Camera Shots for Deal or No Deal

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

Argo is a Biographical film/Drama. In the opening scene, it showed the Shah having complete power and control. He tortured people and the people hated him and wanted to kill him. The mood of the opening scene is anger from the people as they are very frustrated and furious.

The camera always remains focused on where the main character's attention is. Take for instance the scene at the bar. After consoling his friend in the phone booth, the camera follows Forbes back to the bar where he gets a drink. As soon as something feels wrong, the camera follows Forbes eyes back to the now empty phone booth. Another instance of this clever camera work is the final scene where Forbes gazes into a mirror, sees no reflection, and then runs away in sheer panic. With the proper angle and optical positioning of the mirror, Forbes appears to be looking into a mirror without his image. This conventional effect creates reactions that are far from conventional. Forbes now runs into the hallway, where a simple pan allows for a seemingly impossible vanish. As Forbes reaches midway through the hall, the camera pans over to the last crew member still sitting in bed. This is to show that the center of attention is no longer on Forbes, for he is no longer a character at all. There was no Forbes. There are no eyes to follow

The Last Picture Show was directed by Peter Bogdanovich. The movie was released on October 22 in 1971. The film was based in 1951 and although it was unusual for a film in the 1970’s to be shot in black and white, they did so to really capture the image and the feeling of the 1950’s. A sequel was followed after The Last Picture Show called Texasville which was released in 1990. The Last Picture Show is about two close friends, Sonny and Duane, that are in their final year of high school. They meet girls, fight over girls, and wonder what they will make out of the rest of their lives.

The layout of the program is purposeful to entertain and capture the attention of the audience. For example, the first cooking segment begins with a extreme close up of the meal, then Jamie proceeds to demonstrate the method. All the segments have a repetitive layout with a close up visual and a demonstration lastly followed by an end close up of the finished presented food (the same footage as the inaugural visual. This is important because the close ups show the texture of the food as well of the

The first shot of the clip captures a man named Walter Neff in a medium long shot boarding an elevator while the camera is stationary. Another man also enters the elevator and the shot quickly changes to a medium two-shot as the men engage in a conversation. The shot is illuminated using high key lighting, and the two men are framed with their backs in front of the camera where Walter is shown on the left side of the frame and the other man on the right. As Walter walks out of the elevator, the shot changes to a long shot and the camera begins to track him in the forward direction. Moreover, low-key lighting is used as shadows are cast upon the long coat of Walter as he is moving forward. The camera tracks Walter until he comes to a stop to gaze down at a series of desks at which point the camera tilts down and becomes stationary. The shot lasted for a duration of forty-four seconds making the shot a long take.

From that conversation, the scene then opens with a medium shot, centering the frame towards a half body shot of Kimball. Kimball 's arms are extended, inviting the audience in to listen to his dialogue. The edge of the frame provides a close-up of Al Pacino and Winona Ryder. Pacino 's hand is directing the audience 's attention towards Kimball. The framing of

Another interesting use of camera cutting can be found in the in between scene where Cleo is roaming the streets of Paris. She is now becoming the one watching other people rather than being the one watched as she was in the beginning (probably because of her beauty and famous singer status). While she is watching the camera cuts between other people’s conversations and then while she is walking the camera is in essence her point of view. However during this walk, the people passing are watching her as well, thus proving that this is the transition time. The use of cutting between shots of her and shots of all these people passing her not only show this change in who is watching who, but also allows for a sense of time passing. Interspersed with these shots are images of people we have already met, the widow, the boyfriend, the piano player, as well as the images of a monkey resting on a clock and her wig resting on the mirror, these things conveying how the people who know her see her and how she sees herself. This is a genius montage because these two things represent the same thing, how people see her, how she sees people, and how she sees herself, and by interspersing them we see

As it is normal to look around and examine the surrounding situation once one is arrives in a new place. After the scene starts, the camera always shoots the character with the dialogue in one shot, rarely changing the shot size or angle, with the exception of zooming in. However, the characters are not necessarily in the middle of the screen, expanding the variation of the filming. The characters appear in various parts of the screen, from close ups to long shots, one corner to the other and these characters sometimes move across the screen

Camera shots like the fast moving shots when the participants visit countries like Iraq with many camera shots showing the horrific pictures of more than one thousand people being killed which makes the viewer have a moment of intensity which the director clearly wants to achieve to get the message through. When the director decides to record such videos to convince the viewer how dangerous the country s which leaves the viewer in a sudden shock and director achieves the goal of changing the views of the viewers and make them feel empathy for the refugees therefore allowing refugees to have a new start in their country by convincing the government. The convincing of the viewer is also because of the voice over which gives clear statistics of how many have died and to set the mood by using the correct

For my micro analysis I have chosen Terry Gilliam’s Fear and Loathing in Las Vegas (US, 1998). It is a niche film, and while initially a commercial failure, quickly developed cult status. It is a black comedy set in the 1960s, and revolves around the protagonist Raoul Duke and his helper Dr. Gonzo’s adventures in Las Vegas, as they traverse the city in a drug-induced haze. The sequence I will be looking at in this essay is the carnival scene [31:30-38:03], which takes place in the second act of the film.

Within the excerpt, the directors began with a medium shot. I understood the importance of making the viewer feel a part of the trio, therefore the condensed shot caused this; also, it allowed the musical announcement to have a greater emphasis on joy by beginning at a medium shot then zooming outwards as the characters spread apart. Once

Neil's father comes in and the camera goes into a low angle one, looking down

In the first scene you see the two people standing next to each other at the train tracks with both of them in view to show that they are not common to each other but that they are people looking for something more. In life and in relationships you can see that the man it unhappy at work because it is bland it shows the boss come over to him and looking down at him.So the angle is a low shot because of the how the boss it perspected as mean or over powering all the workers get scared when the paperman nocks his bin on the floor and stares at him till the boss looks in the other room they all start working again so they don't get introuble. Also if you pay attention to the girl in the building across the street it looks like she's in an interview with someone and doesn't get the job because of her emotions during the whole

Within these three minutes I saw how the director and cinematographer used camera movement to show the audience the family’s dynamic through the eyes of Mui. The opening shot beginning at 11:00 started off in a low angle, medium wide shot. Which then led the camera to follow the mistress and Mui from the outdoor kitchen into the house. As Mui got to the dinner table the camera ended up in a wide shot revealing the father and sons seated at the dinner table all taking place in one continuous long shot, tilting and panning according to the movement of