Hitchcock's The Lodger

The reception area is an open ballroom with 30-foot ceilings with exposed reclaimed beams and a section of the room with gorgeous, floor-to-ceiling windows an ornate, grand crystal chandelier. The room has five, oversized fireplaces and beautifully crafted wood floors that are great for dancing. Enjoy the rustic décor throughout with ornate wood carved walls, soft, white lights and several stained glass windows purchased from Yale University. This wedding venue can seat up to 250 guests.

New and exciting technologies have always played a huge role in the culture of American people. When the motion picture came out it was no surprise that both consumers and producers were more than happy to get in on the action. Back in the 1920’s film was still pretty new and was only in black and white with no sound, but the films were always accompanied by orchestral pieces to help set the mood. The art of movie-making has come a long way since then with the addition of not only color and audio, but new techniques and new ideas. Both The Kid and Iron Jawed Angels are very popular films about the early 1900’s. Although they share some common thoughts, but because they were made in two completely different time periods their focuses are

The technical aspects of the production such as scenery, properties and costumes also played a keynote in the productions success. The scenery was fabulous it truly made the play. It was very realistic and extremely vibrant. Almost the entire play was performed in one setting, except for the railcar and dance scenes. The house, the main setting, was magnificent with painstakingly placed detail in every corner. All elements in the house matched wonderfully, for example the furniture, the photos on the wall, the telephone and even the trash can. Little bits of detail were everywhere adding to the beautification of the set, for example the lace decorations on the chairs, the etched glass above the front door and even the Christmas tree.

The Filmmakers used a pattern of medium shots followed by closeups at eye level. They then used a cut and a still shot to set the location for the next scene. One of the best examples of this is combined with an appeal to Pathos. Gaudet and Pullapilly start the scene with a still shot of the Bangor Hospital to set the location for

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

While much of the neighborhood appears on-screen in the beginning of the shot, one important thing is notably off-screen the whole time: The view from which the camera pivots. Behind the camera was the apartment of L.B. Jeffries, and the camera pans to the left, inside his window, to finish with a brief tour around his living room that teaches us his most important character traits. We see first, in an extreme close-up of a cast, that Jeffries has a broken leg. And then the camera pans left and we see why: A broken camera appears on screen, and a rack focus shift to the background shows a photograph of an automobile accident with a tire flying straight at the camera. Then several other framed photographs of exciting events appear on the screen, telling us Jeffries is a photographer who craves adventure and excitement.

However, it differs slightly from the original as Jordan is used to demonstrate this arising tension. Luhrmann draws a lot of attention to this heat by the use of perspiration and the buckets of ice placed over the hotel room. The hum of the fan also creates an uncomfortable aura which hints to the audience that something bad is about to happen. Luhrmann uses this metalanguage to put an emphasis on Daisy’s difficult to choose between the person she claims to love, Gatsby and Tom who is unfaithful and treats her with no respect.

Movies were becoming one of the biggest businesses during the 1920s and most people would spend their leisure time going to the theatre to watch the silent films. They were becoming huge in the popular culture and Hollywood was the place to be. Roughly by 1922, 40 million people a year in attendance over the entire country for the movie theatres and in 1930 over 100 million people would attend the movies every year. By 1927, the movie industry became the fourth largest industry in the country. “The Great Train Robbery” which was released in 1903 was the beginning of the film industry and would eventually change everything. “Jazz Singer” was the first movie that had synchronized sounds throughout the entire film. The popular genres during this decade were western,

The camera climbs the building and makes its way through the sign using a tracking shot. Throughout the film, this effect is used such as the opening scene as the camera ‘breaks into' Xanadu. It gives the feeling of invading Kane's personal life. Using a high angle shot the camera looks through the skylight then a dissolve introduces the first moment with Susan Alexander. Through this scene high angles are used, the camera is looking down on Susan creating a sense of being higher and better than her physically and mentally.

The filmmakers were also successful in telling Rocket’s story by choosing some very interesting shots and angles to shoot from. The movie’s opening scene was very intense and the cinematographer amped up the intensity by using some very short close up shots of varying events. The viewer is taken to a celebration and the montage of shots included glimpses of a knife being sharpened, a chicken being cleaned, food preparation and samba song and dance. Each colorful event moves to the same rhythm but the most the recurring scene was that of the knife sharpening. Its screeching sound only adds to the film’s motif of danger and mayhem. Also, one would never expect to see a chicken being plucked and peeled to a backdrop of samba but this film plays on the music’s energy. Although some of these scenes were more unsavory than others, the movie still kept viewer’s attention for what was to come.

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.

The elements of cinematography in the film include a low angle shot looking up at the farmer as he chops wood at the beginning of the scene. The shot is preceded by the infamous extreme long shot of the military convoy. The director uses close ups to capture emotions throughout the entire opening scene. Fear in the faces of the farmer’s daughters as they come face to face with the Jew Hunter. Fear in the face of the farmer when he prepares himself as the military convoy approaches. Close ups are used at the table when the confrontation looms; the camera zooms in when the farmer begins to crack under the

     The director is trying to communicate the love from a father to his daughter. It shows the natural love of human being, so

In the reformatory, immediately after exiting the patty wagon, another high angle shot is employed to reveal the reinforced bars on the ceiling giving the audience a

Secondly, the variety of camera angles makes it feel like he’s being. They also change very suddenly which creates tension because you don’t know where he is being watched from because the camera