Playtime by Jacques Tati Shot Analysis

The set consisted of separate panels made to look like the walls of a subway station, as well as stairs on either end of the stage and benches for the characters to sit on. There was an immense amount of detail in it, with the walls graffitied onto as if it were actually part of a subway. The costumes were reflective of the characters’ backgrounds. For example, the lawyer, the businessman and woman, and the professor all wore suits, as to indicate their professionalism. On the other hand, the homeless girl wore dirty clothing, reflecting her state before her death. The lighting in the play helped create the atmosphere of being in a subway underground. It came from different parts of the set, including the sides, with some of the lights being different colors, which gave it some variety. As a whole, sound was not particularly prominent in the production. At the beginning and the end, there is the sound of a train, as to indicate its departure and arrival. Additionally, there was also a sound queue with the conductor calling out, but it was barely audible due to a technical error. No special effects were implemented in the

The long take begins with an alarm clock waking up a couple, sleeping out on their balcony. As the camera moves from window to window around the courtyard, we see a few brief snippets of characters’ lives. And finally, the audience sees inside the apartment that has been its point of view all along. Mise-en-scene, framing, and cinematography

David Bordwell wrote his article ‘The Art Cinema as a Mode of Film’ in an effort to convey the main idea that “art cinema” can be considered as a distinct mode of film practice, through its definite historical existence alongside other cinematic modes, set of formal conventions, and implicit viewing procedures. Rather than searching for the source of the art, or what drives the art in film, Bordwell compares art cinema to the classical narrative cinema, and highlights the differences in narrative structure. Bordwell makes the assumption that it defined itself against the classical narrative mode; especially with the way it deals with space, time, and the cause and effect link of events.

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.

The lighting there is much darker than outside without any light. There is a medium shot from low angle facing the cellar door. Then, Lila opens the door and slowly walks down the stairs and proceeds to another basement room. The scene of walking steps from the door down into the room generates a mysterious mood and it symbolizes that Lila is going deeper into the hidden secrets. The shot then edited to another brighter room with lights on and a worn out setting continues with Lila opens the door producing a creaking noise. Then, it shows a medium shot of a back of a woman sitting on a chair with her hair-tied in a bun. Lila then walks closer to the woman and call Mrs. Bates. When she is walking, the camera is constantly stay and Lila is getting closer and the focus point changes from the hanging light bulb to her face. Her facial expression shows that she is curious about the appearance of Mrs. Bates in the cellar. She taps on the right shoulder of the woman and the body of the woman slowly jiggles back and turns over. There is still medium shot when she taps on her shoulder and audience can see the shadow of the woman reflected on the wall behind. Then, the shot is cut to a close-up shot with the skeletal of the woman’s corpse with empty eye

Additionally, in several night scenes, Lachman used long shot to shoot the whole windows in the eye-level only with the lighting from the rooms. This technique produced a circumstance that audiences are standing outside of the building seeing peeking what these people are doing. The window frames look like interval between characters. Dividing them visualizes the inner difference of characters. They are in the same genre of people. In the party of Harge’s parents, Carol smokes outsides and Jeanette steps in. The window frames separated Carol and Jeanette generating a boundary between them. Also in the scene that Therese and Danny are at the office of Time magazine, Lachman used the same cinematography method creating distances between two characters.

An overhead shot was introduced to show that the church is emptied, darkened and it also reflects a sense of loneliness. It shows that he’s vulnerable so if “something” comes, he would be in danger. As the candle was blown out, a pan was used to show Reverend Hedge’s confusion through his facial expression and the dark background in his back also emphasised this idea. A long shot was used to show the door was opened and closed suddenly in the perspective of Reverend Hedge, this contributed the horror to the movie. Humour was once again appeared as the Were-Rabbit burped and Reverend Hedge thought it was Mrs. Hedge. This reduces the apprehension and contributes to the comedy in the film. The Were-Rabbit was charging towards Reverend Hedge triumphantly like a soldier. A point of view shot was used as the Were-Rabbit hides behinds the seats, it emphasised the purpose of this scene to the audience that something is behind there. The music, at first slow became more dramatic as the Were-Rabbit is coming towards Reverend Hedge. A genre of horror was shown as we could see Reverend Hedge gasping in shock. A high angle appeared as the Were-Rabbit approaches Reverend Hedge more closer. This shot is being used to show that Were-Rabbit is gigantic and it makes Reverend Hedge seems to be very small which gives the viewer a kind of feeling that the Were-Rabbit is indeed, bloodcurdling.

The setting of this scene was a major production element of the frame. Being before Leonato’s house, the film use the exterior frame of his house to give viewers important information needed to establish the overall story. This also set the mood for the rest of the film since in the frame was joyful and laughter that was constant among the patrons. Leonato’s house is also a key location throughout both the film as most of the key events takes place there. The setting would remain relevant to the viewer as Leonato’s house being significant to the overall story.

Renoir develops this unique shot by using a technique called deep focus which falls within the mise en scene of “Frame Composition.” Deep focus means a technology that shows objects in the front, middle, and back of the frame with equal clarity. The reason Renoir does this is because he wants to create a fuller depiction of the action going on in the shot for the viewers. You first see Octave and Lissette at the front of the image as the centerpiece of the shot. Instead of making it a shot where Octave and Lissette escape to someplace to have a private conversation to get away from the hustle of the world to live freely in this weird ambiguous culture that they have going on. Renoir placed a vague blur in the background to prevent any possible distraction. In that background, you have a servant walking up on the left of Octave and Lisette as if something's he was going to have a going to have a conversation with Octave. Then directly to the right of them you a staircase with a mirror and some candles with creating plans for later action in the film

In this respect, her storytelling skills with a slow tempo enhance the film to have a strong sense of realism. Also, the other one is the set design, especially Lucy’s place. The director perfectly describes Lucy’s apartment as a New Yorker’s place. So, it makes the audience feel like people actually live there. We can see the arrangement of furniture and pictures on the wall. With the concrete image of space, the director separates the apartment into two places that are living room and bedroom. The living room is opened to everyone who visits her house, but the bedroom is more private place. When Lucy and her few friends go into the private place, they do drugs and show their reliance on drug use, which might indicates the dark truths of their lives. To show the mood of the place and private, drug-addicted life, the director uses not only a minimized use of lights, but also dreamlike soundtracks. In addition, the director chooses medium shots and different use of lights for the relationship between Syd and Lucy, and thus the intended settings help show character’s emotions such as tenderness of love. For example, when they make love in Lucy’s bedroom. The use of light is quite different from the heroin scene. The director uses medium shots with a full amount of natural light from windows to describe their love. Thus, I

For my Analytic Project, I would like to examine how Alain Resnais’ directorial skills helped create a certain ‘mise-en- scene’ to helped depict certain themes alive in the film. A French/ Italian play screen written by Alain Robbe-Grillet about an unconventional French drama, a group of unnamed aristocrats interact at a palatial château, resulting in an enigmatic tale told partially in flashback. X is convinced that he has met the beautiful A before in the Czech resort town of Marienbad, and implies they had a romantic relationship. M who may be A's husband or boyfriend, confronts her mysterious suitor, leading to conflict and questions about the truth behind his story. Much of Resnais’ directorial skills projected the film as a very highly

The game KillBox, created by Joseph DeLappe, Malath Abbas, Tom Demajo, and Albert Elwin, explores the technological side of military and political power. Game designer and theorist Jesper Juul, proposes three frames in which we can consider games; goal orientation, experience, and social context. These three frames interconnect and interpenetrate to give the game user the experience intended by the creators. Focusing specifically on his second layer of experience and his third layer of social context, the interactive, technological installation Killbox possesses these frames and intertwines them to form the game as a space where the user can explore the nature of drone warfare. This relationship is created due to the fact that the social

Directing a play all on my own was not something I had ever done before. What most people don’t understand is that before the rehearsal process begins, the director has about three weeks of work to complete, including: reading and choosing a play from the thousands of choices there are, ordering and paying for the scripts, auditioning and casting the actors, and creating a vision for the play. Once the upwards of 30 actors had auditioned over the course of two days, casting began and I spent about a week giving them roles and then switching them around, then getting the cast list approved but actually having to move more people around. The actors were getting antsy and the ones who could, would text and call me asking if I had finished. One

monitor that displays what the camera picks up. In the center of the room there is a

Within Isaac Julien Playtime exhibition that is presented by Fort Mason Center for Arts and Culture with the Kramlich Collection and San Francisco Art Institute, there is a film called Better Life (Ten Thousand Waves). This film is located in the Gray Box Gallery, within the San Francisco Art Institute. Based on Isaac Julian’s essay entitled “The Multilayered Storytelling in Film Installation”, Better Life conveys Julian’s style of “incorporating different artistic discipline”to create a unique poetic and visual language that is within the ‘art context’. By repeating 1000 waves the form of calligraphy and poetry, it conveys loss and separation ; The movement of Mazu and the lover convey the Chinese perspective of the tragedy. conveys the theme of migration that the Chinese cockle pickers did in search for a better life. The experience conveyed focus and darkness in the meaning of the work .