The opening sequence in the film “Falling Down” portrays how everyday activities can take a turn for the worst. It begins with the main character William Foster stuck in a traffic jam on the highway caused by construction. The first shot that opens the scene is an extreme close up of Foster’s face, which allows the audience to see him in great detail. We see by his heavy breathing and sweat dripping down his face that he is in a hot environment. The camera starts to zoom out and go into a tracking shot, which allows us to see the environment that surrounds him. This is also an establishing shot. The car directly in front of Foster has a young girl starring out the back window towards him. There is a school bus two lanes over to his right that …show more content…
As the scene progresses, you see how each event is causing Foster’s temper to rise and his patience to grow thinner. Foster constantly plays with his AC unit, which is broken, reinforcing that the temperature outside is hot. Another factor adding to his frustration is the fly stuck in his car. It is buzzing around him and repeatedly landing on his neck causing him to keep swatting at it. The usage of quick cuts gives the impression of tension building up for the character throughout the scene. This gives off the impression that something worse is constantly happening to Foster and he is unable to escape his uncomfortable reality. The AC breaking, window roller broken, kids screaming, cars honking and the heat wave itself are all shown so quickly so that the viewer is seeing that everything is being thrown at Foster at once and that he is starting to feel very claustrophobic and cannot seem to escape it. When everything hits its peak he decides to quickly get out of his vehicle, which serves as his escape as the music and sounds subside to a normal level and he is now calmer and decides to just walk home
The movie starts off with main character Tommy going to see his father. His father is the one that owns the facility. When Tommy finds his father in a meeting, his father tells him to go with him and his employees to take a tour of the building. While on that tour they walk underneath a pallet that is elevated by a forklift. This is very dangerous because there is a lot of things that could happen. One would be that the forklift would move forward and run them over because the position of the load covers the view of the operator on the lift. The second would be that the operator of the forklift would lower the pallet on top of them. The last option is shown on the movie in which Tommy runs his head into the pallet.
In less than a few months, Cambodia, once prosperous and vivacious, has transformed into a tumultuous nation filled with suffering and tribulations. The Khmer Rouge’s calamitous actions asunder families; however, because thousands of people are undergoing the same tragedies, many abiding friendships are established. Arn befriends several members of his band, including Siv, Kha, and Mek. Throughout their time at the camp, they are constantly supporting each other, always providing either nourishment or encouragement. Instead of working in the fields during harvest time, Arn and his band are busy muting the sounds of death by playing hymns that praise Angka. After the radio announces the Vietnamese are going to liberate Cambodia, panic and chaos rapidly spread throughout the camp. Many people, both prisoners, and the Khmer Rouge, seize this opportunity to flee. As Arn prepares to abscond, he realizes that despite their atrocious principles, he fears the
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,
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
The audience is aware that the events shown take place within a day, as well as the location of the characters. This thorough editing style is suddenly interrupted by an unconventional montage. The montage is unconventional in the sense that instead of using cuts, it uses movement to proceed to the next scene; for instance, a car would pass through the original scene that the spectator was viewing and then the new scene would be in its place. The montage also appears to be peculiar because of its random nature. The scene before the montage shows Casper engaging in sexual intercourse with Jennie, who is unconscious on a couch while surrounded by other unconscious kids. Despite whispering no, her intoxicated struggle against him fails and the scene fades to black. Their hushed voices are replaced by somber music, which ushers in the montage of the film. The audience is then presented with random takes of a man rocking back and forth on a street corner, a man banging his head against a gate, and a man with his hands lifted toward the sky in a park; while people walk by as if their behavior is ordinary. The montage allows these random elements to be joined together to provoke insight into the character’s environment and how it has caused them to believe that their behavior is normal; because they are surrounded by sex, drugs, and
While much of the neighborhood appears on-screen in the beginning of the shot, one important thing is notably off-screen the whole time: The view from which the camera pivots. Behind the camera was the apartment of L.B. Jeffries, and the camera pans to the left, inside his window, to finish with a brief tour around his living room that teaches us his most important character traits. We see first, in an extreme close-up of a cast, that Jeffries has a broken leg. And then the camera pans left and we see why: A broken camera appears on screen, and a rack focus shift to the background shows a photograph of an automobile accident with a tire flying straight at the camera. Then several other framed photographs of exciting events appear on the screen, telling us Jeffries is a photographer who craves adventure and excitement.
The film opens with an African American, later revealed to be Andre, walking around at night in an upper middle class suburb. He is trying to get directions as a white car begins to follow him. It is discovered later in the film that the man in the car is Jeremy, Rose’s brother through the recurrence of the white car and knight’s mask near the end of the film when Chris is trying to escape. An important thing to note in this scene is the director’s use of film noir, which depicts the film’s use of low-lighting and not shots. At first watch, this scene appears to only serve to set up the eery vibe through film noir, but this vibe that director Jordan Peele is putting off is meant to remind the audience of the Trayvon Martin case. Similar to the murder of
In the beginning of the movie, the audience is thrown into immediate action. At first you see a cop chase a man and Scottie, the detective, following. The music increases the suspense as the audiences waits anxiously to see what is going on. Scottie all of a sudden falls and is holding on to dear life at the end of the roof. This is when the audience first learns about Scottie’s Vertigo. The audience can feel his fear of heights. The feel of a thriller movie incapacitates that audience at this point because they are wondering at the edge of their seats what is going to happen. As the audience sees the point of view of Scottie looking down onto the ground, they can feel Scottie’s Vertigo. The camera work on that shot was revolutionary in that film period. The camera seems to blur and zoom in and out to portray how scared Scottie is. The lighting in this shot and
generate moods, and have great psychological affect. This is just as true for the very first series of shots for the film, and perhaps more important since these first shots will give the audience the initial feeling of the film, and set a tone for the picture. The first shot is highly dramatic in its lighting method, and the audience is drawn in immediately to one single detail. A man begins revealing the details of a tragic incident that befell his daughter. We don’t see who he is talking to. There is a spotlight directly above the man, and this is pretty much
Fade in from a black screen. The key light seen as radiant rays of sunlight peeking through the eastside of the window and is projected on to the floor. The faint sound of something dripping can be heard in the background and is gradually getting louder. This is accompanied with the sound of one walking falteringly on the creaky oak floor boards. The camera enters an out of focus close shot and is gradually coming to focus of the thick crimson red droplets of blood splatting as they reach the burnt umber floor. The camera slowly zooms out to a long shot at a low angle of the back of a tall lean teenager with shrivelled blonde hair wearing a ragged purple dress, clutching tightly on to a metal knife varnished with blood. The mahogany wood panelled walls in front of her are bare just containing one photo of the girl and her family with blood smeared all over it. The camera cuts to a POV shot(Photograph) of a protagonist looking out the window at the fluffy white clouds sweeping through the gradient blue sky. The ambient light is in the form of natural light from the sun rays. The asperous verdant hills can be seen in close proximity.
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
Life prior to the slip and fall was drastically different for Sarah and her family. Her family was a typical middle class family, where they were making ends meet and living within their means. Following the slip and fall, Sarah had very limited mobility and was unable to care for her young children. She needed help during her recovery, so either her husband had to take time off of work or they would have a caregiver help. Both were financially draining, as her husband was not compensated or they paid for the additional help, in addition to her insurmountable medical expenses. This slip and fall has had a far reaching effect on Sarah much more than the pain of her broken ankle. The fall caused her family a great deal of financial strain,
The movie Falling Down portrays many examples of the movie reflecting, influencing, and changing society. The movie reflects society's many flaws such as inflation of prices and unneeded budget spending. The movie also influences others to point out society’s flaws by using force. Finally, the movie changes society by showing the movie in the point of view of a person that is classified as a realist.
Alfred Hitchcock’s thriller ‘Rear Window’ (Hitchcock, 1954) begins with the immediate use of mise-en-scène in order to establish a sense of atmosphere, equilibrium and the mundane, soon to be disrupted as the events of the film unfold and are observed through the eyes of the voyeuristic protagonist, Jeff. Setting, cinematography and various other expressive mise-en-scène techniques work together to influence the overall appearance of the film. Though, by taking a closer look, these techniques reveal the significance of the narrative and characters. In the opening sequence, Hitchcock’s original visual style provides signposts for the audience to recognize what will be significant in the future: instead of establishing what is only happening in the moment in time; mise-en-scène is used to suggest what is to come. This arrangement of the “Classical Hollywood” narrative - starting with the setting and characters in a state equilibrium - acts as a seemingly all-purpose, archetypal opening by establishing location and introducing character. Simultaneously we can see that this sequence is vastly different from the rest of the film: it is leading the viewer into a false sense of security – the calm before the storm – as Jeff soon happens to piece together information leading to the possibility that one of his neighbors murdered their wife. This sequence is one of the only moments in the film we see things the protagonist does not, thus this carefully constructed opening is preparing
Establishing Shots- The movie begins with a few establishing shots of skyscrapers and streets crowded with people giving the impression that the location of the film is in New York City. Also, establishing shots are used to show where most of the action will be in film. For example, Andrea is seen walking from her apartment to the bakery to the subway then finally in front a large building. In a high angle shot, Andrea looks vulnerable and nervous for her interview with Miranda. There is an establishing shot of the lobby of the building named Elias-Clarke Publication, where the Runway office is located in. Also, this uses the “outside in” method where the action of movie starts from the outside then