Eisenstein Beyond The Shot

Split screen techniques divide the screen into three equal proportions creating a simultaneous depiction of Lola, Manni and the clock, allowing Tykwer to show the struggle to beat time. Adding to the dramatic urgency and reinforcing the power of time is the virtual real time of the film, meaning the twenty minutes of Lola’s life are shown in virtually twenty minutes of screen time. Hence, the distinctively visual provides an insightful image into Lola’s experiences placed under seize by the adamant nature of time.

The opening scene where close up is used showing the trembling fingers whilst placing the record onto the player leading into the tilting shot of Billy jumping up and down showing his excitement emphasises Billy’s love for dancing and symbolises the way in which it embodies him. Long shot of Billy making him look much smaller on the screen is used to foreshadow the harm and prejudices Billy might get from the society as he pursues his dancing career. The swinging door at the gym symbolises a barrier as well as an opportunity of his dream. Panning of the camera,close up and the low angle shots passing ballerinas feet before focusing on Billy’s reinforces that he is different as well as emphasising his preparedness to take risks for him to be able to pursue his dream. Shifts on the expressions of Billy and Jackie while they were arguing about ballet as well as the close up shot of Jackie grabbing Billy and holds him against the door highlighted Jackie as both physical and psychological obstacle of Billy’s

The first shot we see of this sequence is a low angle which shows, quite simply, the sheer enormity of the building Max is about to enter. The shot slowly pans down as the foreboding notes of the score

He starts off with a medium shot of the individual in the center of the screen; they start rapidly listing off racial slurs and stereotypes and the camera zooms in which emphasizes how violent it is. By the end of the rampage, the shot is an extreme close-up of the character’s face and you can feel the anger and hatred they have for that particular race. The climactic buildup at the end of the film was full of canted angles, shadowy lighting, dozens of fast shot/reverse shots that in full only lasted less than two minutes. The scene at the end of the movie, the hierarchy of confrontations and tensions between the characters, is a canted low angle shot of Radio Raheem and Buggin’ Out after they stormed into Sal’s Pizza Shop makes them appear more powerful and intimidating than Sal. All the shots of Sal are a counterclockwise tilt high angle, causing him to look inferior. The quick cuts back and forth between the two gives the film a sense of the tensions and anger. It is not until Sal rises up to the plate and smashes the radio, that he is being filmed at a leveled angle to show that he is not inferior anymore, but at the same

As the film ‘Run Lola Run’ has a multiform narrative structure, it is separated into three sections in which Lola is able to repeat her journey from the beginning. The repetition of the run in which we see the same scene three times is an example of how Lola's journey is similar to the likes of a video game. This works to emphasise the fact that her life can just be rewinded and restarted just like video games. Even though, in real life we cannot travel back it time, the repetition of the run sequence shows mistakes are fixed by going back to the root of the problem. Throughout the movie, the background music is similar to the music that is heard in fast-paced, action based video games, the music is fast paced and creates suspense, which

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

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,

In Persona, one of the most memorable shots of the whole film is the moment in which Alma is giving Elisabeth the truth about herself. The speech is given from two perspectives; in one instance, we see Alma speaking and the other we see Elisabeth listening and only Alma’s voice. Whether there is a universal interpretation of this moment or not, the facts are that the two women’s faces blend together at the end of Alma’s speech suggesting that maybe the two women are the same person or Elisabeth has projected her conscious into Alma. Bergman didn’t know he was going to use this shot when they were shooting, but it became something he and cinematographer Sven Nykvist worked on together. Along with this particular shot, there’s also the intercutting of images at the beginning that was done in post to create the white border around the frame, which made the images smaller than the film itself. These elements created a distinction between the introduction and the narrative, although at times the two seemed to run together such as when Alma looks into the camera and the effect of the projection malfunctioning happens. In Fight Club, David Fincher took similar post-production actions with intercutting of pornographic images, but most of all the scene in which Tyler Durden looks directly into the camera and delivers a monologue about self-actuality and how

Run Lola Run is a film not based in a particular place or country, more of a cityscape, although some audience members may recognize the scenes as ones representing Berlin, Germany. Throughout the film Tom Tykwer the film's director, shows a wide variety of editing and camera techniques giving the film an alternative feel rather than a commercialised one. A few of Tykers many technques include close ups, establishing shots accompanied with a bird's eye view, flash backs, fast paced editing and to counter flashbacks the use of flash forwards.

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 main element that made this film was the acting. It was necessary that all acting be overdramatic, it was the only way for the audience to truly grasp the emotions of the characters on screen. The best example is the scene where Freder wanders into the hall of machines and witness’ the

Cinematographers and art directors play a very important and creative role in film production. They work closely with the director and give a film its unique visual look and identity. The art director, David Lazan and cinematographer, Mauro Fiore, shot the film almost entirely in sequence, following the clock from the crack of dawn to a very dark night of reckoning. Compressing intense action and emotion into a brief time frame became one of their key challenges. They had to make sure the film felt like it was one single day unfolding which became the single biggest challenge during the production.

Run Lola Run, is a German film about a twenty-something woman (Lola) who has 20 minutes to find $100,000 or her love (Manni) will be killed. The search for the money is played through once with a fatal ending and one would think the movie was over but then it is shown again as if it had happened ten seconds later and changed everything. It is then played out one last time. After the first and second sequence, there is a red hued, narrative bridge. There are several purposes of those bridges that affect the movie as a whole. The film Run Lola Run can be analyzed by using the four elements of mise-en scene. Mise-en-scene refers to the aspects of film that overlap with the art of the

The director of the movie(Frances Ford Copolla) has a very good use of montage, and long shots. Capolla starts off the movie with an extrodonary shot of an undertaker saying "this is America." Which gives a glimpse of how haunting the film is going to be? A good use of long shots is perfect when the camera pans around the long shot as Mikey takes on the responsibility of getting revenge for his fathers shooting. Also a good example of Copolla’s long shots is when the film is about to end and there is a shot of Diane Keaton looking so innocent and really knowing nothing of the family business. In the film, montage is used in the baptism scene. The shots cut when all the highly religious questions are asked of Mike, and then the shots start cutting back in forth from the killings of the head’s of the other top five family’s and the baptism, portraying mike as a changing person(a god man to an evil one.)

Montage, a name synonymous with Editing, is an original film style with different techniques used by the Soviet filmmakers between 1924 and 1930 to construct a film narrative. Montage is the connection between one shot and the other, a continuous or discontinuous relationship between shots. According to David Bordwell and Kristin Thompson (2012: 478), Soviet directors maintained that, “through editing, two shots give birth to a feeling or idea not present in either one”. This ‘feeling’ or ‘idea’ then guides a viewer into understanding or making a “conceptual connection” of the narrative (Bordwell 1972: 10). Strike (1925) and Mother (1926), directed by Sergei Eisenstein and Vsevolod Pudovkin respectively, are films made in the Soviet Montage era that show a juxtaposition between shots across the film. This essay discusses the different techniques used in these films that show the functions and effects of Montage.