Film Analysis Of Senor Love Daddy

Released in the summer of 1994, the movie “When a Man Loves a Women” produced by Touchstone Pictures’ producer Jon Avnet created a film that touches on a female alcoholic. This film included stars like Meg Ryan, Andy Garcia, and Lauren Tom. An airline pilot played by Garcia as Michael and his wife Alice portrayed by Ryan are forced to deal with her alcoholism. Within this family it includes that of her two children and the nanny (Lauren Tom). The film offers several hinting scenes to Alice’s addiction. Alcoholism is a disease of denial, the movie focuses on not only the alcoholic but those around her that deny and have even grown accustomed to her drinking.

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

The signs of the time are also shown through the use of specific camera shots, which humble the characters and show their frailty. Long Shots, in particular, are used to exemplify the smallness of the characters (without power) in the vastness of the world around them. In the scene in which 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,

Long takes and camera movements usually rely on each other. Frame mobility helps to break the long shot into significant smaller units (Bordwell and Thompson, 2008, p. 215). With the use of camera movement, this shot can be broken down into three parts – Lisa and Lieutenant Leopold walking towards their family members, where the camera tracks them, Lieutenant Leopold breaking the news to his uncle, where the camera stays static, and Lisa’s parents questioning Lisa about her refusal, where the camera tracks in from a long shot to a mid-close up shot.

The viewer is introduced to the dolly zoom in the first scene when they look through Scottie’s eyes as he hangs from the gutter and looks down to the pavement below. The dolly scene gives the sense of vertigo. In this scene it makes the ground seem so much farther below than what it is. Hitchcock uses this shot throughout the film to give a feeling of false reality. The shot works by moving the camera back on a track while zooming in at the same time. This shot is also known as the vertigo shot. In the bell tower, this shot clearly puts the viewer into what Scottie is feeling at the time. It makes the viewer seem uneasy like they might suffer from Vertigo. In addition to this, Hitchcock perfectly uses the camera angle and the actors to tell a separate story. In the scene where he meets with his old friend, Gavin Elster, Hitchcock basically choreographed the actor’s movement and camera angles to set a mood and give foreshadowing. In this scene, Elster is sitting down while Scottie is standing in front of him asking the questions showing dominance. Once Scottie sits down, Elster stands up and stands on the steps to the second level, giving this sense of him being higher than Scottie. The camera follows Elster but then once Elster confesses why he wants Scottie to follow him, the camera pans in tight to his face. At this point Elster blocking is extreme in this shot. After his confession, the two men stay in the same position as the camera angle retreats on a dolly bringing both men into frame. This example shines light onto Hitchcock’s use of blocking and camera use that is evident throughout the film. Another major use of the camera is the way it used to show Scottie’s point of view. The narrative is restricted so that means the viewer can only see what the protagonist is seeing at that time. This is clear in the scene where Scottie is following Madeline as she

When this scene begins, the lookout yells “The sheriff is comin’” (Blazing Saddles) and the camera is panned out a bit with the lookout a little off to the left. The camera is also shooting from below a bit to show he is high up on the roof. When the camera turns to the sheriff riding a horse towards the town, the camera angle is shot from up above angled down to show the distance of the sheriff and the height of the lookout. When the camera is set to the towns folk the camera is set further back with a wide viewing distance to see the band, the towns folk, and the stage all in the same shot. As the sheriff rides into town the camera is used in a way to show the towns folk surprised faces. The camera is first zoomed in on the sheriff riding toward the stage. The camera then cuts to the towns folk and pans to the right, only showing the towns folks facial reaction of the new sheriff. The camera moves the same direction the sheriff is moving on his horse. This adds a sort of point of view of the

“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.

There aren’t very many special effects involved which added a natural, country feel to the movie. When Hilly drove her car to Skeeter’s house the camera shot from above with an open angle. The scene continues with their conversation, where Hilly is filmed from above Skeeter’s head shooting down on her, whereas Skeeter is filmed from Hilly’s shoulder height looking up at her. This shows that Hilly is inferior to Skeeter. The camerawork also employs zooms, such as when Aibileen is leaving in the final scene, and Mae Mobley recites the three sentences Aibileen taught her. This increases the importance of the scene, and gives introspect into the intimacy of their relationship. The camerawork creates an optimistic viewpoint when the camera incorporates wide angles, for example, when Minny is looking at Celia’s house for the first time, or when Skeeter is talking to her job editor in New York. A low-to-high tilt shot was used when the movie was introducing Celia Lightfoot that drew attention to Celia’s physique.

Earlier in the novel Jam goes into the Radley house and forgets his pants. He wants to get his pants back but he fears the Radley property “When I went back they were folded across the fence…like they were expectin’ me.” This dialogue shows the negative connotation and internal fear Jem has about the Radley house. “Like they were expecting me.” Illustrates the fact that Jem feels weary about the Radley house but decides to go to the house anyways despite the internal fears he has about the property. Similarly in the photo about the Montgomery Bus Boycott shows many people asking others to “Support our walk for freedom” this illustration suggests that the people participating in this boycott have gone through a lot of hardships in their lives. The photograph shows Rosa Parks on the bus, which reminds us of her internal conflict of feeling less than and not being treated equally. The beauty about this boycott is all the people participating feel like they are not being treated equal but they still overcome these struggles and go to the boycott to fight regardless of their internal fears of not being accepted. Both Jem from To Kill and Mockingbird and the people in this photograph about the Montgomery Bus Boycott feel fearful about trying to execute what they ultimately want to achieve, however both overcome their internal foes and conquer their

and this is also achieved by having the man look right at the camera. As he speaks, the camera slowly pulls out and then we start to see a slight increase in the surrounding detail of the scene. We can now see part of the back and side of the Godfather, (Marlon Brando) but still we have only a slight highlight on his side, and no detail. Now the man gets up and moves to Brando’s side, and he too is in complete shadow; we can only really make out the fact that there are two figures present here, no more. Then the shot changes as the man leaves the Godfather’s side, and it is a revealing frontal MCU of Brando. This shot is lit much more than the previous shot. Where the other shot’s background was pitch black, this shot is lit so that almost the whole space and all objects in it are visible. Brando has a key, fill and backlight on him, and his character is revealed with much intensity because of the dramatic light change from shot to shot. When the shot comes back to the man, in an over the shoulder (Brando) style, again the backround is totally black. Having the man in that particular lighting, and having Brando lit the way he is serves two psychological purposes. First, having the constant black background behind the man isolates his problem and makes us aware of how consumed he is with his problem.

The scene starts with the medium shot of Thelma and Louise’s face while they are being amazed by The Grand Canyon. Although they had almost fallen off a cliff, their faces were not scared but amazed by the beauty of the Grand Canyon. However, when hearing the helicopter, Louise's emotion changed, the camera closed up to Louise’s face with full of nervousness and surprise and looked at Thelma. The camera tilts up following the helicopter in the next shot, Hal is sitting in the helicopter and looking at Thelma and Louise, his face is shot in a low angle camera. When the next scene was when Louise backed off, the camera was converted to a wide-angle lens and chosen long shot, which enabled a panoramic view of Louise's car to the police helicopter.

Shot one of the death scene in Southpaw lasts approximately five seconds, and within that five seconds the viewer realizes what had happened after hearing a gun shot. Maureen, Billy Hope’s wife is on the floor holding her side with blood on her hands. The camera moves dolly, at a low level with normal lighting. The sounds are diegetic, there are people talking frantically, people calling 911, and screaming. While there is all the back ground noise, in the frame is Billy and his wife talking. Their dressed in formal attire, and the props around them are elegant. The shot portrays a since of sadness, and fear. In shot two the

Part 1 - In American author's 2009 book, The Help, the primary thesis is the relationship between Black maids and white households in Jackson, Mississippi during the early 1960s. The story is really told from three perspectives, Aibileen and Minny are Black women, both maids, and Skeeter is the nickname of Eugenia Phelan, daughter of a prominent White family. Skeeter has just finished school and hopes to become a writer. In general, the relationship between the Black maids and the White employers is six sided: On one side we have the White employers who have three views: 1) Their personal and private beliefs that can range from extreme scorn and bias to kindness regarding race; 2) Their public persona that must have the "proper" attitude about Blacks and "the help," and 3) Their employer attitude, which is condescending and parental. The Black view also has three segments: 1) Their personal and private beliefs that usually range from understanding not all Whites are the same and an extreme love and empathy for the White children for whom they care; 2) The public persona that is deferential, polite, and stoic to their White bosses; and 3) Their attitude and view among the Black community, which usually separates the "poor and ignorant but rich" White souls from the Black view of family and common sense. All in all, the relationship is contentious, phony, and based on economic advantage.

The shot/reverse shot between the Gamin and the Tramp in the paddy wagon conveys understanding between the two characters and sympathy from the Tramp. The conversation between the two characters is communicated through the editing as well as actions and facial expressions.