Shot Four Renoir

In his book The Future of An Illusion, Freud (1928) struggled to create a theory that

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

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,

2. Describe three different camera shots the director uses in Casablanca. What effect does each of these shots have on the plot, mood, etc. of the film? Three different camera shots that they had in the movie was, high angle, birds eye and eye level. The effects that it gives can be explained i n numerous ways, such as the high angle to show what the existing environment around what they are talking about or filming, then there is the bird's eye view which shows more of the detail of what the cameraman is filming, and then there is the eye level that will pretty much be the basic idea of getting what important while filming a person or object.

The other camera movement that I want to talk about is the shot which shows the frame within the frame. At the scene when Gustave tries to escape from the prison with his prison mates, they slide down through the steam vent and open the wood-paneled door on the ground. At this moment, the camera shows them who are staring down a hole in the wood frame and shows the guards who are playing the card game in the wood frame. Through using this shot, this film allows audiences to feel that they are looking at the painting just like seeing one page of a fairy-tale book. On the one hand, Wes Anderson’s frame within a frame shows the internal psychology and memory of the characters in the film (MCCAUSLAND). The last camera movement that I figure out is employing a symmetrical shot which is perfectly balanced in the left, right, upper, and lower side. This symmetry makes audiences recognize psychologically that they are watching fictional dreamlike world. Because of this balance, on the one hand, audiences can easily understand what they are seeing in each scene, and the symmetry aesthetically amuses people’s

The viewer is introduced to the dolly zoom in the first scene when they look through Scottie’s eyes as he hangs from the gutter and looks down to the pavement below. The dolly scene gives the sense of vertigo. In this scene it makes the ground seem so much farther below than what it is. Hitchcock uses this shot throughout the film to give a feeling of false reality. The shot works by moving the camera back on a track while zooming in at the same time. This shot is also known as the vertigo shot. In the bell tower, this shot clearly puts the viewer into what Scottie is feeling at the time. It makes the viewer seem uneasy like they might suffer from Vertigo. In addition to this, Hitchcock perfectly uses the camera angle and the actors to tell a separate story. In the scene where he meets with his old friend, Gavin Elster, Hitchcock basically choreographed the actor’s movement and camera angles to set a mood and give foreshadowing. In this scene, Elster is sitting down while Scottie is standing in front of him asking the questions showing dominance. Once Scottie sits down, Elster stands up and stands on the steps to the second level, giving this sense of him being higher than Scottie. The camera follows Elster but then once Elster confesses why he wants Scottie to follow him, the camera pans in tight to his face. At this point Elster blocking is extreme in this shot. After his confession, the two men stay in the same position as the camera angle retreats on a dolly bringing both men into frame. This example shines light onto Hitchcock’s use of blocking and camera use that is evident throughout the film. Another major use of the camera is the way it used to show Scottie’s point of view. The narrative is restricted so that means the viewer can only see what the protagonist is seeing at that time. This is clear in the scene where Scottie is following Madeline as she

This close-up thus creates a collective protagonist which in turn becomes an embodiment of the Algerian people. In contrast, the two French paratroopers on the other side of the wall, are shot in side profile through a long lens with their backs turned to the audience, whilst the machine gun which holds connotations of the violence and brutality employed by the French army is incorporated into the left hand side of the frame. Pontecorvo's simplification of the nationalist struggle is further signified through the interplay of dark and light elements. Whilst Pontecorvo employs a chiaroscuro image of Ali La Pointe's hideout in order to highlight the faces of the FLN members against the dark background, the visual expressions of the French soldiers are obscured by shadows. The audience is consequently denied the same intimacy that they are permitted to experience with Ali La Pointe and his collaborators. It can be argued therefore that this opening sequence which begins with the fate of Ali conveys Pontecorvo's natural empathy with the Independent movement.

The spectator is thrown into the reckless and expeditious world of the characters, creating a sense of hedonistic abandon and excitement. The chase leads to the first of the dramatic scenes within City of God. A heavily armed stand-off between Lil’ Zé’s gang, and the police ensues and we are introduced to Rocket who is caught between the two. It is here that the shot rotates 360 degrees, spinning us into the past, leaving the spectator keen to understand more. It is this exhilarating sequence of editing and camera work that has led some viewers to brand the film an indulgent exhibition of romanticized ghetto life. However, the producers of the film claim that the effects are present in order to assist the telling of a universally human story and are intended to capture its realism[9]. Kátia Lund commented on the rotation shot and remarked that “the critics would say this is a film from Hollywood, they’re doing The Matrix, these fancy shots. And the cost of the shot was...$20. Just a guy pulling a dolly”[10].

It took us through Antoine’s school work, and showed beautiful scenes, one of my favorite being where Antoine runs through the group of doves in the streets with a giant smile on his face. In my opinion, the way that the film is pictured gives us as an audience an unbiased opinion on the film. The reason I feel that it is the techniques used in the filming of the movie were what set me apart from having a biased opinion on anything during the movie. Truffaut used natural, authentic settings that truly made me feel like I was in France while watching this film, which in a way took my mind off of even having a biased thought. In a way I somewhat related to Antoine because I disagreed with my parents about many things as a child, not that Antoine just disagreed with his parents because he did a lot more than that to make them upset (stealing money out of his mother’s wallet, lying directly to his mother’s face, wiping his dirty hands on her curtains) but that personally made me not judge him or anything that occurred during the film.

Freud gives his insights about what he defines as religion and how the societal neurosis called religion can be expunged from our lives. Freud, in his book The Future of an Illusion gives his psychoanalytical theory in trying to explain religion and postulates that the phenomenon called religion is an imagination, a mere illusion that goes beyond questioning. He suggests that science will provide us with knowledge and explanations to do away with the religious neurosis and live a life where science will be able to prove everything. The following reflects the testimony of Sigmund Freud, if he was to be called upon as a witness in the trial of Warner v. Boca Raton.

The line separating reality and the illusion of reality is a blur. The line separating the narrator’s self-aware expression and his story telling is a blur. The line separating Ambrose and the narrator is a blur. All of this may blur understanding. It is clear, however, that these blurs exist because of the “funhouse”. A funhouse, Lost in the funhouse, in which exist other funhouses. Various funhouses exist in the story and in the writing. For this reason, the title Lost in the funhouse is very significant.

The 'over the shoulder' shot is the most used shot in the entire scene. All but one of the shots in the scene contain ‘over the shoulder’. The ‘over the shoulder’ shots are used to show the points of view of both, Vincent, and Justine, in the third person. When we see the point of

The composition of the shots in the paddy wagon refers to whom the significant characters are, in the way that the Tramp and the Gamin are positioned in the very foreground of the frame.

“Reason is the illusion of reality.” A quote from Hazrat Inayan Khan, the founder of The Sufi Order in the West in 1914 and teacher of Universal Sufism. People do accept reality but when they start to find a reason of their reality, illusion happens. The meaning of reality is the world or the state of things as they actually exist, as opposed to an idealistic or notional idea of them. On the other hand, illusion is defined as a thing that is or is likely to be wrongly perceived or interpreted by the senses. There are a lot of reasons why people often go back and forth between the reality and illusion. When a person have an illusion, it does not simply means that he/she cannot accept the reality, however, it may be because the person wants to feel more about the reality.