is made by placing the camera above the subject angled downward” and “a shot made by placing the camera below the subject angled upward” respectfully defined by Jon Lewis, author of The Essential Cinema), are almost balanced in this scene. (Lewis) For example, during the first part of the scene, Mrs. Kane, Susan Alexander, and Mr. Gettys are seen as closer to the camera and at a low angle. This could possibly demonstrate that they are more active in the scene than Mr. Kane. Meanwhile, it appears that Mr. Kane is shorter and smaller than the other characters, again hinting at his inability to control the situation.

When we see the subjective point of view shot of someone walking through the school it makes the sequence feel more personal, because we see everything the students would have seen walking through the school. There’s a high angle shot of the SWAT team outside the school, high angle shots are usually used to show that

In addition to camera movements, he uses camera distances and framing to create images that make the audience feel cheerful. When he frames a shot, if it takes place outside, there is ample amount of bountiful nature within the frame. The most prominent example of this is toward the end of the film when the narrator is describing the after effects of the massive storm. It is a medium close up but the narrator is only in a small portion of the frame, the rest if a

The camera cuts to an insert shot at a dutch angle of the protagonist’s face. As her hazel nut eyes glistens in the sunlight, a dried gash can be found on her cheek, peeling and

The camera view then goes towards the girl character as she tries to hide in an opening in the counter. The use of reflection in this scene of the girl getting inside the opening in the counter fools the Raptor who notices the girl character. The camera goes in for a close up of the Raptor who noticed the girl character. The music starts to be more dramatic and faster as the girl character is noticed and under attack by the raptors. The camera now is in the view of the raptor coming towards the girl making the viewers in the raptors position towards the screaming girl character.