Hebert Eagle Seven Pounds Analysis

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,

The mise-en-scene includes a color that illustrates vulnerability. A subtle message is displayed in the colors worn by the main characters. Tim and Lex stand out compared to the dead colors of the dinosaurs and in the kitchen. Thus creating a feeling of danger as they can be caught easily in sight because they stand

The first scene, where Cheryl (Kristen Wiig) is imaginatively urging Walter to climb onto the helicopter to hunt down photographer Sean O’Connell, uses techniques such as slow motion, high angles, and long shots. Slow motion is used when Mitty is running to catch the helicopter before it takes off; this creates a sense of “real time” in the film and also adds drama and suspense--the audience is waiting to see whether or not he will make it. Then, when the helicopter is taking off, the camera cuts to Cheryl, on the ground, looking up at Mitty. The use of this high angle is to showcase Mitty leaving the ground and leaving behind his “old” life; it is becoming smaller in his mind as he seizes the moment and jumps onto the helicopter, which is something he would not have previously thought of doing. It makes Mitty seem like a large, powerful person to be leaving. Lastly, when the helicopter is flying over the Arctic Ocean, the camera zoom out from just Walter to show him looking outside the helicopter, which turns into tracking as the helicopter flies away. This is to establish the scenery of Greenland and showcase how alone Mitty was after leaving all he was used to behind. This use of tracking emphasizes the scenery in the movie and impacts the audience in that they feel happy for Mitty for being so brave. Overall, Stiller’s use of tracking, zoom, slow motion, and high angles craft a sense of adrenaline, bravery, and beauty in the scene, which adds to the sentimental value of the film. In the next scene, Stiller once again works with

He uses these most prominently to depict the film’s villain as an authoritarian, power-hungry, and cruel man. This harsh commander has total power over the rural town that he inhabits and the steely-blue lighting is able to demonstrate that immaculately. It illustrates a gloomy atmosphere that he himself has created, as whenever there are scenes set in his village, the cold blue tones are cast over the screen. The blue lighting is there to highlight that the events in reality are cold-natured and unjust. He speaks only in a short and sharp manner, consistently ordering other’s about. The techniques by del Toro are used to manipulate the viewer’s attitude towards Vidal thus giving a strict, controlling, and heartless impression of him.

In addition to panning and zooming, DePalma also utilizes long takes to show how the American dream is for everyone. The average shot length, or the average of the length of all the shots in a film, in

To see what they see, and compare our own thoughts with the evolution of the characters and the story. The dexterity of the images, and the impact that each scene has in portraying this theme, guide the viewer throughout the film with little use of dialogue and action. Our central character “Jeff,” is struggling with his casted imprisonment, his need for adventure is apparent as he watches outside his window. Conflicted with his girlfriend and conflicted with his theories, his character becomes more palpable, we begin to realize what is going on not only on the outside of him, but the inside of him as well. The aspects of the outside courtyard and the visual isolation of each apartment, help depict the humanity of each individual and sympathy for even the darkest characters. Hitchcock uses his camera, just as our protagonist does, to focus with him. The camera angles are depicted in a way to which we react with the character, rather than at the character, and eventually expose the minor elements of the story that bring to fruition the suspense of the movie and the thrills of discovery.

Richardson produced, directed and captured all the footage himself. The end result is a multitude of powerful one-on-one interviews, archival footage of patients, and candid long takes. Richardson cuts himself out of the interviews, and edits together strikingly frank sound bytes to showcase his subjects talking about death and the affect of the law. His use of archival footage primarily captures his patients when they were healthy, and provides a striking contrast as they seriously discuss death towards the end of their lives. His use of candid long takes captures some of the most poignant moments of the film, including the final minutes of one man’s life after taking the lethal drugs. The camera is a spectator in the room, as the man accompanied by his family; all face his personal decision to die together. All of these different footage types work together to provide emotional weight to an already troubling subject.

Good YULE to my Brothers and your families. I wanted to do a quick piece for the NOMADs and introduce myself, I am Justin Heitman; I patched in through the Columbus, GA Chapter as a NORMAD and am between Ellijay, GA and Leesburg, VA.

Rankin doesn't spend time on long sweeps of a room or even showing you a room in its entirety. His shots are composed in a way to give the audience exactly what it needs to feel part of this small family's life. With the running time being ten minutes it feels like a lot more time passes than actually does. Rankin is very effective in keeping the story moving forward always and having everything happen for a reason.

In addition to camera movements, he uses camera distances and framing to create images that make the audience feel cheerful. When he frames a shot, if it takes place outside, there is ample amount of bountiful nature within the frame. The most prominent example of this is toward the end of the film when the narrator is describing the after effects of the massive storm. It is a medium close up but the narrator is only in a small portion of the frame, the rest if a

As the music goes on, the constant loud bang of the drum adds that scary effect that you don't know what's going to happen next. The sound of a train and furnaces firing up are amongst a few which add a heavier eerie feel to the sequence. The editing can be seen that throughout the sequence a filter was put on top of the film, as well as this many of the shots have a blur around the edges. This effect could connotate the feelings of the main character when he first comes out of the coma. A time-lapse shot has also been used from 0:09 to 0:11 to convey the many years that have passed since he has been in the coma. Many of the cuts are raw and sudden, the shot will go from landscape (wide shot) to a extreme close-up. Once again foreshadowing the events to come, this could mirror the act of the zombies suddenly appearing. lump cuts are also used In scenes of an abandoned house, giving a Jarring effect to the pace. The titles appear amongst the scene, sometimes moving. The final title 'The Walking Dead' flickers into shot over a green background that fades to black at the edges. The use of mise-en-scene in this sequence evokes anticipation in the audience. The post-apocalyptic world is conveyed through micro elements such as, the bare and dirty decor of the abandoned house and the low-key dingy lighting. The contrast of natural and low key

For example, the shot at approximately 9:05 that shows an image of naked, skeletal prisoners waiting in line where the voice-over narrates “nudity strips the inmates of all pride in one stroke” demonstrates this authoritative position as the voice is dry and matter-of-fact in contrast to the horrifying image, yet it is somber with empathy. Together with image choice, music and cinematography, this ‘Voice of God’ narration personifies the films perspective in order to not only show but to explain to the viewers the meaning of what is on the screen.

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

The director of the movie(Frances Ford Copolla) has a very good use of montage, and long shots. Capolla starts off the movie with an extrodonary shot of an undertaker saying "this is America." Which gives a glimpse of how haunting the film is going to be? A good use of long shots is perfect when the camera pans around the long shot as Mikey takes on the responsibility of getting revenge for his fathers shooting. Also a good example of Copolla’s long shots is when the film is about to end and there is a shot of Diane Keaton looking so innocent and really knowing nothing of the family business. In the film, montage is used in the baptism scene. The shots cut when all the highly religious questions are asked of Mike, and then the shots start cutting back in forth from the killings of the head’s of the other top five family’s and the baptism, portraying mike as a changing person(a god man to an evil one.)