Paul Conroy Cinematography

use the cinematography to add to the movies message. Throughout the film, the directors keep a main

These two characters do not know and the audience needs someone to tell us what has happened so an understanding is created. They are underneath a destroyed gate while it rains violently around them. The setting is a very dark and unwelcoming environment, creating a strong sense of mystery. The audience does not know what has happened and the characters in the scene do not understand. A long shot shows the gate and the large rain puddles when a newcomer enters, seemingly from the camera. The character runs towards the two characters that are framed by the gate. This new character, the commoner, is the interrogator. He asks questions and drives the story forward. The commoner represents the audience and wants to know what has happened. As the characters volunteer to tell the story, the camera zooms in closer. The camera zooms in to simulate the audience members leaning closer, as they would lean closer to become more attentive to the storyteller and to understand a story more clearly. In this scene, the film sets expectations for the audience that will never be met. They believe as they story is told, a conclusion will be created at the end. The story is told from the point of view of two characters that were at the event and they still do not understand, suggesting it is possible that the audience will never know the truth.

The vision Christopher Nolan had for The Prestige (2006) was to add to the outbreak of street magician film, whilst playing a large dramatic subplot equal in grandeur to the magical performances within the film. In the final sequence of the film, I will analyse how the cinematography and sound resolves the plot so that it summarises the themes present in the film, whilst also invoking a response from the audience. Nolan predominantly uses close up shots, non-diegetic sound (music) and dialogue collaboratively to convey the dramatic, personal subplot of the characters and their relationships, whilst appealing to the audience bringing forth an emotional response from the audience. The heavy, slow, dramatic atmosphere of the ending sequence uses various techniques to summarise and uncover the underlying mysteries of the events throughout the film and consolidate themes introduced during the exposition.

This results in Daryl speaking to Lawrence, a retired lawyer. These film techniques effect the audience, audience will feel attached towards Daryl and feel his commitment to save his house. The audience can see from the close up shot that Daryl is in distress, guilt and disappointment. This shot allows the audience to see the reaction Daryl has within these events. His reactions within these scenes, build tension and determination as the audience gets informed by his

After a fight Paul takes part in at Lake Windsor High, he runs to his neighborhood. Unfortunately, he is cornered by Erik and Arthur, who attempt to intimidate him. Paul narrates, “I understood that I was supposed to be terrified by this spectacle… But for once in my life, I wasn't. I stepped forward and faced them, just as I had seen Luis do… ‘I'm not afraid of you, Erik. Come on’” (Bloor 260-261). Since Erik chooses to confront Paul, Paul finally does not run away or get worried about what the outcome would be if he talked back to Erik and finds the courage to fight him off. He realizes that his opponent is just a punk trying to ruin his life, and drag him into his careless problems. Furthermore, as Paul faces Erik, he recognizes his same procedure full of pitiful remarks and, "When they finally spoke, it wasn't terrifying, it was lame… Erik stared at me with growing fury, with growing hatred, moving the bat in a tight circle” (Bloor 261, 252). Erik conveys his choice to frighten Paul, making Paul see that Erik was not as terrifying as Paul made him up to be. Paul perceives how terrifying Erik’s true self actually is, as a result of Erik’s choice to confront

The significance of the vivid image as a vivid memory in the story means the audience can take part in Paul’s journey.So that they can empathize with him and his experiences, through distinctively visual.

When Paul first moves to Tangerine, he is outcast, but as his confidence buildS, he learns to be a leader. He changed from being a shy kid to a brave boy who stands up for what he believes. As Paul struggles with relationship, he feel like a victim, but soon he learns confidence and he begins to stand up to his family.

To see what they see, and compare our own thoughts with the evolution of the characters and the story. The dexterity of the images, and the impact that each scene has in portraying this theme, guide the viewer throughout the film with little use of dialogue and action. Our central character “Jeff,” is struggling with his casted imprisonment, his need for adventure is apparent as he watches outside his window. Conflicted with his girlfriend and conflicted with his theories, his character becomes more palpable, we begin to realize what is going on not only on the outside of him, but the inside of him as well. The aspects of the outside courtyard and the visual isolation of each apartment, help depict the humanity of each individual and sympathy for even the darkest characters. Hitchcock uses his camera, just as our protagonist does, to focus with him. The camera angles are depicted in a way to which we react with the character, rather than at the character, and eventually expose the minor elements of the story that bring to fruition the suspense of the movie and the thrills of discovery.

Along in with the author’s use of metaphors is the frequent use of imagery. In this reading, it is simple to envision the scenes as the different scenarios are explained and the audience can easily picture Staples in the places he is describing and also the people he comes across. Perhaps the most powerful and memorable imagery is provided in the author’s description of people’s different reactions and faces when they come into contact with him. Actions speak volumes and an immediate change of facial expression is possibly one of the

I never gave much thought into what it takes to shoot, direct, edit, and complete a motion picture. Sure, it may sound fun, but after this assignment, it felt like a lot of work. There are quite a few specialized groups that put together the films that we enjoy in our movie theatres. No wonder why it takes months and even years to edit a film, these folks are making sure things are done and synced correctly! The following essay will identify information pertaining to film and importance for their audience so the person or persons watching can have an understanding of what it is they are viewing. A story that has no meaning or becomes very confusing in the details that are presented does not make a good film.

Paul experiences a growing of the first group, his friends. The motif of sight applies to Paul’s friends and family, along with himself. Luis Cruz, Paul’s soccer teammate and friend’s brother confronts Erik, Paul’s older brother, after he hit Tino, the teammate and friend, and

The movie begins with a shot of a cemetery of unmarked crosses. From the beginning, the audience is clued in that this isn’t going to be a simple film. Herzog does an outstanding job dragging out the transitions between scenes, whether it be the sun setting on a highway, or fields of corn shaking gently in the breeze, to create a bleak ambiance that carries out throughout the film. It gives time for the audience to analyze the new information they’ve been given to add onto their own judgements. When the audience first gets to view the original crime scene where the bodies of two young men were discarded, only the sound of insects and other nightlife can be heard, creating an unsettling effect that only adds to the gruesome

In the film The Help, directed by Tate Taylor, an important scene included is when Eugenia, mostly known as Skeeter, confronts her mother Charlotte about her childhood maid Constantine. The main purpose of this scene within the film is to help Skeeter find the truth of why Constantine had left Skeeter and her family after all the things they had been through, for the audience watching this answers the story created within the film. Four significant aspects in this scene are dialogue, voice overs, cinematography and the use of sound effects.

Furthermore, Lumet uses the film technique of different 'camera lenses and angles' to emphasize his intentions during the film. He employs numerous methods to enhance the ever-building tension throughout the room, including physically moving the walls in on the actors to enhance the feeling of claustrophobia. One case of this occurring is performed throughout the whole movie. As the story continues, Lumet gradually changes the lenses of longer focal lengths, so that the backgrounds seems to close in on the characters as the movie progresses, this gives viewers the feeling that there is an increasingly amount of pressure and tension filling the room as the decision becomes more uneasy on the jurors. Another example employed by Lumet to raise the tension level of the film is by using various camera angles during the film. Lumet shoots the first third of the movie above eye level, shoots the second third at eye level and the last third from below eye level. In that way, as the film begins we look down on the characters, and the angle suggests that they can be comprehended and mastered. By the end, the ceiling is visible, the characters loom over us, and we feel overwhelmed by the force of their passion.

For example, he swayed his hand to and fro while one lantern was centered on him, creating a shadow on the wall. When the narrator was executing his “ingenious” plan for murder, he slowly entered the room, crouching down for what seemed like an eternity, and opened the lantern to shine light on his victim, showing his vulture-eye, therefore giving the narrator the motivation to kill him and giving the audience an uneasy feeling. The narrator's body language showed tension as he was anticipating the right moment to kill the old man and as he was lightly conversing with the police officer. During the majority of the play, the narrator would laggardly ascend and descend the stairs which captured his increasing uneasiness. The actor's true skill in portraying his character was most perceptible as he carried out the murder of the old man. He kills and dismembers him happily, clearly showing the audience that the character is in an unhealthy mental state. Additionally, the narrator continually explains to the audience that he is not insane and attempts to prove it by explaining his master plan of murdering and hiding the old man. However, the more the narrator explains to us how sane he believes himself to be, the more we believe he is not. To represent a change in setting, the narrator opens an imaginary door and paces up and down the stairs. To show time progressing, the narrator