Moriarty: Compare And Contrast

The director mainly used eye level shots, to leave it up to the audience to judge the two main characters of the movie, although certain power struggles in the film are shown from high angles to illustrate someone dominating a conversation or argument. Figgis also uses some point of view shots to show the imbalance during Ben’s drunken periods where the camera is placed at an oblique angle to show tension and approaching movements. The images in the film are in high contrast with streaks of blackness and harsh shafts of light to underline the dramatic events that occur.

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

Throughout history, woman have been designated limited roles due to their gender. In a traditional and outdated society, woman are usually restricted to the role of caretaker for their family. In Shakespeare’s Macbeth, the essential example of being a woman is Lady Macduff. She cares for her children and will do anything to protect them. Breaking this traditional role is Lady Macbeth who is depicted as unfit for the job of being a mother. She constantly challenges the role of gender through her actions and words. Lady Macduff and Lady Macbeth are designed to contrast each other in order to enhance certain qualities in their character. This relationship is called a foil and is frequently used by Shakespeare. Lady Macduff’s embodiment of a

Randle Patrick McMurphy is shown to be a flawed character because of his huge ego, making him a lecherous gambler high on his own arrogance, and his desire and hunger for power and control. He thinks he can win any gamble, including a gamble on his life. The stakes are that he bets the men that he can break Nurse Ratched without letting her get the best of him. Even when he enters the ward, McMurphy has that kind of “swagger” kind of walk and he laughs, something that has not been done by any of the patients on the ward. He is “full of brass and swagger” and “full of assurance and arrogance” with his hanging thumbs in the belt loop of his pants, his heavily scarred skin, his many tattoos, and his fresh scar on the bridge of his nose (95). After being sent to Disturbed, McMurphy was confronted with the decision to admit he was wrong and avoid electroshock therapy, to which he responded to the nurse saying, “Those Chinese Commies could have learned a few things from you, lady.” Due to this high arrogance in his confidence, McMurphy received electroshock therapy along with three other treatments that same very week. This all led up to the major consequence of lobotomy, in which McMurphy was essentially made a vegetable, to be nothing more than a cautionary tale on Nurse Ratched’s ward.

A Prayer for Owen Meany analyzes the relationship between various depths of spirituality in comparison to mundane life. The novel by John Irving uses characters such as Owen Meany and John Wheelwright, to juxtapose the contrasting nature of faith and doubt, and fate and free will.

Establishing Shots- The movie begins with a few establishing shots of skyscrapers and streets crowded with people giving the impression that the location of the film is in New York City. Also, establishing shots are used to show where most of the action will be in film. For example, Andrea is seen walking from her apartment to the bakery to the subway then finally in front a large building. In a high angle shot, Andrea looks vulnerable and nervous for her interview with Miranda. There is an establishing shot of the lobby of the building named Elias-Clarke Publication, where the Runway office is located in. Also, this uses the “outside in” method where the action of movie starts from the outside then

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

In the Truman show, the theme of audience manipulation is greatly portrayed through the different camera shots used. The director uses many different camera shots to emphasize specific actions throughout the film. Eye-level shots, close-up shots, and high-angle shots are

When Andy plays music we see the prisoners shown form a bird's eye view, this is another camera angle used to display the prisoners as small and insignificant. The camera angles used by Darabont allow the audience to see the status of the characters. As the audience we get an instant look into who is a in control and who isn't.

When we see the subjective point of view shot of someone walking through the school it makes the sequence feel more personal, because we see everything the students would have seen walking through the school. There’s a high angle shot of the SWAT team outside the school, high angle shots are usually used to show that

     There are no special camera angles, with the exception of a few close-ups. The camera remains stationary. The meaning of the scene is inferred through the editing and the content. Coppola uses this montage in order to give the audience an insight into Michael. He contrasts religion and murder in order to show the complexity of Michael. The newly baptized baby is without sin, and Michael is his guardian into life. Michael is extremely sinful; he has ordered murder as he is taking the godfather vows. The use of religion and murder contrasted is representative of Michael himself. It is used to show the mix of good and evil in him. In Hegel’s dialectic, Michael is the synthesis, a twisted mix of good and evil. The line between the two has become blurred for him. He claims to reject Satan yet he commits the worst sin. He claims to believe in god, yet does not follow the tenets of religion. He is the guardian of this child without sin, and he is full of sin.

This close-up thus creates a collective protagonist which in turn becomes an embodiment of the Algerian people. In contrast, the two French paratroopers on the other side of the wall, are shot in side profile through a long lens with their backs turned to the audience, whilst the machine gun which holds connotations of the violence and brutality employed by the French army is incorporated into the left hand side of the frame. Pontecorvo's simplification of the nationalist struggle is further signified through the interplay of dark and light elements. Whilst Pontecorvo employs a chiaroscuro image of Ali La Pointe's hideout in order to highlight the faces of the FLN members against the dark background, the visual expressions of the French soldiers are obscured by shadows. The audience is consequently denied the same intimacy that they are permitted to experience with Ali La Pointe and his collaborators. It can be argued therefore that this opening sequence which begins with the fate of Ali conveys Pontecorvo's natural empathy with the Independent movement.

The novel, “One Flew Over The Cuckoo’s Nest,” by Ken Kesey illustrates society on a small scale. The story, narrated by Chief, a patient, starts in a mental ward that is run by Big Nurse Ratched. The policy is the law and no one can change it, only abide by it. The patients are being oppressed by Nurse Ratched, though they don’t realize it until McMurphy shows up. The patients do as Nurse Ratched says because they fear her wrath. Throughout the novel, the character Randle Patrick McMurphy represents the rebellious people in the oppressive society. As the story progresses, McMurphy commits many rebellious acts. He brings the patients together and they fight against the society, which is represented by

Christopher Johnson McCandless graduated from Emory University in 1990. The son of well-to-do parents, it appeared that Chris was prepared to embark on the next chapter of his life. He had been editor of the student newspaper, earned honors with a double major in history and anthropology, and seemed destined for law school. Determined to rewrite his story, Chris eschewed conventional expectations. He divested himself of money and possessions and immersed himself in a new identity: Alexander Supertramp, Alaskan Adventurer. Four months after beginning his trek into the wilderness north of Mt. McKinley, Chris's decomposed body was found. When the details of his story emerged, many people thought Chris was mentally disturbed, calling him a "kook," a "nut," and "a half-cocked greenhorn," among other things (Krakauer, 1996, pp. 71-72). Had Chris's story had a happy ending, he would probably be described differently. He brought the tragic ending on himself, and people called him crazy. "Crazy" is a non-clinical word often used to describe someone with an underlying pathology. In this sense, there was nothing wrong with Chris McCandless. What he did suffer from was the enthusiasm and over-confidence of youth. Combined with poor planning and insufficient skills and experience in the outdoors, his "affliction" became fatal. McCandless made bad decisions, but he was not crazy.

Sir Arthur Conan Doyle utilizes literary elements such as dialogue, tone, vocabulary, a different format of narration and perspective, along with chronology to construct the adventures of the eminent fictional detective Sherlock Holmes and his partner, Dr. John Watson. The creative use of dialogue assists in telling the story fluently and vividly, while a suspenseful and occasionally humorous tone maintains interest from case to case. Long winded descriptions and complex vocabulary are infused into Doyle’s writing to fit his knowledgeable characters as well as fuse them into the setting of traditional Britain. Lastly, these features are accompanied by both Holmes and Watson’s different perspectives alongside each other. the tales of