End Of Watch Analysis

End of Watch: a police phrased used in two scenarios; when an officer is done with their current shift, or when the officer is killed in the line of duty. Stephen King used this as a foreshadowing title for the final book of the Bill Hodges trilogy. To conclude the series, King disjoints from the first two realistic books into a supernatural setting.

For my shot analysis I chose a shot from the Spike Lee Movie Do the Right Thing. This is the second shot following the climactic riot scene. It features Da’ Mayor and Mother Sister reacting to the hellacious events of the previous night. The block was just devastated by a melee that broke out because the police killed Radio Raheem after he and Sal got in an altercation that was triggered by the volume of Radio Raheem’s boom box. Though at a very superficial level the fight was about the loud stereo, the real significance of the fight had more to do with the culmination of anger and tension between the characters of the film caused by prejudice and ignorance. This paper will analyze

There is lots of clever camera techniques used in the second attack scene, which are used to create tension and fear. Close ups of Police Chief Brody looking intensely into the sea, views of the sea and the underwater camera shot where we view through the sharks eyes are all

He is able to use these parts to manipulate the audience’s emotions. The music playing from the car is an on-screen sound. As the man gets attacked, the volume increases. The sound helps intensify the scene that has been created by the film’s visual elements. The audience then subconsciously forms ideas, opinions, and feelings about what they are seeing. The viewers develop scared feelings as the scene intensifies to the happy upbeat tune. The increasing volume of the cheery song reflects the violence and the sinisterness of the scene. The song stops with the slamming of the car’s driver-side door as the man is abducted. There is a moment of silence and then a new song abruptly entered the silent scene. The music is non-diegetic and is an offscreen sound. The song is screechy, high pitched, and jagged sounding at first, continuing the anxious and scared mood. The song shifts into a sort of soulful hymn. The tone shifts along with the song. The audience begins to feel relieved and relaxes to the peaceful song.

Unlike most films, Baby Driver integrates sound and cinematography in a unique manner, creating a symphonic orchestra of film composition. The initial heist and getaway of the film is a prime example of how audible and visual filmmaking can have such a large influence on each other, creating a piece of cinema that is driven by a distinct beat. Although in most films no actions are arbitrary, Baby Driver takes this premise to an entirely different level, directing every action to sync with the music in the scene: whether it be diegetic or non-diegetic to the character. Within the first five minutes of the film, the audience is introduced to the characters, setting, plot, and general motivations of the story without any dialogue. The opening scene employs a brilliantly creative combination of cinematography, music, and directing to convey the characters’ location, purpose, and emotion. This scene also sets the mood and tone for the rest of the movie. Director Edgar Wright and Director of Photography Bill Pope’s manipulation of mise-en-scène—through the use of sound, shot composition, and direction—creates a masterful scene of cinema that captivates the audience, pulling them into the world of crime and the story of a reluctant getaway driver. Each shot and beat is perfectly paired with a specific purpose to communicate the story to the audience. As a result, the opening scene of Baby Driver is an archetypal example of how to communicate a story to an audience without any

It has haunted her because it is "this totally routine call that goes horribly wrong." The officer is Tyler Stewart and the person who shot him is Smith. Description of the video as it happens really makes the listeners see and makes it come

The audio although normally overpowered by the visual aspect played a key role in defining and empowering the movie. The music was fast and uplifting during celebration and on

Aron Ralston, the author of Between a Rock and a Hard Place creates a very notable portrait of himself just within the first few pages of the novel. Ralston presents himself to be tenacious, bold, and a relatively experienced outdoorsman. Ralston describes a faulty trial of climbing, “I’m committed to my course; there’s no going back” (Ralston 20). This quote shows how determined Ralston is to his mission, the hiking trip. It becomes clear that Ralston values nature as he is so committed to this trip. Ralston ponders, “Some other marvelous force is in control, and has been all along” (Ralston 247). Ralston believes in some greater being that controls life. This says a lot about his character as he can believe in something he cannot feel, hear or see. The wilderness is not new to Ralston, as he’s been mountain climbing, hiking, skiing, as well participating in many other outdoor activities for years before his near death experience. Ralston exclaims, “Saying farewell is also a bold and powerful beginning” (Ralston 342). When Ralston was reaching the end in the fight for his life, he began

The first thing that caught my attention was how unprofessional the two Newark Police Officers in the patrol car were while on duty. I did not find it appropriate to be smoking cigars or cursing at the citizens they were trying to detain for absolutely no reason. Furthermore, it was a bit unsettling to hear them justify their violent attacks on innocent citizens. The officers in the film claimed these actions were done to protect themselves and “protect” the young men of color they are trying to detain. This was ironic because most victims of stop and frisk, which is essentially what these officers are doing, feel threatened. Which explains why they react in such a defensive manner. However, to some officers this behavior comes off as criminal.

The sounds and music in this film are very realistic, and to the point. There is not anything abstract or out of place, and everything is very appropriate. The

Moore switches between the colour camera and the black and white CCTV footage very effectively. The use of CCTV makes the sequence feel more personal and distinctive. Bright, intense illumination is used to highlight the shooters on the CCTV footage. The footage also corresponds with the emergency calls, because when the teachers and witnesses telephoned the emergency services they were talking as if in a haste and we can see why on the CCTV footage.

It is an underrated way to make you feel a certain way in the scene. We can hear a dark, opera type singing at the part when he is beat. When one hears this type of music being played in certain scenes, it shows a person’s dark side and gives the impression that one is ultimately the bad guy in the movie. Demonstrating violence is one of the most important factors in the film. An important part of the film that shows this, is when Elliott Ness is trying to catch the bookkeeper at the train station. It then turns into a shootout scene between the Mob and Ness. In this scene, at the beginning, slow motion was used to help convey the violence that was happening. When things are in slow motion, it helps to bring about the detail and gore that is unfolding before our eyes. After this, the shooting unfolds, and the slow-motion stops. Next, it was filmed with a wide screen which was effective for showing intricate movements, like this shoot out scene. Throughout this part, quick cuts were used to conveys that things are out of control and this brings out the intensity of the violence. All these techniques help show the violence that played out because of prohibition.

The central aspects of documenting everyday life into a narrative that holds purpose and yet leaves the audience with a resounding message is the essence of what a short film attempts to accomplish. Film connects the two paradigms of visual and emotional appeal, while still capturing what it means to be human. From the monotonous to the exorbitant interior of the seemingly intricate parts that ultimately create the sum of our lives, the subject of death in of its parts, is insensitive to the narratives that we place on ourselves. The affair of death within its incomparable and obstinate state of the absolute is portrayed in a thoughtful way in short film “Our Time Is Up” by Rob Pearlstein, where a psychologist named Dr. Stern finds out he only has six weeks to live. The attentive matter that is due in part of death is depicted in an unconventional way in which engages the audience in a relatable and humorous way through the different yet personalized perspective of the characters in “Our Time Is Up”.

A novel choice of shots and angles added to the films value. In the scene where Rocket was stuck in the middle of the gang and the police, it was interesting to see how they chose to use a wide shot to capture the gang’s strength in numbers but a long wide shot was used when show how few police there were. The gang looked so

The story begins in Hong Kong where detective Lee shows detective James Carter around the city while both are on vacation. They’re having fun and meaningless