Satipo's Raiders: A Documentative Analysis

A variety of camera techniques are used throughout the beginning sequence to enhance the mood and involve the audience. Camera techniques are harmonized with lighting effects to culminate this dramatic scene. I will begin by discussing examples of this. In the village, many close-ups and long shots are used to enhance facial expression and to set the sombre mood.

The film uses a variety of colors to help this psychological piece to really embrace the story. In addition, the music in this film makes it feel more alive in contrast by its dark humor. Spiders make a big appearance in this film symbolising the world of Beetlejuice.

In the Allegory of the Cave there are chained prisoners in cave who can only stare at the cave wall in front of them. At the back there is a long entrance with a staircase the width of the cave and a fire burning in the distance. They see only shadows projected in front of them from a raised platform and hear an echo that they attribute to what they observe. They talk about and name the shadows of objects they see before them. To them the truth are the shadows. Then one day one of the prisoners is released. He is told that what he saw before was an illusion. Once he is outside it takes a while for his eyes to adjust to the sun. First he observed the shadows of thing then their reflection and finally the actual object. Remembering his previous state he goes back to the cave and tries to explain that everything is an illusion but they laugh at him and think he’s crazy. They believe it best not to ascend and they choose to remain as they are. The cave represented opinion. The shadows that are cast on to the wall represented physical objects. The prisoners represented the common people (Welles).

balance, and the cave paintings start the film's narrative by suggesting this may happen if something

During the film Steve Spielberg uses music, a mysterious shark and camera techniques such as simultaneous track and zoom, long shot, close up shots and medium shots to build suspense, tension and scare the audience.

Do peace, unity, and equality still exist this day in time among groups of people? Are we influenced by our environment to associate our way of seeing things and create language based on that fact? How we view the environment around us helps shape our understanding by creating language to give it meaning. Based on the linguistic data of the recently discovered tribe, we can draw conclusions about the tribe’s climate and terrain, diet, views on family and children, system of government and attitude towards war. This data shows that the lost tribe was an isolated group that lived in a valley, coexisted in unison, valued life, had high regards for

The opening scene of The Conjuring starts with a black screen and the three characters talking. They are talking to someone about the possessed doll, the moment they mention the doll, and extreme close up of the dolls eyes is shown on the screen. Although no sound is used, what is interesting about this is that it gives the viewers a shock, an uneasy feeling when we first see this. Although there is no loud noise this excellent close up technique gives us an insight into what it really is that is distressing the characters and we see why they are so distressed, and for one moment in the film we share the same distress. We feel the fear the characters feel. The camera then zooms out, the shaky camera movement away from the dolls eye suggests

cave are forced to stare at a wall where shadows are cast and puppeteers are able to show the

It has been over a century since the magical world of Vanar forcibly merged with Earth for a short period of time. In the aftermath of the short merger dragons and the host of mythical creatures left behind did war with the worlds armies, destroying vast swathes of land, while other countries were destroyed with nary a gunshot, due to the power and versatility of magic. While some guns and advanced technology survived, most of it was lost as weapon caches and nuclear arsenals detonated, or as the remaining gear was snatched up by scavengers, raiders, and technology hoarders. The humans managed to win the war...but only barely, launching every nuclear weapon they could at the strongest creatures, obliterating them but at terrible cost to some

darkness are used to make the atmosphere scary and teeming with danger, much as the 1931 film.

The directors chosen camera technique, a simple two composition that progresses the scene a steady pace, forces the audience to feel a part of the awkward exchange; obviously, a quality of film that could not be as profoundly achieved through the narrative in the novel.

As the music goes on, the constant loud bang of the drum adds that scary effect that you don't know what's going to happen next. The sound of a train and furnaces firing up are amongst a few which add a heavier eerie feel to the sequence. The editing can be seen that throughout the sequence a filter was put on top of the film, as well as this many of the shots have a blur around the edges. This effect could connotate the feelings of the main character when he first comes out of the coma. A time-lapse shot has also been used from 0:09 to 0:11 to convey the many years that have passed since he has been in the coma. Many of the cuts are raw and sudden, the shot will go from landscape (wide shot) to a extreme close-up. Once again foreshadowing the events to come, this could mirror the act of the zombies suddenly appearing. lump cuts are also used In scenes of an abandoned house, giving a Jarring effect to the pace. The titles appear amongst the scene, sometimes moving. The final title 'The Walking Dead' flickers into shot over a green background that fades to black at the edges. The use of mise-en-scene in this sequence evokes anticipation in the audience. The post-apocalyptic world is conveyed through micro elements such as, the bare and dirty decor of the abandoned house and the low-key dingy lighting. The contrast of natural and low key

generate moods, and have great psychological affect. This is just as true for the very first series of shots for the film, and perhaps more important since these first shots will give the audience the initial feeling of the film, and set a tone for the picture. The first shot is highly dramatic in its lighting method, and the audience is drawn in immediately to one single detail. A man begins revealing the details of a tragic incident that befell his daughter. We don’t see who he is talking to. There is a spotlight directly above the man, and this is pretty much

This clip is from the 1929 movie, Un Chien Andalou. This film uses two specific formal choices that illustrate it’s surrealism, including discontinuity editing and close-ups. Discontinuity editing in this film went against Hollywood’s continuity rules of seamlessly blending scenes together that not only made narrative sense, but visual sense as well. However in Un Chien Andalou, these rules are broken by obscure, random images that don’t seem to fit together and lack any narrative sense. In the clip, we see a scene of a man staring at his hand where ants are crawling out of a hole, then we see an image of a person’s underarm hair that soon transitions into a picture of a sea urchin. These series of images don’t make much sense when put together, yet they illustrate the surreality of the mind and how our thought patterns often lack any significance. The swarming of the ants in the hand is an example of lack of pattern because it symbolizes the fragmented or “swarming” images of our mind. These scenes are not only non-linear, but they are also discontinuous and show that our reality is constantly evolving; we walk away with a different interpretation of the movie each time. Another formal choice that Un Chien Andalou uses is the close up, we see this used in the first few minutes of the clip when the women’s eye is cut. The use of the close up in this scene brings this grotesque act to the forefront, where we cannot help but look away every time we see it.

The sequence continues to increase in intensity as a fast tracking shot is present to keep up with the running horse, the accompaniment used becomes faster and is frequently interrupted by the sounds of explosions. Pro-filmic elements again are present and work alongside the tracking shot to increase the intensity, an example being the lighting within the trench which is barely visible with the flash of explosions being the biggest source of light. It isn’t until Joey begins to run towards the other trench that the hero becomes entangled in barbed wire and the climax ends. In contrast to the medium, long and tracking shots previous to this an extreme close up is present during the end of this sequence. After Joey’s struggle to get out of the wire an extreme close up of his eye is used, its spectators see the fear and sorrow within his eyes. Joey is laid powerless and weak, and is in need of a human support in order to survive. The accompaniment has now stopped leaving Joey alone in silence, there is limited use of lighting and dull colours are present, each factor directly influencing the