Sequence Analysis of the Closing Scene of Sherlock Jr.

After using a medium close-up shot during their conversation before the painting, the shot drops down to focus on Detective Bannings hand as she grabs her coat pocket; this is where the pause happens in the sound while she is deciding what painting she would want and just before the music enters. As the music does enter, the painting in the distance becomes clear and the focus of the shot, instead of Banning’s hand creating a long-span view of a specific object. By focusing in on the painting in the distance and causing a dramatic shift in blurs, the audience is clearly drawn to the painting as something important to pay attention to. Film movement is an important aspect to creating a clear vision of what the movie should depict to the audience, and in this way, it is obvious this painting is an important object. This movement only further draws the audience into feeling emotion for what the painting means and how it will be used later on as well as how the characters are feeling toward each

it is the start of the story. The window fills the whole frame of the

also makes use of discontinuous editing, in a sequence that finds the projectionist/Sherlock Jr. sweeping outside a movie theater. After he sweeps and straightens a sign, the film suddenly employs an unanticipated straight cut to the projectionist walking up to a store. The projectionist is wanting to buy something he doesn’t have enough money for, then, after realizing he is short of funds, another quick straight cut shows him sweeping the movie theater again. In this instance, discontinuous editing is utilized to build on the narrative of the movie; following his encounter at the store, the projectionist is searching for the money he needs inside the pile of trash he was

To support this idea, Bordwell illustrates how art cinema motivates its narratives differently, through two principles: realism and authorial expressivity. Firstly he proposes the notion that art films reflect realism in their characters, space, and time. Psychologically complex characters are present in real worlds dealing with true-to-life situations. Art cinema is concerned with the characters ‘reaction’ to these situations, rather than their ‘action’. Thus it bares an element of psychological subjectivity as the characters survey the world they are in, which aids the realisation of the distress of

Tom Blaine is a student at Brookdale studying film and communication. His interest in film and literature all started when he was a kid with his father. Tom described his father as a “move buff”, having collected a wide variety of old films, like Star Wars. They would lie on the couch, watching the

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.

    Film and literature are two media forms that are so closely related, that we often forget there is a distinction between them. We often just view the movie as an extension of the book because most movies are based on novels or short stories. Because we are accustomed to this sequence of production, first the novel, then the motion picture, we often find ourselves making value judgments about a movie, based upon our feelings on the novel. It is this overlapping of the creative processes that prevents us from seeing movies as distinct and separate art forms from the novels they are based on.

Both the movie and the readings illustrated Sherlock to be a very wise character. He tended to have clients which he treated and cared for. Although in the movie he was a bit aggressive and rough. In the readings he came out as a more caring human being.

Taylor proposed the question “why are fans producing content and who owns it?” at the beginning of her presentation. From there she goes into the history of Sherlock and how he was originally created to the modern-day version shown on BBC. She explains how Johns’ role was originally to be the narrator of his and Sherlock adventures. How the audience was his eyes and ears, the only way to “communicate” with Sherlock was though his notes. Now Johns’ rule has been taken by the camera in the BBC show, yet he still plays an important part. He has now become Sherlock’s only friend and partner. These leads the fans to question why is this and what truly happening behind the curtain. She then explains to

There is also a crosscutting scene when Sherlock is proposing to the female protagonist while the antagonist is buying the same girl a present. This discontinuity is utilized to establish the conflict between two men of different economic standings. The director successful engages the audience’s emotions when the wealthier man buys the woman a more expensive present effortlessly, while Sherlock must use his last dollar on the gift. The ability for the audience to see these two scenes happening simultaneously allows for an opinion or side to be chosen which contributes to the successfulness of the film to keep the audience

In service of this argument, the essay unfolds in three parts. The first section sketches an appropriate framework for understanding how cinema marshals and moves viewers by engaging them in a fully embodied experience.4 The second section offers a brief overview of the film's plot before turning to an analysis of its triptych narrative and affective development. The third and final section considers the methodological, critical, and theoretical implications suggested by the preceding analysis.

different versions of Sherlock the visual and the images of the mind. You’ll see what I mean as I compare

Another factor to consider is how Holmes is written to be asking Watson even though he understands that Watson is not on the same page. This curious occurrence in the interactions between Holmes and Watson may also elevate the status Holmes imposes on the text and to the readers.

Arthur Conan Doyle’s legacy rests heavily on one Victorian creation: the character of Sherlock Holmes. Holmes's attitude of intelligence and originality continues to keep fans inclined and fascinated ever since the Victorian era. Holmes persists as remakes and reincarnations of the Sherlock character keep the mastermind relevant. While the modernization of Sherlock creates a personal connection between the reader and Sherlock in “A Scandal in Belgravia,” the BBC adaptation dilutes Sherlock’s character from a distinguished genius to a mere detective.

Another factor to consider is how Holmes is written to be asking Watson even though he understands that Watson is not on the same page. This curious occurrence in the interactions between Holmes and Watson may also elevate the status Holmes imposes on the text and to the readers.