Brunswick Thornton Film Analysis

Perkins represented a strong connection between ‘Mabo’ and his land. To introduce the film, Perkins used a wide-angled photographic image of the mountainous land and the vastness of the sea to capture the beauty of the land as well as ‘’ Land is Me’’ attitude of the Murray Islanders. To Mabo, the land is not just a territorial piece of physical land but was a place of cultural, spiritual origin and pride.

In contemporary times the Indigenous are stereotypically represented as being violent and aggressive. Sen is creating a stereotypical image of young Indigenous boys as criminals and dominative. An extreme close up of Vaughn behind jail bars show the separation between Vaughn and society. The stereotype of Indigenous Australians as criminals is shown in a negative light and acts as a false stereotype. The jail bars act as a physical and metaphorical barrier and the use of non diegetic music sets a mood of extreme sadness. Domestic violence is also suggested in the car ride. The women with the child is seen as submissive and this violence acts as usual practise. However, Vaughn does not appear to this stereotype of all males being dominative. Sen’s use of camera angles highlights the stereotypical nature of indigenous people and

clever camera techniques which create tension and fear. The camera shots also pay close attention to detail. For example, when the man with the dog throws a stick for his dog to fetch into the sea, the camera

Within the film, Edward Scissor hands by Tim Burton, the composer uses film techniques to display distintivitvely visual. The impressive use of camera angles and camera shots both encompass the distinctively visual element. Camera angles are used to emphasise the characters view on certain scenes, for instance, when Edwards the main character is staring at Kim, a young girl who lives in the town. A eye level shot is used, to emphasise the emotions that Edward is feeling towards Kim, it also shows the deep scars that are on Edwards face, a sign of both pain and torment both from earlier on in his life but also towards Kim’s boyfriend, as deep down he knows things about her boyfriend that she doesn’t, deep down like his scars. The composer also uses camera shots to give the audience understanding of the setting. The use of long shot on the town which shows a fair amount of landscape is used to contrast between Edward’s mansion on the hill, being all dark and scary looking, but yet a town at the foot of the hill which is colourful, vibrant and peaceful looking. The composer used this shot, to show how such differences can be put aside each other, but the community

The elements of cinematography in the film include a low angle shot looking up at the farmer as he chops wood at the beginning of the scene. The shot is preceded by the infamous extreme long shot of the military convoy. The director uses close ups to capture emotions throughout the entire opening scene. Fear in the faces of the farmer’s daughters as they come face to face with the Jew Hunter. Fear in the face of the farmer when he prepares himself as the military convoy approaches. Close ups are used at the table when the confrontation looms; the camera zooms in when the farmer begins to crack under the

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.

To portray one of the characters as being intimidating, the editors chose a shot looking up at her. Conversely, the camera looked down at the other character with whom she was arguing. This was done to show to the audience that she was being defensive. It helped the audience relate with her and agree with her side of the argument. Another example of this in the film is a scene where one of the characters is singing in front of a large crowd at a wedding rehearsal dinner.

Another scene of violence can be seen in Nana. One particular concern that Warwick Thornton has about violence is that it is witnessed by children in indigenous communities at a young age and that this may influence them negatively. In this scene, two grown Aboriginal women intercept a car carrying alcohol at the border of their non-alcoholic community. A young girl watches from the front seat of the community’s patrol car as her Nana and Auntie beat the two Grog Runners with sticks for attempting to sneak alcohol into their dry community. The natural lighting in this scene is dark as it takes place during the night.

Secondly, the variety of camera angles makes it feel like he’s being. They also change very suddenly which creates tension because you don’t know where he is being watched from because the camera

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.

The film starts with the camera static, moving when James leaves his seat to stand in front of the attendees. The camera gradually tracks down the isle towards James as he starts his eulogy, communicating with slow camera movement in building a realistic tension with the character’s performance. Medium close ups are used to emphasize James’s emotions from mourning where in one instance a tear can be seen. The camera emphasizes the protagonist emotions and moves with the actor’s performance for a realistic

The director purpose of the technique of the camera movement

The transition from night vision to the normal camera view calls attention to the fact that the audience had just been exposed to a different vantage point, creating awareness of the embodiment of the male gaze by seeing things through Gumb’s eyes. The camera shots high angled quality presents Starling as vulnerable, exposed and at arm’s reach from evil. (Howell 2014 : online). The nature of the night-vision shots presents the male gaze as predatory. The audience assumes the position of Buffalo Bill. and turns into a man objectifying a woman with his gaze. “This base assumption that the audience is Jame Gumb forces the viewer to come face to face with the inherent perversion of the gaze, a ritual in which they have become complicit.” (Richter n.d. online).

Night Shyamalan uses specific camera angles to deceive the viewers. When Malcolm was shot, the camera is placed looking down on him. This is an old technique that signifies that Malcolm’s sprit is leaving and looking down on his body. Using camera techniques can strengthen ideas and meanings. When Cole and his mother are arguing about the bumblebee pendant, the camera pans across the table.

The camera angle is used a lot to help build the sense of tension. In one scene, the girl claims she is talking to a boy who is apparently hiding in the room but no one else has seen. The camera shows her face when she is talking but when the boy replies the