Film Analysis Of Two Cars One Night

As a result, Ajay seems to talk to his portrayal of God more than his family. The cars in the parking lot can represent Ajay and his desire to have people who give him more attention and love then his present situation. The cars “waited for an opening in the traffic, their brake lights glowing” which could represent Ajay waiting for the right timing or opportunity to focus on and change his path. Throughout the story, many moments imply that Ajay wants to change his life, such as his interactions with his family and his conversations with his portrayal of God. In a way, these moments are like the brake signals that glow when the cars are waiting for an opening to leave. Ajay is constantly wanting to break free from his current circumstances, but does not have the right timing and support.

In this film, Singleton employs a more pared-down and the construction of an effective scene for a fast shoot in a natural lighting. An example is the shoot picture whereby Tre is seen looking into the streets. The camera revolves to catch him as he moves the child from being run over by the moving cars in a wide shot. The camera then cuts Tre returning the child to her junkie mom in one shot. The third shot is depicted whereby Tre is passing along the car full of gang members with one showcasing a pistol from the car and threatening to shoot him.

Film- Precious Knowledge Precious Knowledge is a documentary that takes place in Tucson, Arizona and focuses on how the Unified School district wants to completely ban the Mexican American Studies Program. In the film there were many scenes with examples of rhetorical appeal. I believe that the way the film was set up since the beginning had an impactful and direct emotional appeal on the audience. For instance, in the first scenes of the film we have the opportunity to get to know the main characters in a more intimate level.

Major Actors: James Stewart (L.B. Jefferies), Grace Kelly (Lisa Fremont), Wendell Corey (Thomas Doyle), Thelma Ritter (Stella), Raymond Burr (Lars Thorwald), Judith Evelyn (Miss Lonelyhearts), Ross Bagdasarian (Songwriter), Georgine Darcy (Miss Torso), Sara Berner (Woman on Fire Escape), Frank Cady (Man on Fire Escape), Jesslyn Fax (Miss Hearing Aid), Rand Harper (Newlywed), Irene Winston (Mrs. Emma Thorwald), Havis Davenport (Newlywed)

Once he circled around to end his nightly walk, “ he was within a block of his destination when the lone car turned a corner quite suddenly” then after the lone car “ flashed a fierce white cone of light upon him” (1). This event with Mr. Mead and the the lone car foreshadows that something is about to occur while he was on his way home from his routinely moonlit walk. After a conversation with the lone car,“ he passed the front window of the car he looked in. As he expected, there was no one in the front seat” (2). As the car started to drive down the dark streets only illuminated by the moon, Mr. Mead exclaimed “ that's my house, the car moved down the empty riverbed streets” (2). This foreshadows that even though he said that they passed his house, the self driving police vehicle continued to go down the street foreshadowing that Leonard Mead will not return home. This use of foreshadowing allows the audience to examine and reflect on how how technology has impacted this certain futuristic society with a great magnitude that Mr. Leonard Mead is seen as a completely different person for only being himself.

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

Alfred Hitchcock’s Rear Window is a uniquely captivating film that is an exemplary style of cinematic craftsmanship. Reaching into the minds of the characters, as well as the audience, Alfred Hitchcock is the master at utilizing the juxtaposition of images to bring us into the minds of the characters. In Rear Window, the story is so distinctively executed that it allows us to relate to our own curiosities, question our identities, and ponder our closest relationships. What is happening on the screen is merely a projection of our own anxieties, our own existence, and our self-ambiguity as portrayed by the characters in this wonderful film.

Light can make a scene look more realistic by creating shadows and highlights. In this scene Alonzo if enraged with anger as he looks for help from the gangsters and thugs he once worked with and protected but those very same individual’s no longer have the same respect for Alonzo. The “King Kong” scene is shot using a low key lighting design. Low–key lighting is often used for intense dramatic scenes which was a perfect fit for this scene. The dark lighting used in these scene

The light is directional when inside coming from the windows creating a raw aesthetic in the cinematography. The camera work that is at times shaky representing the unstableness of life itself. My favourite shot of the film is after Jayden reads Grace a story about an octopus searching for a friend that acted as a metaphor for her situation at home. It shows the two huddled together on the ground, it brings the two characters to the same level after Grace learns her and Jayden are more similar than she realised. There is a soft warm glow around the two, creating a warm inviting environment. The camera is placed just outside the door frame as if it is inviting the audience in to a intimate moment. Whilst around the edges of the frame it is more dark reminding us of the world

The film Rear Window effectively and heavily implements all four aspects of mise-en-scene in order to create themes that can easily be understood and broken down by and for its’ viewers. Sound and lack thereof is also used successfully especially in scenes where conversations cannot be made out either because music is used to deafen the audience or simply because the conversations are seen from Jeff’s perspective in which case he is simply too far away to hear anything. The primary setting of Rear Window as well as the important costumes and props that are present in this film are what allow this film to flow so well. Character movements and performances in Rear Window leave viewers with enigmas as well as reveal motifs that will be constantly seen or mentioned throughout the film. Lighting and sound are certainly key as they add to the suspense of Rear Window and offer even more enigmas.

The Blind Side is a 2009 American semi-biographical drama film written and directed by John Lee Hancock. The film took place at Memphis, Tennesse and featured Michael Oher, an offensive lineman who played for the Baltimore Raven of the NFL. For most of his childhood life, 17 year old Oher has been in foster care with different families yet runs away every time he was placed in a new home. His life change when his friend’s father asks Burt Cotton, coach of Wingate Christian School, to help his son and Mike enrol. Impressed by Mike’s size and athleticism, Cotton gets him admitted despite his abysmal academic record. At his new school, Oher was befriended by a boy named Sean Jr. “SJ”. One cold night, SJ’s mother Leigh Anne

Next, the audience sees a man in a priest 's clothes hurrying down the sidewalk late at night. The lighting is very important in this shot as it sets a very serious, ominous tone. The character also looks over his shoulder hastily as if he 's worried someone might see him. The camera goes to a wide shot to show that two young girls are right behind Keller as he briskly walks away from his crime. Then the shot fades into Keller walking towards the camera down an alleyway. The lighting is still extremely gloomy and shadowy as he takes off into a dark corner. The next shot has a "revealing" as Keller takes off his priest clothing and he looks around suspiciously.

The camera then moves outside the hotel, where there are no streetlights. The only lights are coloured white, blue and red from the police cars, suggesting an element of danger in the film. The darkness and the police cars further enhance the suspense and the idea that action is about to happen. When the agents arrive, their faces are lit up. We notice that they have absolutely no

The scene is set at night time so all the light in the scene is artificial from the street lamps; the light is dim but harsh casting dark shadows and creating a chiaroscuro effect, this is iconic of film noir and crime movies and it signifies that evil

In the film the characters are able to slip out of the house during a quiet interval and drive away. The short story and the film have the same plots and the same conflict of man vs. man, man vs. nature, man vs. society, and man vs. the supernatural.