Hierarchy In Stagecoach

it is the start of the story. The window fills the whole frame of the

Stagecoach is a western movie that has several features to it. People do things for pride and protection. People can come together at the end and work together. In this film, these two features are portrayed in various parts of the movie. This film touches upon pride. People are prideful of what they do or have done. A shotgun person was needed and Curly took the job. He is a prideful sheriff that decided to take shotgun when no one else wanted to. His role in the film can be portrayed bigger. He represents what the law stands for. People like Curly have great pride for what they stand for. This film also shows how someone stays and protects the people in need. Ringo could have escaped and be free. He noticed that the rest of the group were

Intermittent between tracking shots, the camera is set behind trees or branches as it follows the girls, as if they are being secretly monitored. When the girls are casting the spell, close-ups and fast paced pan shots are used to conjure a feeling of chaos and frenzy. Intermittent switching between shots further emphasizes this. For example; the camera switches from shots of the dancing girls to the tracking of Parris searching for them. This creates anxiety and prepares the audience for the scene's climax; Abigail's uninhibited violence.

     The camera then starts to switch from the girls point of view, to the sharks point of view. The girl is totally defenceless to the shark’s capabilities, but using this effect allows you to relate to both characters.

Shot 7: Close up. Dorothy scared, nervous, and confused by this person. Tight head shot. Straight on camera shot, no movement. Music still constant.

It shows us the danger Mrs. Brisby has put herself in. The shot starting at 1:00:54-1:01:28 shows this perfectly by holding the shot on her as she is twitching, almost as if she was pacing back and forth. Moreover, when she goes for the bowl of cat food, the shot both zooms in and starts to shake violently. This depiction is enhanced even further when you consider the length of each of the shots in this sequence as all of them last less than three seconds each. This technic is used to keeps the tension high, as shortening the abbreviation between shots allows the audience to have less time to think and reflect on each of the shots

Larry Page once said, “Especially in technology, [we] need revolutionary change, not incremental change.” Whether he is speaking about the Transcontinental Railroad system or the latest iPhone, what he says is true. If change is going to happen, it needs to bring a revolution of some kind along with it, otherwise, it will just become lost in history. This makes us wonder, how did the railroad system affect the US? The railroad system benefited the US most economically by industrializing towns it ran through, lowering shipping costs, and allowing for mass imports and exports.

The lighting there is much darker than outside without any light. There is a medium shot from low angle facing the cellar door. Then, Lila opens the door and slowly walks down the stairs and proceeds to another basement room. The scene of walking steps from the door down into the room generates a mysterious mood and it symbolizes that Lila is going deeper into the hidden secrets. The shot then edited to another brighter room with lights on and a worn out setting continues with Lila opens the door producing a creaking noise. Then, it shows a medium shot of a back of a woman sitting on a chair with her hair-tied in a bun. Lila then walks closer to the woman and call Mrs. Bates. When she is walking, the camera is constantly stay and Lila is getting closer and the focus point changes from the hanging light bulb to her face. Her facial expression shows that she is curious about the appearance of Mrs. Bates in the cellar. She taps on the right shoulder of the woman and the body of the woman slowly jiggles back and turns over. There is still medium shot when she taps on her shoulder and audience can see the shadow of the woman reflected on the wall behind. Then, the shot is cut to a close-up shot with the skeletal of the woman’s corpse with empty eye

Developing effective retail management is utilizing the space in the store in order to display items that provide the largest contribution to overall profit. Retailers attempt to draw maximum attention to their most profitable products

All of Mrs. Robinson and Benjamin’s scenes pass in a musically backed montage sequence, a segment that uses rapid editing, special effects and music to present compressed narrative information. This shows the endless pass of time. One scene is edited so that it

It becomes obvious in the courtyard while she stares up at the apartment that she is considering going into his home. This perspective uses parallel editing because Lisa is shown on the ground and is also shown in the apartment within seconds. The two scenes represent the idea and thought that once Lisa enters the house she is fully committed in her actions. As Lisa searches the apartment the camera zooms out into a panoramic type view in which the whole apartment is visible. The effect of this view is dramatic because it gives the notion that Thorwald could potentially appear and you are able to see not only him, but Lisa as well. This viewpoint is used often in the film to demonstrate Jeff’s perspective on the neighborhood as well as the viewers watching the film. The scene continues as Thorwald returns to his apartment. Jeff notices that Thorwald is walking down the hallway as Lisa is near the door and neither character’s have a clue that the other one is on the opposite side of the door. This again demonstrates parallel editing because the two characters are shown in a different location but in the same scene. The panoramic viewpoint was useful so not only for Jeff, but for the audience to realize the danger Lisa is in and his helpless because she is unaware. The suspense continues as Thorwald enters the home and discovers Lisa inside. He eventually begins

As it is normal to look around and examine the surrounding situation once one is arrives in a new place. After the scene starts, the camera always shoots the character with the dialogue in one shot, rarely changing the shot size or angle, with the exception of zooming in. However, the characters are not necessarily in the middle of the screen, expanding the variation of the filming. The characters appear in various parts of the screen, from close ups to long shots, one corner to the other and these characters sometimes move across the screen

Honestly, the reason behind this change is not apparent to the audience, if anything, all it does is remind us that this is a fictional film and bursts that “real footage” bubble that we have been locked inside for so far. Why did the filmmaker choose to do this?

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.

In this scene, Roger Thornhill (Cary Grant) is with the his black car in the woods meeting Eve Kendall (Eva Marie Saint) and her white car after his “death.” In the film, it is planned that Eve shoots Roger with blanks and that they would meet elsewhere after Roger was pronounced dead. As Roger exits the car to meet Eve, the audience can see that compositionally the scene is divided down the middle. The trees in middle divides Roger’s world from Eve’s world. Hitchcock purposely had the scene set up to be parallel and symmetrical. Having Roger and his car on the left side and Eve and her car on the other side.