Night Opening Scene

Unlike most films, Baby Driver integrates sound and cinematography in a unique manner, creating a symphonic orchestra of film composition. The initial heist and getaway of the film is a prime example of how audible and visual filmmaking can have such a large influence on each other, creating a piece of cinema that is driven by a distinct beat. Although in most films no actions are arbitrary, Baby Driver takes this premise to an entirely different level, directing every action to sync with the music in the scene: whether it be diegetic or non-diegetic to the character. Within the first five minutes of the film, the audience is introduced to the characters, setting, plot, and general motivations of the story without any dialogue. The opening scene employs a brilliantly creative combination of cinematography, music, and directing to convey the characters’ location, purpose, and emotion. This scene also sets the mood and tone for the rest of the movie. Director Edgar Wright and Director of Photography Bill Pope’s manipulation of mise-en-scène—through the use of sound, shot composition, and direction—creates a masterful scene of cinema that captivates the audience, pulling them into the world of crime and the story of a reluctant getaway driver. Each shot and beat is perfectly paired with a specific purpose to communicate the story to the audience. As a result, the opening scene of Baby Driver is an archetypal example of how to communicate a story to an audience without any

In the memoir Night, the narrator Elie Wiesel recounts a moment when he started to lose his faith due to his experiences at the concentration camps, for example, ¨ But now, I was no longer able to lament. On the contrary, I felt very strong. I was no longer able to lament God the accused. My eyes had opened and i was alone, terribly alone in a world without God, without man,¨ (Wiesel 68). Wiesel was a very faithful and hopeful boy but due to his experiences in the concentration camp, he lost his faith in God and in others. He believed that there was no God because of the things he would see and the overwhelming inhumanity he would suffer. Two significant themes related to inhumanity discussed in the book Night by Elie Wiesel are loss of faith and becoming closer to loved ones.

Humanity is an essential part in Night. Abundant of humanity were written in this book. Mostly, the book was written by two sides. One is instinctive, which describes how crazy characters were dazzled by desire. For instance, the desire of food, warmness and better living condition. However, a few people could not get through those difficulties, neither could Eliezer’s father. Another aspect is sensual, she wrote the relationship between Eliezer and his family, sometime his friends also, such as how they helped each other out.

The book Night is about the author, Elie Wiesel, and his cold and dark experience at the many Nazi camps during World War Two. He captures what happened to him by making you feel like you were there while it was all going on. He puts so much emotion and heart into the book that you feel for all the people who had died. He put many different themes in his book as well. Three themes he mentioned were fear, humiliation, and loss.

In a way it seems like the drivers don’t want to be involved,or that they have previously been involved and nothing good had came out of the situation. This paints the picture of shock and fear,the fact that a human being can show no emotion to a situation that is so serious and could have a major effect on people’s life. An atmosphere of fear was created by the way describes the night,creating new ideas in the readers mind. It is a sharp clear night in sauchiehall

If a stranger was to walk up to the average college student and ask a simple question such as: “What was the most mentally and emotionally challenging time in your life”, some might answer, making it through freshmen year of college, a tour in Iraq, helping my parents pay rent, or the lucky few may reply: “Waking up this morning”. In reality, we as human beings, no matter our walks of life, have all experienced challenges that we have had to face with raw emotion and gut. In Elie Wiesels’, Night, a no holding back account of Wiesel’s own experience of his life and journey through a Nazi concentration camp in World War II. Wiesel’s account of the horrors he witnessed and endured during his time in the concentration camp lets us know that

The shot shows children playing, people playing cards and chess all while stuck in a traffic jam whilst still having fun as well as introducing cars facing the wrong direction towards the end of the scene. There is an ensemble of noise and absurd actions which the viewers find to be funny when it is then revealed that a horrific accident has caused the traffic jam as blood covers the road and bodies are moved to the side. These absurd actions create comedy in a scene that were it in a more traditional film would have had a much more serious tone. This shows that the French new wave idea of making sure the viewer always understood that the film was infact just a movie influenced greatly on (Shaun of the Dead,2004) as Edgar Wright used the same techniques from the era to develop the comedy and unintentionally parody of the traditional zombie film just as Jean-Luc Godard has done with his film

The opening sequence starts with an L-Cut being used, the diegetic sound of trains, footsteps and children laughing immediately sets the scene in a busy street. The first visual the audience sees is a close up of Tommy Shelby, a track shot is then used to follow him down the street making it clear to the audience that he is the main character and it is his story which will be followed throughout the series. There is diegetic sound of horseshoes (accompanied with a visual), contributing to the feel of a busy streets. The old lampposts, style of the houses and the clothing people on the street are wearing all make it clear that it is set in the past. Mostly men are in the street, wearing suits and flat caps which is typical of the 1920’s.

The lighting in this point in the film almost camouflages the car as it is pitch black at nighttime. It enables the audience to only see the car 's window and the faces inside the car. This gives the audience a feeling of mystery as they’re trying to work out who is inside the car. Waititi uses this aspect as well in his other film, Two Cars One Night. He uses the lightning to control the audience 's emotions around who in what cars. By weaving the dark lightning around.

As they are travelling Richard gets a phone call from Stan Grossman, a business man he made a deal with so he can earn something from his motivational programme. Richard loses him so he stops over at a petrol station and calls him. Richard is excited at first but his facial expressions change drastically, Richard finds out that he isn’t successful with his programme and that he didn’t get the deal. This comes as a shock to Richard as he tried really hard with his programme. In the bus Edwin goes to Richard and tells him that he is proud of him. The camera cuts to a two shot of Edwin and Richard, this shows that Richard and Edwin connect and start to unite. This is also emphasized by violins and cellos playing a sombre tune in the background. They stop over at a motel to spend the night, Richard and Sheryl start arguing about what their problems and they didn’t get any money from the deal. Richard decided to go to Scottsdale and meet up with Stan Grossman, we see Richard trying to push the bus all by himself. This shows us the obstacles Richard is facing, this is also emphasized by the background music which sounds like slow carnival music which reminds us of a sad clown. As Richard is traveling on the highway he looks small and ridiculous travelling on a small scooter on a huge highway, he doesn’t fit in the picture. A sign on the road says Scottsdale 23 miles; this again shows the obstacles that Richard has to face by

The first thirty seconds of this clip are of the main character, Mort Rainey in his car. The first thing we see is the book in his hands, the depth of focus changes as he runs his finger across the stubs of pages. The focus changes as the character makes a discovery, this could be to emphasise to the audience how important this discovery might come to be. Then we are shown the character himself, the only thing slightly obscuring our view of him is the steering wheel, this adds to the creation of the setting. The symbolic idea behind having the character in his car at this particular moment, could be to show that he is still discovering things, he hasn't got all of the answers yet, but he's well on his way.

The first scene of Arrival is a montage of a child’s life and early death. This montage is suggested to be a flashback that our protagonist experiences before the events of the film. However, this introductory scene actually encourages the formation of a false hypothesis, since the montage is actually of the future, not the past. The primacy effect ensures that this hypothesis will be accepted as fact until an overwhelming amount of information is presented by the narration to overturn it. Over the course of the film, the narration does present overwhelming information, however it does so gradually establishing a pattern of redundant visions experienced by the protagonist, Louise.

We then get a close up on the car and a diegetic sound of a car passing by. Next we are brought into the car. We get the backseat point of view. We see two heads, windshield-wipers moving very fast, and a few cars passing in the opposite direction. The darkness, the weather, and the mysterious characters gave me a sense of

In chapter nine, the book talked about Car scenes. Car scenes can be very tricky to film and there is different ways that they are conducted in movies. The first shot that the chapter talked about was called Front seat shooting. Front seat shooting is usually done with a set car that’s using a green screen for its background. The

An analysis of how cinematography, editing and mise en scene creates meaning and response in the Blood Bath scene of Taxi Driver (d. Scorsese 1976) Taxi Driver was directed by Martin Scorsese and written by Paul Schrader, in the film the director explores the journey of Travis Bickle (Robert De Niro) and his slow descent into madness and eventually to murder. In the final scene of the film Travis goes to a brothel to murder the people inside and save the young prostitute, Iris (Jodie Foster). Meaning and response is provoked by lighting, shots, editing and costume and I will discuss how this relates to the context of the time. The scene opens with Travis parking the taxi, the colours in the scene are muted and desaturated creating a dismal atmosphere.