Plantigna deliberates on various differences between the fiction and non-fiction filmmaker, particularly the role of imagination to the two differing styles of film. He discusses that the fiction filmmaker “freely creates imaginative events”, where the non-fiction filmmaker “portrays or makes explicit claims about actual historical events” (104). He then puts forth the idea that imagination is also important for the non-fiction filmmaker as he as the creator “decides how to represent historical events” (104). This is demonstrated in shot 237 where Resnais’ camera pans over the ceiling of a gas chamber that has been carved in and scored by human fingernails and the voice-over narrates, “the only sign—but you have to know—is this ceiling, dug into by fingernails”. Here, Resnais using his imaginative ability, has seamlessly
Driven by the same communistic idea, Dziga Vertov presents another, all different way of his propaganda style. His vision applies to the beauty of the regular daily life and he starts experimenting with to demonstrate the objective eye of the movie camera of recording and showing the un-staged events that are not noticed by the bared human eye. His movement Cine-Eye distinguishes his position from the idea of the
Stephanie Bittar Narrative Analysis Paper MCS 273 Rear Window (1955) Alfred Hitchcock’s 1954 film, Rear Window, explores many dimensions in cinematography. The phenomenal film is well known for proclaiming its voyeurism issues that goes on in today’s society. Even though voyeurism is an act that should not be done, this film portrays it in
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 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
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
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
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
Rear Window was originally a short story called It 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.
Furthermore, Vant Sant makes statements which are just as strong through his use of camera angles and shots. Together with the film’s cinematographer, Jean-Yves Escoffier, he creates a mise-en-scene which is striking and powerful
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.
Forman presents this film and plot to us in a direct and simple manner. The camera will zoom in on a personality without trying to conceal the detail of its being there. As a viewer you can feel the camera moving forward and zooming in and are persuaded to incline into the screen yourself.
The director mainly used eye level shots, to leave it up to the audience to judge the two main characters of the movie, although certain power struggles in the film are shown from high angles to illustrate someone dominating a conversation or argument. Figgis also uses some point of view shots to show the imbalance during Ben’s drunken periods where the camera is placed at an oblique angle to show tension and approaching movements. The images in the film are in high contrast with streaks of blackness and harsh shafts of light to underline the dramatic events that occur.
The directors chosen camera technique, a simple two composition that progresses the scene a steady pace, forces the audience to feel a part of the awkward exchange; obviously, a quality of film that could not be as profoundly achieved through the narrative in the novel.
Part One (Plot Summary) "Rain Man" directed by Barry Levinson was released in 1988.The story of this movie takes place in the United States (Cincinnati, Ohio) in 1988. Similar to John Steinbeck's Of Mice And Men, the story of this movie