Continuity In The Film 'Big Daddy'

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 movie Parenthood cover’s many of the topics we have discussed this semester in class. But it obviously focused very strongly on parenting and marriage. During the course of the movie we see the four Buckman children’s very different style of parenting. Although all four were raised by the same parents the culture of their individual families are all look very different. Gil Buckman felt abandoned and ignored by his father and therefore responded, with his wife Karen, by being a very active and attentive parent. Gil and Karen are on the authoritative end of the parenting spectrum, and their families’ culture revolves around activities such as baseball games, Kevin’s baseball game, Birthday parties, school plays and basically having fun together (Lecture, 4/22). On the opposite end of the parenting spectrum are Nathan and Susan. They are very authoritarian and reminded me of the “tiger Mom’s” of China. The culture of their family means that they don’t have their daughter in preschool, they are waiting a prescribed amount of time to have a second child and Nathan is continuously drilling facts into their daughter. Susan feels like she should be playing with children her own age but Nathan’s feelings have taken over their family’s culture.

In the film Babies, 4 infants are being observed for the first two years of their lives. Each babies comes from different culture, which shows how the various customs can impact the child’s development. Ponijao is the youngest one in his family and lives in a village in Opuwo Namibia. Bayar lives in Bayanchandmachi, Mongolia. Mari is the first child of a couple who lives in Tokyo Japan, and Hattie lives in Sans Francisco California. The film shows the babies develop cognitively, physically and socially-emotionally, during the infancy and toddler years. The Infancy and toddlerhood period is from birth to 2 years. “This period brings dramatic changes in the body and brain that support the emergence of a wide array of motor, perceptual, and intellectual capacities” (Berk & Meyers, 2016, p.6).

The camera follows the elders of the block, Da’ Mayor and Mother Sister, as they talk in her bedroom. For a rare moment in the film Da’ Mayor’s and Mother Sister’s eyes are at exactly the same level, showing that as different as the two may have seemed, they are very much the same. Then the camera slowly pulls out as the two stand and sluggishly walk down a hallway toward a window. Now, where a director would typically have to cut and setup a new shot, Lee pulls the camera straight out of the window as Mother Sister and Da’ Mayor survey the block. The audience would expect to see next exactly what Da’ Mayor and Mother Sister are looking at, but instead Lee quickly pans over in the opposite direction to reveal Mookie standing in the street bellow. By doing this Lee makes a connection that both the elders and Mookie are, in the words of Mother Sister, “still standing.” The shot is not particularly tight but still has a cramped feel due to the clutter of things in the background, the heavy shadowing, and the red tint on the lighting. The red lighting gives sense of volatility to the shot, which is contrasted by the slow camera and character movements. These slow movements are analogous to the block as, regardless of how slowly, it too will go on and life will continue. This shot is in the tradition of mise en scene advocates like Bazin in that,

To follow the dialogue, Luhrmann crosses the axis of action. Bordwell and Thompson define the axis of action as; “the imaginary line that passes from side to side through the main actors, defining all the spatial relations of all the elements of the scene as being to the right or left. The camera is not supposed to cross the axis at a cut and thus reverse those spatial relations.” (2008, pg 477). Luhrmann manages to cross the axis of action by moving his camera around the outside of the group of characters. This way, the audience doesn’t get disorientated by a constant changing of character positions but also enables them to see all the characters in relation to one another and their reactions to the dialogue.

The author Wes Moore recounts the time in chapter one, “Is Daddy Coming With Us?” , when he met his father who at the time was just a strange man. Wes states that “[he] looked at his mother… [moving] closer to [her] hip” (Moore 25). He continues by telling the reader that he automatically felt safer next to her. The reason for this text is to help the reader understand how many families can help with the development of a person. The author describes this event in full detail to show how Wes’ family provided him with a sense of feeling safe and sheltered.

The film Baby Driver overtly displays the practicing of sinful behavior that never ends up paying off for any character. Although the majority of the movie takes place in this sinful environment, certain individuals still exhibit morality and ethical actions in some prominent scenes. In the same way that all humans are incapable of not sinning, this vague concept of sin plagues the lives of every character in the movie. As the movie proves though, just because someone sins does not necessarily mean he or she is a bad person. Although this movie takes place in the complete absence of God, it is important to note that God plays the most important role in our real lives when it comes to sin. While Baby Driver shows how some really

“Everybody loves babies”, a trademark quote from the documentary movie “Babies” features an insight on the many reasons babies are loved. Although many documentaries are narrated, director Thomas Balmès uses a different approach by eliminating a voiceover. By manifesting this film without narration, he focuses on a learning technique all babies go through in their early stages of life. Aiming for viewers to learn from observation, as babies do, we are left to focus on the babies, their environment and interactions. Through subtitles, this film reveals the different locations the footage of the four newborns are from. By viewing the babies different upbringings from different cultures, we learn how the various lifestyles of each culture impacts a child’s development. The babies are Hattie from California, Mari from Japan, Bayar from Mongolia, and Ponijao from Namibia.The film shows the infancy and toddlerhood period of the babies as well as their development physically, cognitively, and socially.

The first shot after the opening sequence was one of a bird's eye view, a bird's eye view shows a map like perspective building rooftops, bridges, roads and a canal. Tykwer sets the distant scene with this but does not need it to define a certain place, as the film needs no area to make it complete. It was used for only a short period of time and makes a good start for the next effect.

In a shadowy doorway, the viewers can see a dark figure, almost perfectly hidden besides the legs and feet. Through a wide shot, viewers are shown the wet streets and cobblestone as Holly Martins (Joseph Cotton) yells

The editing in The Big Sleep is extremely quick and precise, yet it is perfectly seamless. The cuts do not call any attention to themselves at all. These types of cuts are present in almost ever scene, but for example, the scene when Marlowe (Humphrey Bogart) is looking through the house and finds the hidden camera uses a very specific editing style. The editor uses a wider of the

A movie that I dearly enjoy and learn from every time I watch it is Big Daddy starring Adam Sandler. This movie provides excellent knowledge on a character changing throughout the movie and helps develop a good heartwarming feeling from watching. Big Daddy is excellent because of its plot, theme, and symbolism. The movie Big Daddy has a plot that features the main character, Sonny who is a man living in New York and is basically living off the wages from a small injury from a taxi incident. Sonny lives with his best friend in a nice apartment.

However, there is a particular scene in the movie that stood out with a good example of what spatial relationship is in a film. According to the text Barsam, Richard Moran, and Dave Monahan. Looking at movies: an introduction to film, “spatial relationship between shots is the type of film editing where it creates a sense of space in the mind of the viewer” (p.323). Yet, this means in between shots things are going on in the film that we as viewers may not be aware of, “when we are watching any single shot from a film, our sense of the overall space of the scene is necessarily limited by the height, width, and depth of the film frame during the shot” (p.323). For instance a good example of spatial relationship between shot, is in the scene where Forrest Gump is sitting on the bench at the bus stop with a house keeper who is black. A white woman and her son, old business man, and an old lady are the listeners throughout the evening who are captured in spatial relationship between shots. The spatial relations between Forrest and his listeners were able to create a connection between shots, the connection was emotional which was maintained throughout the shots.

During the fight, we see two different levels of maturity, Thomas’ and Charlie’s. While Charlie was spitting, biting, throwing things around and grunting, Thomas was punching him in the face and screaming ‘I hate you!’ over and over again. The scene ends with both parents getting involved, the father pulling the two boys apart and the mother trying to calm down Charlie, who had resorted to banging his head on the floor as a way of dealing with the overwhelming situation. The end of the scene was almost too much for the audience, with Charlie still banging his head, Thomas close to tears, Jackie crying and the non-diegetic sound of newborn baby wailing in the

He used many genre conventions such as setting, iconography (lighting, recognizable characters, props), symbolism, film techniques, and sub-genres (open-mystery) to enhance the genre of mystery/sci-fi. These scenes include many film techniques such as camera shots, camera angles, camera movement, lighting, sound, and cinematography in order to enhance the scenes to bring out different factors of the genre. For example, in the "Rules of the Dream World" scene, the director contains dialogue, camera shots, slow motion, and sound to show the audience the initial storyline and how the film will go, as this is the scene that explains how Cobb enters ones subconscious. The director uses close ups, mid shots, long shots, hyperbolic sound, and slow motion to enhance the setting of a dream, in order to make the audience know between reality and dreams. The "zero gravity" scene heavily brings out the genre of mystery/sci-fi, as the director uses camera shots and angles, and lighting to symbolize the genre. The concept of zero gravity fits into the genre of sci fi, as it links to futuristic science and technology. The director uses mid and long shots, and dim lighting of the characters in a "zero gravity" setting in order to give the audience the mystery/sci-fi genre by using zero gravity to emphasize the sci-fi aspect of this film, and dim lighting to emphasize the mystery aspect of this film. The ending scene, also known as "Cobb comes home", is a scene that creates a lot of different emotions within the audience such as joy, happiness, relief, and suspense. This scene shows Cobb returning home, which has been his wish shown throughout this whole film. Therefore, when Cobb finally returns home to see his children, this creates a very moving emotion to the