Before Sunrise Comparison

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

Everything in the frame is in focus, which in a cinema viewing is a lot to take in, especially considering the films aspect ratio of 1.85:1. However, the audiences’ eyes are cleverly guided around the frame by almost unnaturally loud sounds, some of which are accentuated in post-production by Tati. The sounds against the floors create a reverbing echo, highlighting the absurd impracticality of the building. A man and a woman sit in the bottom left hand corner of the frame in what appears to be a waiting area. They are dressed identically in their monotonous grey colours, as if they are enslaved to the colours surrounding them. During the shot’s beginning, the audience is drawn to the nuns and their rhythmic footsteps as they enter the frame. Then, through a combination of actor gestures and dialogue, this gaze shifts to the two characters anchored in the foreground of the image. The rattling of a table being wheeled out by a man in white into the frame moves our eyes, as well as the couples own attention, to

An Hour Before Daylight, a memoir written by Jimmy Carter, the 39th President of the United States, was a brief recounting of his childhood experience of rural Georgia. Throughout the book that read like a diary, Carter provided interconnecting stories detailing the world he grew up in and how the rural society changed. He was born in Plains, Georgia as the oldest of 4 siblings. Carter lived there for the first four years until 1928 when his family moved to Archery, a town just beyond Plains. Unlike Archery which withered away after the arrival of cars and tractors, Plains was home to productive farms and devoted people. Carter detailed how important it was to learn the tools of the trade when it came to farming as a way to support the family. He talked about how he and his family interacted with those they employed. Carter’s memoir provided a first-hand view of race relations in rural Georgia through the explanation of what occurred during rural segregation, his recountings of his childhood relationships, the relationships between his family and the townspeople.

In the short film All Summer In a Day, there is a classroom full of children on a planet very similar to Earth. This story is taking place in the future and on a very dismal planet. The sun only shines once a year and only for a couple hours. On this planet it rains all day, every day. All of the children flock together to see the sun when it shines but one kid in particular is very loving of the memory of the sun. All of the children are too young to remember the sunlight except for the one, Margot. Margot was born on Earth and is older than the other children so she remembers the sunlight very faintly. William is jealous that Margot can remember the sun being out and he cannot. Therefore william picks on Margot by bringing her hope down and

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.

Who would kill you first, a mad hunter craving enjoyment, or an outlaw who has no lawman to stop him? In the story, The Most Dangerous Game, written by Richard Connell the hunter Rainsford becomes the hunted on an desolate island. In the film High Noon, written by Carl Foreman. Even though both High Noon and The Most Dangerous Game have different settings, there are many similarities between the conflicts and their main characters. Both Will Kane and Sanger Rainsford are endanger of dying.

You can compare and contrast items you come across in life. Movies, stories, and even people can be compared. The story "The Most Dangerous Game", which is written by Richard Connell, and the movie High Noon, which is written by Carl Foreman, can be compared and contrasted in multiple ways. High Noon is a movie about a sheriff being hunted down by a murderer that he sent to jail. He was released and plans to hold up his promise of coming back to kill the sheriff.

The Filmmakers used a pattern of medium shots followed by closeups at eye level. They then used a cut and a still shot to set the location for the next scene. One of the best examples of this is combined with an appeal to Pathos. Gaudet and Pullapilly start the scene with a still shot of the Bangor Hospital to set the location for

The Russian Revolution and the purges of Leninist and Stalinist Russia have spawned a literary output that is as diverse as it is voluminous. Darkness at Noon, a novel detailing the infamous Moscow Show Trials, conducted during the reign of Joseph Stalin is Arthur Koestler’s commentary upon the event that was yet another attempt by Stalin to silence his critics. In the novel, Koestler expounds upon Marxism, and the reason why a movement that had as its aim the “regeneration of mankind, should issue in its enslavement” and how, in spite of its drawbacks, it still held an appeal for intellectuals. It is for this reason that Koestler may have attempted “not to solve but to expose” the shortcomings of this political system and by doing so

It is in this context of American fin-de-siècle that Kate Chopin and Charlotte Perkins Gilman wrote their stories. The Awakening and The Yellow Wallpaper both portray heroines suffering from restrictive conventions that society has placed on them. One the one hand, there is Edna Pontellier, a repressed woman who abandons herself to her desires and ambitions, on the other hand, there is Gilman’s unnamed narrator, the wife of a doctor whom infantilises her and disregards her opinions.

Comparing Dylan Thomas's poem Do Not Go Gentle Into That Good Night and John Milton's poem When I consider How My Light Is Spent

Tender is the Night by F. Scott Fitzgerald and The Sun Also Rises by Ernest Hemingway both feature expatriate characters at loose ends and are an expression of a tragic, rather than a triumphant look at life and the experiences it throws our way. Both Jake Barnes, from Hemingway's novel and Dick Diver from Fitzgerald's have been damaged by life. Each is pursuing happiness but hobbled by self destructive behaviors and choices.

Furthermore, Lumet uses the film technique of different 'camera lenses and angles' to emphasize his intentions during the film. He employs numerous methods to enhance the ever-building tension throughout the room, including physically moving the walls in on the actors to enhance the feeling of claustrophobia. One case of this occurring is performed throughout the whole movie. As the story continues, Lumet gradually changes the lenses of longer focal lengths, so that the backgrounds seems to close in on the characters as the movie progresses, this gives viewers the feeling that there is an increasingly amount of pressure and tension filling the room as the decision becomes more uneasy on the jurors. Another example employed by Lumet to raise the tension level of the film is by using various camera angles during the film. Lumet shoots the first third of the movie above eye level, shoots the second third at eye level and the last third from below eye level. In that way, as the film begins we look down on the characters, and the angle suggests that they can be comprehended and mastered. By the end, the ceiling is visible, the characters loom over us, and we feel overwhelmed by the force of their passion.

"Never shall I forget that night, the first night in the camp, which has turned my life into one long night, seven times cursed and seven times sealed. Never shall I forget that smoke. Never shall I forget the little wreaths of smoke beneath a silent blue sky. Never shall I forget those flames which consumed my faith forever. Never shall I forget that nocturnal silence which deprived me, for all eternity, of the desire to live. Never shall I forget those moments which murdered my God and my soul and turned my dreams to dust. Never shall I forget these things, even if I am condemned to live as long as God Himself. Never." (9)

The camera tracks backwards as Szpilman walks towards us. It gives the audience the feeling that he is limping into our hands as if we are helping a poor elderly man. Then the camera tracks from right to left as we get the impression that he is searching for something. The director chooses to track his movements slowly to make the audience feel as if Szpilman is moving along in a fragile house just like himself. The camera tracks along showing the audience a full view of him showing us the little steps he is taking just to get to the other room. There is very low lighting in this scene which shows as if he is looking for something quietly without making noise. Szpilman then finds something on the floor, so he bends down and this is shown by tilting the camera down to a low angle. The director has chosen to do it this way because it makes it flow with Szpilman’s movements. Then the camera tracks and zooms into Szpilman walking into the next room. When Szpilman finds a tin opener and uses it the camera focuses on it even though it is a small object and not important. As Szpilman carries on trying to open it the camera is still focused on it. The director makes the audience focus on that repetitive movement of trying to open it but at the same time distracting them from the characters emotions if anything surprising happens.