How Does Charlie Chaplin Use Film Techniques In The Movie The Immigrant

Tim burton, in "Charlie and The Chocolate Factory" uses many different cinematic techniques. When Willy Wonka opens up the door to the first room the camera zooms in. This increases excitement and anticipation. As it zooms in on the door, it opens and it switches to a crane technique of the immense room. By using a boom shot the whole room is in view. This shows the immense beauty of Willy Wonka’s edible room. The audience can see the waterfall made of chocolate and all the other fictional parts of the breathtaking room. Earlier in the film Burton uses dolly-tracking to announce the Golden Tickets, posters are put up around the city. Dolly-tracking is utilized to show bike riding oompa loompas placing the posters on posts. Oompa-Lumpas ride away from the factory on tiny bikes as the camera follows along around the town. The camera tracks one rider as he veers off from the others, puts a poster up on a lamp post, and rides off. Tim Burton uses camera movement techniques to his advantage to depict a unique gothic style.

One of the classic filming technique, but Spielberg makes his tracking shots look different from everyone else. His sideways shots are very long,

In Citizen Kane, Orson Welles blends camera movement with the drama of the scenes. A good example is the introduction to El Rancho. This is where Kane’s second wife sings. The camera begins on a sign outside the restaurant and from there is moved with a crane towards the roof of the building. From there it is moved through another sign and approaches the skylight. When it reaches the skylight, the camera goes through the skylight and we are presented with a high-angle shot of the El Rancho. The shot establishes space and sets up the scene, but it does this in a plain and noticeable way.

2) Many early films, and even films today, use what is called Freytag's Pyramid. Freytag’s Pyramid refers to the way a film is structured narratively, creating a similar pattern among the beginning, middle, and end of most films. I believe that The Immigrant mostly complies with this structure. Typically, a movie’s narrative using Freytag’s Pyramid will be laid out in a way that starts with a exposition, where the characters, scene, and mood is introduced. The Immigrant happens to comply with the pyramid on this point. The film opens with a shot of a ship, then continues on to show a rolling boat, its seasick passengers, and Charlie Chaplin’s comedic character. Most everyone aboard is sick except Charlie, and a few others. However, We don’t quite get much detail on the characters backgrounds, other than they are obviously immigrants from another country. Next, usually an inciting incident would occur that would trigger a conflict. When eating in the ship's dining room, charlie looks up from his table where a girl standing that he shows much interest in, and gives his seat to her. I personally believe this moment is the inciting incident that drives the rest of the story. Charlie’s drive to “get the girl” ends up causing him to give her all of his money after her mother had her money stolen. Later, after everyone is dispersed onto land, Charlie is left with no money. However, he finds a coin on the ground and decides to spend it on a meal in a nearby restaurant. Eventually, he spots the girl that was on the ship with him, and offers her a meal. Eventually, the scene shows a man being beat up and kicked out of the restaurant for being 5 cents short on his bill. Later, the waiter brings Charlie his bill, and as charlie reaches into his pocket for the coin he found and realizes the hole in his pocket. This could be seen as rising action, the next part of the pyramid. This moment escalates the conflict of not having money, since now Charlie is in clear danger. Tension rises as many minutes pass of Charlie stalling by ordering more food, and the waiter growing impatient with him. At one point, he even finds the coin again and the waiter

The other camera movement that I want to talk about is the shot which shows the frame within the frame. At the scene when Gustave tries to escape from the prison with his prison mates, they slide down through the steam vent and open the wood-paneled door on the ground. At this moment, the camera shows them who are staring down a hole in the wood frame and shows the guards who are playing the card game in the wood frame. Through using this shot, this film allows audiences to feel that they are looking at the painting just like seeing one page of a fairy-tale book. On the one hand, Wes Anderson’s frame within a frame shows the internal psychology and memory of the characters in the film (MCCAUSLAND). The last camera movement that I figure out is employing a symmetrical shot which is perfectly balanced in the left, right, upper, and lower side. This symmetry makes audiences recognize psychologically that they are watching fictional dreamlike world. Because of this balance, on the one hand, audiences can easily understand what they are seeing in each scene, and the symmetry aesthetically amuses people’s

The viewer is introduced to the dolly zoom in the first scene when they look through Scottie’s eyes as he hangs from the gutter and looks down to the pavement below. The dolly scene gives the sense of vertigo. In this scene it makes the ground seem so much farther below than what it is. Hitchcock uses this shot throughout the film to give a feeling of false reality. The shot works by moving the camera back on a track while zooming in at the same time. This shot is also known as the vertigo shot. In the bell tower, this shot clearly puts the viewer into what Scottie is feeling at the time. It makes the viewer seem uneasy like they might suffer from Vertigo. In addition to this, Hitchcock perfectly uses the camera angle and the actors to tell a separate story. In the scene where he meets with his old friend, Gavin Elster, Hitchcock basically choreographed the actor’s movement and camera angles to set a mood and give foreshadowing. In this scene, Elster is sitting down while Scottie is standing in front of him asking the questions showing dominance. Once Scottie sits down, Elster stands up and stands on the steps to the second level, giving this sense of him being higher than Scottie. The camera follows Elster but then once Elster confesses why he wants Scottie to follow him, the camera pans in tight to his face. At this point Elster blocking is extreme in this shot. After his confession, the two men stay in the same position as the camera angle retreats on a dolly bringing both men into frame. This example shines light onto Hitchcock’s use of blocking and camera use that is evident throughout the film. Another major use of the camera is the way it used to show Scottie’s point of view. The narrative is restricted so that means the viewer can only see what the protagonist is seeing at that time. This is clear in the scene where Scottie is following Madeline as she

Film’s unique visual and narrative properties in “The Immigrant” aid in critiquing the popularly held “American Dream”. The dream stated that anyone, even foreigners, could achieve financial/personal success in America if they worked hard, but Chaplin believes this is not completely true. Narrative qualities of film in “The Immigrant” present concrete stories and characters that visually demonstrate the hardships, mistreatment, and luck involved in the misunderstood “American Dream”. The exaggerated rockiness of the ship and the implied death of the female character’s mother showed viewers that traveling to America is not as glamorous as the American Dream makes it out to be. When immigrants finally

After I Pick the Fruit records the lives of five immigrant farmworker women, only two of them are documented over approximately a ten-year span. This film shows the development of several friendships made between the filmmaker, Nancy Ghertner, and each of the five immigrant farmworker women. This documentary illustrates the struggle these women go through to satisfy their roles as workers, as well as wives and mothers. As the filmmaker learned more about these women, she made it her goal to raise awareness in the United States about the cost of having fresh produce at their grocery store. Nancy also made me look at what is found at the dining halls on campus, and how they got there. One impactful theme conveyed in After I Pick the Fruit

Hitchcock seats the Charlies across from one another and the action plays out in accordance with the classic 180-degree rule for conversation. The 180-degree rule is the most basic way to film two people having a conversation while sitting opposite from one another. This series of shots usually consists of: establishing shots, two shots, close-ups of each actor, insert shots, and then possibly a re-establishing shot. Hitchcock manages to bring a lot of tension out of this fairly conventional set-up by the way he constructs his scene. The two characters sit down across from one another and are positioned on the far edges of the frame, which emphasizes the emotional and psychological distance between the two. In the same shot Hitchcock sets up for the “shot, reverse shot” conversation, by having Uncle Charlie lean in towards his niece. His leaning serves as a lead in to the conversation about to take place. It is important to note that during this same shot, Uncle Charlie lays out a napkin on the table and smoothes it with his hand. The napkin exists to provide a parallel to the way the scene will play out. The hands of Uncle Charlie can be seen as those of the director, and the napkin as the fabric of the scene. The napkin is laid before us smooth as the scene begins, and becomes increasingly tight and twisted by the hands of Hitchcock as he slowly tightens his hold on the audience. It also has the importance of revealing something about Uncle Charlie’s character. It

In the video many issues came about on how there were competing visions on providing relief to the impoverished during the Great Depression. Dorothea Lange was said to have taken six photos before capturing the famous one we know today as "Migrant Mother. " Dorothea Lange was a photojournalist in the Great Depression era, and was hoping to convey how a family should look that deserved aid. Lang had to throw out the other five photos she took because they did not convey the message she was trying to get across.

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

First and foremost, camera angles show a location at which the camera is placed. Burton takes advantage of this skill and in the movie, “Charlie

His drug use leads to Henry’s complete loss of control over the smuggling operation, his nuclear family, and his precarious ties to his mafia family. As Henry’s control lessens, so does our intimate contact with him through use of camera angles. Scorsese uses close camera angles less and less frequently, creating a feeling of disconnection for the audience, while using the freeze frame more frequently to allow Henry time to point out how a particular moment has the potential to spin out of control

At the end of the film, the Holocaust is finally coming to an end. Schindler decides to flee because he may be arrested for being a member of the Nazi party and for profiting from slave labor. Before Schindler leaves, Stern comes up to him and hands him a ring. Schindler accidently drops the ring and he urgently gets on his knees to pick it up. During this scene, the camera uses the technique of TRACKING, or moving with the action, by following Schindler’s movement towards the ground in order to show the urgency and the importance of the ring to Schindler. This scene also shows the “new version” of Schindler that cares for the people more than materialistic things. During this scene, the filmmakers use shot-reverse-shot of Oskar and Stern to show their emotions through their facial expression. When Schindler states that he did not do enough, the camera scale changes from close up to MID SCALE, which shows the clear focus but also the setting. This was done to show the massive amounts of people behind Stern that Schindler has saved. When Schindler is leaving in his car, the FOCALIZATION, or the focus of a certain object in the scene and the blurring effect of others, is used to show Schindler’s facial expression that shows sadness and then shows the reflection of the Jews that he saved on the car window to show the amount of people he saved and to show the individuality of each person he saved.

The camera tracks backwards as Szpilman walks towards us. It gives the audience the feeling that he is limping into our hands as if we are helping a poor elderly man. Then the camera tracks from right to left as we get the impression that he is searching for something. The director chooses to track his movements slowly to make the audience feel as if Szpilman is moving along in a fragile house just like himself. The camera tracks along showing the audience a full view of him showing us the little steps he is taking just to get to the other room. There is very low lighting in this scene which shows as if he is looking for something quietly without making noise. Szpilman then finds something on the floor, so he bends down and this is shown by tilting the camera down to a low angle. The director has chosen to do it this way because it makes it flow with Szpilman’s movements. Then the camera tracks and zooms into Szpilman walking into the next room. When Szpilman finds a tin opener and uses it the camera focuses on it even though it is a small object and not important. As Szpilman carries on trying to open it the camera is still focused on it. The director makes the audience focus on that repetitive movement of trying to open it but at the same time distracting them from the characters emotions if anything surprising happens.