Cinematography and Lighting Essay

Editing is the way for the director to minimize the amount of distraction for the audience members, in order to allow audiences to focus on

The camera moves to a tight shot of the door, framing it within the screen, showing that all attention is now diverted to it. The sparks from the cutters are exaggerated , to emphasise their importance, and run around the screen, creating the impression that the intruders are breaking into the audience's real world, further allying them with the rebels.

These scenes are stitched together in a way that is meant to bring nuance to the story, but instead was hard to interpret and confusing. It was sometimes hard to know which characters were being referred to and where each stood chronologically with relation to the others. For example, two of the plot lines had characters with the same surname. In this case, it would have been helpful for the separate groups to have been further differentiated and identified. For these reasons, I believe that if the author was trying to convey some sort of complex plot, she did not succeed in this

of what is going on in the scene. It also shows the gaps in people's

The camera follows her at eye level, with just a few steps behind her in which we see how she constantly shifts from left to right and back again in her pursuit. The camera also follows her eye line, quickly reacting by panning or tilting to show the audience what she’s looking at. With shot composition like this, the editing clearly follows the director’s mindset towards this sequence. The transitions between shots vary and are somewhat unexpected. The editor uses a mix of tracking shots and mainly centers around going from widely composed shots to closely composed ones. An example of this is the tracking shot in the scene that shows the path of the cocaine, in a sense. It’s first put into a teddy bear and we then see dialogue serve as a bridge to bring our eyes up to the bunk bed where the woman is working on her contribution. With the woman’s passing of the scissor we then see a man reaching for a suitcase that transitions us down to the woman in the blonde wig yet again. It seems as though objects serve as the transition between shots, continuously connecting rapid cuts and the use of frequent jump

Anderson uses camera movements to speed up the pace as well as to show a constant forward motion. Having an upbeat pace makes the audience feel more elated because it is going so fast they do not have the time to process the sad parts of this story. He also quickens the pace by having short takes so the audience does not have a lot of time to process what has just happened. The constant forward motion of the camera, which is created by either moving the camera on a dolly as they walk, e.g. when the Scout Master is walking past all the tents with the khaki scouts in tow, or by pan the camera extreme fast between each frame, e.g. the beginning and end scene in the house with Suzy’s family.

The shot shows children playing, people playing cards and chess all while stuck in a traffic jam whilst still having fun as well as introducing cars facing the wrong direction towards the end of the scene. There is an ensemble of noise and absurd actions which the viewers find to be funny when it is then revealed that a horrific accident has caused the traffic jam as blood covers the road and bodies are moved to the side. These absurd actions create comedy in a scene that were it in a more traditional film would have had a much more serious tone. This shows that the French new wave idea of making sure the viewer always understood that the film was infact just a movie influenced greatly on (Shaun of the Dead,2004) as Edgar Wright used the same techniques from the era to develop the comedy and unintentionally parody of the traditional zombie film just as Jean-Luc Godard has done with his film

Cuts and transitions serve as ways of linking two different scenes together. They are meant to transfer the viewers’ attention to the intent of the director. But no audience will ever know the nonsensical direction of Mr. Uwe Boll. Tensions were hard to maintain, since the scenes were never in focus the action when it needed to be. The cuts were also jarring, because of the inconsistent of time spent on each one. Though the worst must be the transition

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

The presentation demonstrates our knowledge of overall themes in the text, and those that are present in the scene because we were able to identify them and include support with quotes from the text. The presentation and performance also shows that we understand the characters through our ability to identify their role in the scene as well as

Few filmmakers have left an impact on the cinematic landscape as much as Alfred Hitchcock has; a meticulous craftsman, his stylistic approach and technical aptitude ushered in terminology specific with his directorial style known as “Hitchcockian” filmmaking. In Hitchcock’s “Vertigo”, a former police detective suffering from acrophobia, is hired by an old college friend to keep an eye on wife who has been behaving strangely, but falls in love in the process. Vertigo could be considered at the pinnacle of all Hitchcockian films; the blonde, the man falsely accused of a crime, and duplicitous characters are all staples of this particular style and are on full display. However, the greatest unifying factor of almost every Hitchcock film would be the filmmaker’s assertion that we are all inherently voyeuristic in nature, and he uses every ounce of his technical know-how in order to fully realize and

This contrasts the idea of continuity editing used in The Conversation, as he uses it as a psychological stimulation rather than a narrative device, this gives Eisenstein a chance to convey his political opinion through emotional senses to the audience. Eisenstein takes this and constructs shots that are opposite to create a new meaning within the sequence. Gazetas also states that “when Eisenstein applied dialectical montage to editing his films, he strove to capture a visual counterpoint of opposing images that would mentally combine in the spectator's mind into an abstract idea” The shot which shows the woman being indecisive of pushing the carriage with her baby in it down the steps, and being unfortunately shot by the troops marching down “The Odessa Steps”. Her fall is edited in many overlapping cuts.

Chaplin strategically frames his shots to show hidden truths. An example of this is when an officer going to summon the Tramp to the sheriff’s office. Chaplin often leaves lots of headroom to make the characters appear smaller in the frame. In this shot however, he uses a closer shot with just enough headroom for the approaching guard. This makes the shot feel cozy and snug, just like how the Tramp feels about his cell. This is the closest thing to a proper “home” that he has ever seen, with food and a roof over his head. It is almost as if the Tramp is no longer in prison. Although the key is in the lock, the Tramp does not seize the opportunity to escape. The guards treat the Tramp with respect and as if he was an average citizen, something very few people show him. This shot is

Editing plays a key role in demonstrating the theme of first love in the two scenes. The first scene we see the editing is slow in the beginning because of the use of long takes. Similar to his use of the camera to show the aimlessness of Sam’s life before Suzy the editing also reveals that to the audience. As Sam wanders back stage we follow his gaze as he observes various cast members preparing. The shots are normally over 7 seconds long, until the camera shifts to where Sam is gazing: that is when the shots are shorter than 7 seconds. The audience is forced to focus on Sam and his solitude. That is until he meets Suzy. Decoupage editing is used in this part of the scene to create the connection between him and Suzy. The also interesting

The sequence continues to increase in intensity as a fast tracking shot is present to keep up with the running horse, the accompaniment used becomes faster and is frequently interrupted by the sounds of explosions. Pro-filmic elements again are present and work alongside the tracking shot to increase the intensity, an example being the lighting within the trench which is barely visible with the flash of explosions being the biggest source of light. It isn’t until Joey begins to run towards the other trench that the hero becomes entangled in barbed wire and the climax ends. In contrast to the medium, long and tracking shots previous to this an extreme close up is present during the end of this sequence. After Joey’s struggle to get out of the wire an extreme close up of his eye is used, its spectators see the fear and sorrow within his eyes. Joey is laid powerless and weak, and is in need of a human support in order to survive. The accompaniment has now stopped leaving Joey alone in silence, there is limited use of lighting and dull colours are present, each factor directly influencing the