How Does Kathryn Bigelow Use Camera Angles In The Hurt Locker

From the beginning, the viewer is informed that the bombers have two hours before they attack, and the almost continuous temporal relation between plot time and real time evokes suspense. For instance, in the “War Room”, the large map of Russia that displays the progress of the planes towards their targets coincides with actual screen time, creating increased anticipation and consternation.

My initial reaction to the film was of utter shock at the brutally raw reality of the film. Upon reflection and commentary from other sources, the film’s simple yet vastly effective filmmaking techniques of developing the explicit and implicit meaning of the film. The explicit meaning, as

According to an analysis made shortly after the film was released, the first scene fabricates the truth. “…mislead the audience into believing it is viewing footage of the fatal incident between Ms. Brancheau and Tilikum on February 24, 2010. However, the Opening Sequence does not contain footage of an attack, and neither Ms. Brancheau nor Tilikum are depicted in the Opening Sequence” (BLACKFISH ANALYSIS). It also states that there were several different pieces of footage edited together to make the opening

The story’ opening shot is part of the montage sign of the neighborhood. Starting, the Camera tracks towards the STOP sign. There is also a distant aero plane behind, something which is catchy, and that suggests that there are remote likelihoods of escaping from these hood surroundings, that is, if the right decisions are made. The plane in particular tells a contrast to the sound of the hovering movement of helicopters, which is intrusive and always present. The sound of the intrusive hovering helicopters is already on the soundtrack even before any image appears.

The camera movement from one side of the street to the unknown neighbor's house illustrated how unwilling they were to listen to Will’s reasoning yet determined to inflict violence upon a presumed “terrorist family”. The previous examples revealed that with the correct camera movement you can enhance feelings, and foretell them too. In specificity to these scenes, the reoccurring slanted motion appealed to the feeling of disarray and foreshadowed the mayhem to come. While the camera movement from one house to another depicted the wrath of the mob; proves that the cam movement allowed the viewer to receive a better sense of what unreasonable fear the characters are feeling.

With Blair applying a setting change and utilising a shot that shows the scenery while still being able to see emotion, it allows the audience to see the affect war has; not only the environment but the people experiencing

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

This in-depth film analysis will identify and deliberate the heterogeneous elements of film and how they are utilised to develop and elaborate empathy for Katniss Everdeen, the main protagonist in Gary Ross’s critically acclaimed film The Hunger Games (2012). Modern day films generally use a variety of technical elements that are specifically designed to intrigue, captivate and convey emotion to the audience. These elements are known as camera, acting, mise-en-scene, editing, lighting and sound (C.A.M.E.L.S.). In particular, this film analysis will delineate how these components are employed in Ross’s The Hunger Games to develop empathy for Katniss Everdeen, during the scene of the annual ‘reaping’

The soldiers are so tired by this point that they become rather careless in crucial times. They start making decisions such as celebrating and relaxing because life is short. They have priorities that seem weird to people reading it who don’t understand. They make food and rest and shelter their priorities, rather than immediate safety. Even when Albert gets shot he keeps running through the bombs and guns and explosions instead of stopping in a shell hole to see if he was alright. There is a certain urgency to be back where they feel like they belong. As Paul expresses, no matter how injured a soldier is, he will make it to the ‘right side’ before even stopping to see what the damage was. Their fear of the enemy and of death completely overtakes

When people think of war what comes to mind is death, torture, and destruction. War instills fear since everyone dreads involvement in the ordeal (Mazlish 10). The experience of war leaves people with physical and psychological scars. Tim Obrien in “The Things they Carried” brings to light the tribulations faced by the soldiers in their quest to restore peace. He asserts, ‘war is hell (Brien 8).’This is an exhilarating story that brings to light the fact that, despite their participation in the war, soldiers are still human. Stanley Kubrick echoes Obrien’s sentiments in his award winning film the Full Metal Jacket. Both highlight the ugly truths of war as full of cruelties and absurdities. The experience of war for the soldiers shows that they are still human with feelings and emotions (Mazlish 11). For some, their emotions grow stronger while others undergo mental anguish and breakdowns, but whatever the case nobody is ever the same again.

He was sent to Iraq to be a gunner on a HMMWV. A car pulled up in the driveway, and three soldiers got out, and the sound of their boots as they came up those stairs…will..”(shaking head, shrugging shoulders to ears) “will ah stay with me the rest of my life”(releases shoulders). As she tells the story her eyes dart back and forth as if she is replaying the scene in her mind (Priorities Action USA PAC 2016). This woman’s tone is familiar and a viewer can tell she trusts the interviewer. The demonstration of trust is an appeal to ethics (ethos) by making the viewer feel (pathos) they can now reciprocate in that trust. Her son volunteered to serve after 9-11, this shows he has guts and true patriotism. He was not already in the military when the incident occurred and the war broke out. She includes that he was in Iraq, unlike most National Guardsmen who stay in state. This validates him as being in the “real war”. She includes he was a gunner on a HMMWV. This demonstrates he was not behind a computer, and really out in the fight. The most deaths occur on convoys or in tactical vehicles because of the prevalence of IEDs and guerrilla tactics which give the terrorists a cowardly stigma in the way they “fight”. The recollection of the sound of boots in the advertisement allows the viewer to infer that something terrible happened. Most viewers realize the pop-culture portrayal that the only reason a mother gets a visit from another soldier is when her soldier dies. Trauma fries itself in our memory, and time almost stops, which is why she has a hard time forgetting and it looked as though she was watching it happen all over again as she relayed the story out loud. This

Specialist Owen Eldridge spots the “butcher” holding the detonation phone first, through the scope of his firearm. This shot begins the major action in the sequence as both Eldridge and Sergeant J.T. Sanborn rush to prevent the bomb’s ignition. The viewer sees the man through the scope of Eldridge’s gun, and in an instant, the atmosphere of the scene changes. An ordinary EOT operation becomes a hostile and desperate situation in the blink of an eye. The mise-en-scene and cinematography of this half of the sequence influence the way a viewer feels as tension escalates and dread forms about the fate of Thompson, whose character at this point remains dangerously close to the explosive. Through shaky hand-held camerawork and raw, visceral, and

Moore uses a large variety of camera shots and angles to create different effects. The camera shots included in the sequence range from bird’s eye view to close up shots. At the beginning of the sequence (where the U.S were bombing parts of Kosovo) Moore uses long shots and bird’s eye view to show the mass amount of devastation caused by U.S bombs. There’s also a close up shot of dead bodies on the ground to illustrate the gravity of the situation. The director focuses on a close shot of the High School plaque, ironically under the Columbine High School it says ‘home of the rebels’. He uses this shot because Dylan and Eric were seen to be rebels.

You don’t know where the next shot is coming from and you can never relax because the pacing of the movie comes like a tidal wave of dread. An interesting creative decision here is that even though this is clearly WWII and we know who the enemy is, you never see a single German soldier, not even a Nazi Germany flag is present. The closest you get to an enemy is the aerial assault from many jets fighter. The absence of a physical enemy, it doesn’t affect this survival film one bit, if anything it strikes up more paranoia keeping the audience uneasy the way through.

Spielberg’s Saving Private Ryan has been credited as being the most accurate war recreation film in history. It is the winner of five Academy Awards including Best Director for Steven Spielberg. Like Jaws, the opening scene has perfect equilibrium, calm at both the beginning and the end. Another thing this opening scene has in common with Jaws is the under water camera, and there are also shots from the killer’s point of view – in this case, the shooters’. In addition to this, they both end with calm water; a common theme in Spielberg’s openings. At the beginning of the scene, there is a long shot of a war cemetery; this drives home the seriousness of the war and just how many people died as it is very easy to forget the sheer number of people who were murdered during the war. The extreme close up on the eye of an old Captain Miller (Tom Hanks) gives the audience a feeling of connection with the character and lets them know he is going to have an important role within the film. During the fight scene the camera angles are wild movements and a handheld camera is used to give the effect of a person running as though it is from one of the soldiers’ point of view as this is likely to be something like what they would have seen and experienced. There are many visual effects such as one boat being set on fire with the soldiers still