Gone Girl Sequence

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

Throughout the 1 hour and 18 minute runtime, viewers are exposed to a variety of camera shots and angles and distinctive editing that really sets up the way the film wants to get this story across. Opening up with a long shot, this shot displays the location of Palm Island. Panning across a suburb, the fog above the grassy mountains

The opening scene features visual effects in order to emphasise the theme of despair in the film. Initially we are introduced to the character of Alice Paul with a long-shot of her on a swing. The shot appears as a horror film, setting off a daunting tone. We are then eventually displayed with a montage of flash-forwards and flash-backs into Alice's future and past. A close-up is used of Alice's eye, which appears fearful and exhausted, blood-shot and struggling to remain open. This sets an initial sense of despair. Following this the montage features sped up passing storm clouds to foreshadow the darkness and despair to come. These editing techniques were used by Garnier to convey the theme of despair in the film by allowing little easing into the situation. In relation to the wider world, although this theme of despair was being emphasised by these

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

Opening the play, the newsfeed style prologue fades into a montage of documentary-like shots of the city of Verona Beach. Already the director begins to prepare the

The first shot after the opening sequence was one of a bird's eye view, a bird's eye view shows a map like perspective building rooftops, bridges, roads and a canal. Tykwer sets the distant scene with this but does not need it to define a certain place, as the film needs no area to make it complete. It was used for only a short period of time and makes a good start for the next effect.

As the film begins, we see the slow pan across the cityscape of Manhattan at the same time a lullaby is playing in the background. Upon reaching The Bramford, the camera stops and brings us inside the courtyard of the building where a real estate agent is ushering a young couple inside. As the agent converses with the real estate agent, we learn their background. Inside the apartment, as they look around, we hear them joke about smoking marijuana which is one cultural element of the time and presents them to us as a modern couple.

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

I will be analysing is the opening scene of the 2010 film Insidious. The purpose of an opening scene in a movie is to make clear what the genre is and to establish the setting and key characters. Horror movie cliches are clear in the opening scene. It is made clear by the slow edits and the movie gives off a creepy vibe, making it known that it is the horror genre. The film location is an empty house, a clear sign of any horror film and the opening scene has a lot of mystery behind it.

Now, the opening scene in the film starts with an exterior visual of a house on big acres of land. From there, the frame would include a group

The Office In the following“The Office” theme song will be analyzed and examined. It will be analyzed in three parts, the audio, the visual and the combination of the two. As well, the origins of the show and comparison of its theme song with the original “The Office (UK)” , the composer of the theme song Jay Ferguson and several other minor aspects.

In the part where Jake Gitter encounter the kid on a horse which for me the beautiful horse was about to drink that suspicious water. The frame is a deserted area, full of rocks, weed, and an unnourished creek. This frame shows the plot of the film which is the drought in LA for which a man had already lost his life. The prior scene to the last one, Evelyn put her daughter Katerine inside the car and urgued her butler and maid to leave away. She touched them in a familiar and protective way as she wanted to guard from her heartless father. This part that I see is a proxemics patterns bevcause of the distance between Evelyn and her employees are very close to the point of touching. Lastly, the scene that most impact had on me was the end of

Life has many challenges in which there is an opportunity to grow and learn valuable life lessons. In Gillian Flynn’s novel, Gone Girl the characters go through many situations where they learn lessons they can apply to their lives. An examination of life lessons in Gillian Flynn’s Gone Girl will show that no matter how well of a plan is in place, you can never be too safe or too comfortable because not everything always goes the way you want, and when in a relationship, you should remain faithful and honest or else horrible things can happen.

The scene starts with an over the shoulder establishing shot of the town that Kiki will be staying in, this is done to give the audience an idea about the size of the place and also allows us to see the town from Kiki’s perspective - imposing but exciting.

It reflects Amy’s emotions. If she is irritated, it is quick. If she is being judgmental, it lingers on who or what she is judging. The pace keeps up with Amy rather than slowing her down. The pace of the cuts fit together like pieces of a puzzle. Also, the sound editing matched the pace of the film editing perfectly. Each break in the voiceover is filled with music and important details that are continually building the tension. Fun fact I found out about the editing in Gone Girl, it was edited with Adobe Premiere Pro.