Analysis Of The Movie ' The Night '

This scene uses several 2-shots, but mostly shows the dialogue once again bouncing back and forth between Phil and Rita. Due to the very nature of the film’s story, the script supervisor was vigilant in making sure set scenes, costumes, line deliverance, ambient noise stayed the same,

But behind them talking you can see how the breakables and dishes are out to show people and how small town gossip gets around. In other words, the director took everyday life and make it even real to the point where the props are not even props but sentimental value to them characters and probably even the actors. But with all them girls in one famous place they love to be in, the beauty salon, all of them are supporting each other by filling in what has happen and future events.

One key film technique used in The Truman Show is the camera angles. Weir makes the audience feel like they are always watching Truman regardless of where he is. One common angle used was the angled/tilted shots. This was a way to make everything look like it had a hidden camera within it. This is shown after Truman says [h]ey Pluto. No, no, no…! Get down! When Spencer’s dog jumps on him, the audiences get a close-up of Truman’s face and a shot from the dog’s point of view. This creates a feeling of the viewer being a hidden camera on the ground watching all of Truman’s moves. The viewer also starts to

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,

As he did with the lighting, Hitchcock shapes the scene in terms of contrasts. We see Marion sitting comfortably in her chair, leaning slightly forward, and enjoying a sandwich Norman has made for her. Hitchcock places the camera near eye level so the audience sees Marion as two people might see each other while sitting and talking. There is nothing unusual in this. In fact, this particular angle provides the audience with a sense of normalcy and comfort in Marion's presence.

Inside the club, the lighting is primarily dark with a tint of red which appears to be coming from the practicals seen within the shots. This is clearly to give off a dark mafia vibe within the setting of the film. The DP wants the audience to have a sense of slight discomfort within the nightclub and to foreshadow the dark events that take place throughout the rest of the film. “The style of lighting displays the mafia lifestyle as something that is filled with murder, deception, and constant fear”. Bright lighting is only used during happy events during the film such as Henry and Karen’s wedding and to give off positive vibes for that moment.

Giving you the feeling that you are a subject in that room watching from a point of view angle, following the characters with your own eyes, giving an in depth more realistic feature that the camera gives you in the film. The scene where Richie is cutting his hair in the bathroom has powerful camera angles that deliver a strong message. As Richie is cutting his hair most of the entire scene is medium close up shots, then cutting to close up shots as he is cutting his beard and hair with scissors, that present a message he may hurt himself cutting with scissors so close. As Dudley walks in to find Richie on the ground there is a sharp movement of the camera tilting back down to Richie lying on the floor giving distortion and

     Over-the-shoulder shots, odd angles, and shadows are all used in the hotel scenes. Benjamin doesn’t want anyone to see him there. The director conveys this message with a shot that puts the large podium between the clerk and Benjamin; an “over-the-podium” shot.

One of the camera movements is a pan. This occurs when the camera moves from side to side. A pan is used to change the viewers focus. The Giver uses panning to show the auditorium for the ceremony of graduation. Tilting is when you move a camera angle up and down.

This scene shows how they use their depth-of-view to its full extent. Not only are we able to see the scene that is important to the narrative inside but also allows us to view Charles, our main character, outside doing his own things. Not only does it allows us to view all the important characters in the scene but also keeps them all in focus. Doing this also makes the scene feel more

Since the show was filmed on thanksgiving, the show primarily focused on Seth, his family and the dynamic they have. Unlike a traditional interview, where Seth asks his guests about the current projects they are promoting, the interview that Seth has with his family come off as more conversational, rather than formal. In addition, the interviews he does with his brother and his immediate family reinforces the audience’s focus on the family dynamic. For instance, when Josh and Seth begin the first-part of the interview, they begin by talking about how their parents are holding up backstage and transition into reminiscing about Josh’s life in high school. When their parents come out, the laid-back and conversational atmosphere continues into the interview that Seth has with his family. These interviews are unique because the camera techniques used in these interviews are used in the sitcom game as well. When a family member talks, the camera cuts to a close-up of the person talking, but when the speaking person references anyone else, the camera switches to a wide shot of the entire family, in order to show their family’s reactions to the spoken words, similar to cinematography work in sitcoms. In addition, the show is shot via a multi camera format, which allow the cameras to switch easily between close-up in one moment and a wide shot in the

The animation abruptly cut to zooming out from back of the silhouetted figure relaxing in a chair with a cigarette in his hand. Placing the chaotic and out of control skyscraper scene between scenes with a seemingly controlled and comforted (alcohol, cigarettes) silhouetted figure align with the prisoner’s desire to return to comforting shadows when given a choice to leave the cave. This sequence can also be read through the lens of appearance versus reality where the silhouette appears calm and collected at the end but the reality is more like the skyscraper scene. The camera work in the opening scene of the season 4 episode “The Rejected” provides a direct example of appearance versus reality. The main character, Don Draper, is shown the phone with a client smoking a cigarette from a wide shot at a low camera angle, discussing how to avoid restrictions placed on the appearance in the advertising of cigarettes. Don mentions that they are no longer able to use wide lens and low angle camera shots because it gives the subject a superhuman appearance while at that moment being cast in that light. While the appearance of cigarette advertising is forced to change the reality is that the

The camera films a close up shot of the children eating the meat to imply that what they are doing is something they do not usually do, as their father does not allow it. This is emphasized when a long shot of the house, shows that the house is empty and their father is not home. Maneer comes down the stairs and a low angle shot is used to show how he is looking down on his siblings for eating pork. When Meenah notices that George is coming up the street, the camera does a very far zoom on him. This emphasizes that he is not far away from the house. Music is also used in this clip to show how the kids are frantic about their father coming home and fast cuts scenes are also used to build up the suspense and make the situation seem frantic. The music shifts from dramatic to an up-tempo melody, which suggest that the situation will not go

This episode shows many ways that filming and camera shots can manipulate the way we experience TV.. High angles are used in MasterChef when all contestants are bunched up ready to cook, this makes them seem insignificant and small compared to the surroundings. Low angles are often used, because it makes the person look more strong, independent and superior. This is seen in Episode one, when the judges stepped into the kitchen and a low angle is used to make them look taller and more greater then the contestants. Shot types are an important technique in the reality TV. Close ups are used to individualise one specific person and emphasise emotions and facial expressions, making it more dramatic and problematic. This can be seen, when Rose Adam is talking to the judges and Matt Preston yawns, which is a small insignificant reaction, but adding a close up, makes the situation

3 – Look at the “Zolly” shot when the two characters are seated at the table from the movie Goodfellas. What emotional impact does the scene have for you? Is the DOLLY moving IN while the LENS is zooming OUT, or is the DOLLY moving BACK while the LENS is zooming IN? Please explain.