Scene Analysis: Into Thin Air

Jordan Peele’s uses sound to his complete advantage in his thriller Get Out. The film sound in Get Out creates the tone of the scenes, advances the plot, and develop the theme of racism.

In the movie Get Out, directed by Jordan Peele, one peculiar scene takes place outside in the backyard of the Armitage’s house during a party, where the topic of tribalism is present. The party Chris Washington, Rose Armitage’s boyfriend, is attending takes place outside where it is spacious, bright, and accented by a rich forest surrounding the property, which provides a home to Rose’s family, and their ‘around-the-home-maids’, such as Logan, which is prevalent in this scene. The scene starts off by Chris going up to Logan and stating “good to see another brother ‘round here.” Once the two are about to engage in conversation, Logan’s wife Philomena, interrupts and lets Walter know other company is asking about him and that he needs to go chat with the other company. Before Logan leaves, Chris offers him a fist bump, but is surprised by Logan grabbing his fist instead of bumping it back, inferring that he is behaving as the other white folks surrounding him. Shortly after leaving, Logan then showcases himself to the white people. This scene represents partly what David Berreby’s article, “It Takes a Tribe”, was about: humans naturally group together stationed on common interests.

The imagery of the water and its purity, or reflectivity, foreshadows events throughout the film. When innocent

A Room With a View by E.M. Forster is a classic tale about a girl from Elizabethan era England trying to find independence and purpose in the world. Lucy, the novel’s main character, embarks on a journey to Florence, Italy with her cousin during which her whole perspective is refreshed. She experiences many new things and shares exciting times with people she knows and meets, and feels like a new person from it. But, when she arrives back home in England, she begins to feel the enclosure of society back on her again. Florence is a place where she can be herself, and her home on Summer Street in England is a place where she feels the full force of class restriction.

The movies starts off with a picture of a red scarf hanging off a street lamp and then flying through the air.

Monday not long after arriving at the office SAC Mark Pro received a phone call concerning assistance from the GBI for a death in Adel. CSS Kellyn Wilkes was the CSS on call. The other intern “Olivia” and I rode with CSS Wilkes to the scene. Upon arrival, we were still waiting on a search warrant before entering the house. However, since pictures are always taken before entering a house in death investigations we took pictures from different distances as well as vehicles on the property before entering the residence. Additionally, DNA swabs were taken before entering the home as well. I watched and observed as evidence was obtained and as the residence was searched. Afterward, evidenced was logged into an online database and left with the Adel Sherriff department.

Sayuri is just a normal little girl in a fishing town in Japan. With a sick mother, and a quickly aging father, it seems as thought Sayuri and her sister, Satsu, may soon be alone in this world. However, a man soon visits their village and takes the sisters away--for a price--and soon they are introduced to a whole new world.

The camera follows her at eye level, with just a few steps behind her in which we see how she constantly shifts from left to right and back again in her pursuit. The camera also follows her eye line, quickly reacting by panning or tilting to show the audience what she’s looking at. With shot composition like this, the editing clearly follows the director’s mindset towards this sequence. The transitions between shots vary and are somewhat unexpected. The editor uses a mix of tracking shots and mainly centers around going from widely composed shots to closely composed ones. An example of this is the tracking shot in the scene that shows the path of the cocaine, in a sense. It’s first put into a teddy bear and we then see dialogue serve as a bridge to bring our eyes up to the bunk bed where the woman is working on her contribution. With the woman’s passing of the scissor we then see a man reaching for a suitcase that transitions us down to the woman in the blonde wig yet again. It seems as though objects serve as the transition between shots, continuously connecting rapid cuts and the use of frequent jump

In the novel A Room with a View there are two main settings that not only contrast in location but also in atmosphere. The author, E.M. Forster uses Florence, Italy and Summer Street, England to exaggerate the differences in the main character’s state of mind influenced by the people and places around her. The restricting culture of early 1900 Europe in which the story takes place also plays a role in the varying settings as the author strives to convey his purpose.

Throughout Memento the shifting between objective and subjective point of views shapes our perception of Leonard, Natalie and Teddy. There are two types of scenes in Memento, the black and white scenes in chronological order and the color scenes which are shown in reverse order, which eventually meet up chronologically with the black and white scenes. The black and white scenes are objective, the audience and Leonard can see all the facts and they are not influenced by Leonard’s emotions or opinions. The color scenes are subjective, they are from Leonard’s perspective and we are denied the same information Leonard is denied during these scenes.

The scene begins with Kat Dennings character 'Renee Yohe' laying on the ground after taking drugs. A high shot has been used to capture this moment as it usually represents vulnerability, therefore causing the audience to sympathise with Renee, and the position that she is in because she's powerless. This angle also enables us to view the mise-en-scene, which is extremely dreary as the colour scheme used consists of grey and black. These colours have been used as they have connotations of being seriously dull and depressing, thus reflecting the characters emotions and causing the audience have a further understanding of Renee and what sort of personality she has. Still in the same shot we hear the diegetic sound of a butterfly flapping its

In Season 1 Episode 2 titled 15 Million Merits depict the life of our protagonist or hero Bing. As we enter the beginning of the scene we notice how uniformed and lonely life he lived. Bing longs for companionship with others. We know the common need for a man is a partner most likely woman. The society is still very controlling and offers no sense of living decisions.

Child protective services take Mitsuko away resulting in Sayuri experiencing a breakdown. This leads to her now believing she is Mitsuko. She then proceeds to write a novel from her point of view as the daughter which is why it’s represented that Mitsuko began to enjoy the abuse and was jealous of her own mother. “Mom and I looked exactly alike. I was her, and she was me,” she writes, claiming that the first time she sees her parents have sex, it’s as if she’s having sex, too(*). Throughout the story as Sayuri impersonates her daughter she uses a wheelchair. You learn quickly that she is not impaired and can use her legs. Sayuri is well aware that she is not incapacitated and this is shown when she takes walks. For this reason, it appears that Sayuri is in fact aware that she is not her daughter. If she had a mental disorder her psyche would affect the use of her legs because she would truly believe she was

Unlike the enthusiastic Western women, women grew up in oriental culture often have more restrained and gentle attitude, and this is one of the most symbolic cultural landscapes in Japan. In the movie, Sayuri chases for love and all she wants to do is to get closer to the Chairman. In fact, before the end of the story, she only sees chairman a few times in all, but she has strong faith to be with him. It could even be said that her whole life started from the few minutes of their encounters on the bridge. This is the typical oriental love, implicit but deeply passionate.

Both Sayuri’s childhood psychological unfulfillment and Tanaka-san’s role as her first “surrogate” father figure cause obsession with Chairman Iwamura. Adversity and emotional problems encountered during early childhood play a great role in shaping later behaviors. Sayuri’s lack of love from a father figure in her youth shapes her mind’s particular susceptibility to displays of affection from older males. When the Chairman performs the simple act of helping and complimenting her, she “changed from a lost girl facing a lifetime of emptiness to a girl with purpose in her life” (113), the event greatly impacting her psyche. She is led to believe, through her deadpan father, that men are generally uncaring, and as such