Quentin Tarantino's Inglourious Basterds

This is commonly done in Edward Scissorhands. As Peg ventures further into the mansion, low key lighting is applied when Edward comes forth from out of the shadows. As soon as the audience discovers Edward shadowed in darkness, with his sharp blades for hands, they begin to believe that he is a harmful character. It is only when Peg offers to take him home that the audience realizes that he is not the menacing man they had previously thought he was. Through the use of low key lighting along with his dark image, the audience must get to know Edward for who he truly is in order for them to be capable of understanding that he is not an evil character.

Lewis uses lighting to dramatize the opening scene of the film and characterize the protagonist of the story. The most noticeable utilization of film noir lighting is in the beginning

When Tim uses low key lighting to show the scary side of the movies. It helps put the scarier side of the movies. It helps put the scary part of the movie in the

This essay is about the movie Inglourious Basterds (2009) written and directed by Quentin Tarantino. The significant elements of mise-en-scene in the film will be discussed, along with the film’s elements of cinematography in the opening scene. Film often uses editing techniques in its storytelling that infer meaning, subtle though they may be. These techniques will be identified and discussed, and the meanings explained. Set in Nazi-occupied France during World War II, the film follows a group of Jewish US soldiers as they plan to assassinate the leaders of the Third Reich in a movie theater. Led by Allied officer Lieutenant Aldo Raine, played by Brad Pitt, the “Basterds’” plan coincides with the theater owner’s vengeful plans for the same thing.

Similar to how the hazy quality adds to the oneiric atmosphere of the shots in the Dietrichson’s household, the elements of the mise-en-scène contribute to the realistic characteristics of the first shot. Here, the viewer is presented with a seemingly perfect upper class neighborhood full of California Spanish houses. The children outside are playing baseball and an ice cream truck drives by, representing the epitome of the American Dream. The image is sharp and clear, with the light source coming from the right. However, the lighting is practically uniform in this shot. There are several hues and colors present in this shot, which is consistent with the realm of reality. Each frame of the camera is busy and cluttered, and there is a great deal of movement from both the props and the actors. However, it can also be argued that the first shot—though fairly realistic—is interrupted by oneiric qualities.

Another technique that is used is changing light with reference to the plot structure. The use of lighting has allowed the audience to see the obvious contrast between the beginning when Szpilman was having a happy life, and after the Nazi came and occupied so that how Polish Jews are getting dehumanised. For instance, the light was extremely bright at the beginning of the film, Szpilman was playing the piano at the radio station and having a meal with the family. When the Nazi

One such flashback begins at Thatcher’s building where the reporter Thompson enters an exaggeratedly large room and begins to read about Kane. This is one of the scenes in which cinematographer Greg Toland’s deep focus technique of filming and use of unique lighting, in which the only light source hits

Karl begins to tell his story under the soft light of the lamp. His story is accompanied by a strong and slow heartbeat. As the story is reaching its horrific climax, the heartbeat quickens, and with the last word of the story, the heartbeat now louder and quicker than ever, stops. The lighting creates a chilling moment in the movie. The constant use of lighting is most definitely contemporary noir.

A style of lighting where a scene is flooded with shadows and darkness, creating suspense or suspicion is called low key lighting. For example, in his movie Edward Scissorhands, the scenery of the mansion where Peg explores and then later discovers Edward is dark and creepy. This shows that the low key lighting gave the audience a sense that Edward is scary when he really is friendly. Another example from his movie Edward Scissorhands is when Edward and Jim argue and fight in Edward’s dark and creepy mansion. This illustrates the dim and sad lighting that Tim Burton loves to use is displayed when they are fighting.

Not to mention but,the film technique that Time Burton used was High- key-lighting. High-key-light is where the scene is Full of lighting. In Tim burton’s movie Edward scissorhand when Peg has a barbeque to introduce the neighbors to Edward the scene is full of light.

Tim Burton uses lighting to make characters look evil. In the movie Edward Scissorhands Tim Burton uses dark and low key lighting to make Edward look evil. When Edward is first seen he was in low key lighting, and he looked evil with his big scars and his scissorhands showing. Once you

To start off, Tim Burton presents a unique and daring way of using lighting to guide the audience into believing the tone of a scene is either dark, peaceful, or even mysterious. An example of this would be in the movie Edward Scissorhands. In the beginning of the movie when one of the characters named

The captions also imply that the set locations are real and not created in a Hollywood studio. The use of black and whites also adds to Spielberg's objective of realism, as black and white is more reminiscent of the time of the Holocaust. He makes effective use of handheld cameras in a few of his scenes; this creates a sense of urgency and fear. This also conveys that the film is not a Hollywood studio made film and mesmerises the viewer into believing that the events are nothing but the sober reality. The documentary styling contributes to the intensity of the film and creates stronger emotions within the viewers by adding to their disbelief and horror.

His cinematography “creates an exceptionally inviting, varied look for this nocturnal story, and special visual effects are smoothly integrated into the action. The makeup that adds pale eyes, ghostly pallor and tiny blue veins to the principals' faces manages to create a frisson of danger without marring the actors' attractiveness” (Maslin). Rousselot used dark-lensing, a way to attain low key shots and thus created a huge contrast to the sets and costumes (Maslin). This made the characters seem as though they were the only important things in the otherwise dark and gloomy shots.

Quentin Tarantino is well known and often criticized for his depiction of violence in his films. Although at times graphic, Tarantino’s violence holds a purpose. This paper will look at two films, Jackie Brown and Pulp Fiction, and their depiction of violence and the aesthetics used. It will also look at classic film conventions and ultraviolence aesthetics used by Tarantino. Finally, the paper will determine what aesthetics Tarantino carries over in each film.