Analysis Of The Shot Charles Augustus Magnussen

An example of deep focus appears in this sequence. A young Mr. Kane is visible in the background by the window in the middle ground while Mrs. Kane signs over custody of him to Mr. Thatcher in the foreground of the shot. There is a great significance to Kane appearing at the background of the frame. The narrative perspective captures Kane being present, but almost pushed to the literal and symbolic background as decisions are made to determine his future in the foreground. The use of deep focus turns what would’ve been a flat cinema screen into a three-dimensional world with a strong sense of realism. Although our attention is not immediately forced to any specific aspect of the mise-en-scene, a certain important moment is noted just as Mrs. Kane signs the paperwork. Young Kane while playing a childish game of “civil war” screams “Union forever;”

Everything in the frame is in focus, which in a cinema viewing is a lot to take in, especially considering the films aspect ratio of 1.85:1. However, the audiences’ eyes are cleverly guided around the frame by almost unnaturally loud sounds, some of which are accentuated in post-production by Tati. The sounds against the floors create a reverbing echo, highlighting the absurd impracticality of the building. A man and a woman sit in the bottom left hand corner of the frame in what appears to be a waiting area. They are dressed identically in their monotonous grey colours, as if they are enslaved to the colours surrounding them. During the shot’s beginning, the audience is drawn to the nuns and their rhythmic footsteps as they enter the frame. Then, through a combination of actor gestures and dialogue, this gaze shifts to the two characters anchored in the foreground of the image. The rattling of a table being wheeled out by a man in white into the frame moves our eyes, as well as the couples own attention, to

The camera follows the elders of the block, Da’ Mayor and Mother Sister, as they talk in her bedroom. For a rare moment in the film Da’ Mayor’s and Mother Sister’s eyes are at exactly the same level, showing that as different as the two may have seemed, they are very much the same. Then the camera slowly pulls out as the two stand and sluggishly walk down a hallway toward a window. Now, where a director would typically have to cut and setup a new shot, Lee pulls the camera straight out of the window as Mother Sister and Da’ Mayor survey the block. The audience would expect to see next exactly what Da’ Mayor and Mother Sister are looking at, but instead Lee quickly pans over in the opposite direction to reveal Mookie standing in the street bellow. By doing this Lee makes a connection that both the elders and Mookie are, in the words of Mother Sister, “still standing.” The shot is not particularly tight but still has a cramped feel due to the clutter of things in the background, the heavy shadowing, and the red tint on the lighting. The red lighting gives sense of volatility to the shot, which is contrasted by the slow camera and character movements. These slow movements are analogous to the block as, regardless of how slowly, it too will go on and life will continue. This shot is in the tradition of mise en scene advocates like Bazin in that,

This technique momentarily suspends the omniscient gaze of the camera, and evokes the spectator’s—as well as Hitchcock’s—desire to “capture” the female protagonist as she escapes off-screen. In this context, the seemingly objective tracking shot may in fact reveal itself as a violent, subjective

The scene that I will be discussing for this paper is called “He’s a spy” from the movie Young Guns. In this scene, Billy and his gang are confronted by Murphy’s men. With the mise-en-scene, this helps the viewer identify that the time period being portrayed here is the late 1870’s or the early 1880’s. The mise-en-scene being used for this movie is important in telling the story from a different era as in today’s world, no one dresses this way anymore. Also to include from this scene is the lighting. I will attempt to give an explicit description of the use of the lighting and the sun and how the cinematographer designed for the use of it. Furthermore, I will also discuss the people that are directly involved with the making of Young Guns, the director, the production designer and the art director and their roles and responsibilities.

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

The film ‘Boy’ (2010) uses a range of techniques to construct an effective mise-en-scene. Taika Waititi (director) has been able to create aesthetically pleasing scenes to communicate to the audience about the setting, characters, story and themes. The sequence at the beginning of the film is an appropriate example of the good use of mise-en-scene.

Through the use of high and low angles (“a shot that is made by placing the camera above the subject angled downward” and “a shot made by placing the camera below the subject angled upward” respectfully defined by Jon Lewis, author of The Essential Cinema), are almost balanced in this scene. (Lewis) For example, during the first part of the scene, Mrs. Kane, Susan Alexander, and Mr. Gettys are seen as closer to the camera and at a low angle. This could possibly demonstrate that they are more active in the scene than Mr. Kane. Meanwhile, it appears that Mr. Kane is shorter and smaller than the other characters, again hinting at his inability to control the situation.

There aren’t very many special effects involved which added a natural, country feel to the movie. When Hilly drove her car to Skeeter’s house the camera shot from above with an open angle. The scene continues with their conversation, where Hilly is filmed from above Skeeter’s head shooting down on her, whereas Skeeter is filmed from Hilly’s shoulder height looking up at her. This shows that Hilly is inferior to Skeeter. The camerawork also employs zooms, such as when Aibileen is leaving in the final scene, and Mae Mobley recites the three sentences Aibileen taught her. This increases the importance of the scene, and gives introspect into the intimacy of their relationship. The camerawork creates an optimistic viewpoint when the camera incorporates wide angles, for example, when Minny is looking at Celia’s house for the first time, or when Skeeter is talking to her job editor in New York. A low-to-high tilt shot was used when the movie was introducing Celia Lightfoot that drew attention to Celia’s physique.

This paper will discuss various elements of mise-en-scene, specifically; character development, lighting, performance, costume, makeup in the film "Casablanca".(Michael Curtiz,1942) The setting of the story sets the tone for the entire film. Shots of tanks and planes show the violence of war that coincides with the cutthroat city that is Casablanca. From there, those sentiments are reinforced when a man is shot in the street while another man pick pockets someone whom is distracted. The mood of the movie stays on the dark side of things when we enter Rick's Café, where we meet our protagonist played by Humphrey Bogart. In this scene we are treated to the jaded portrayal of night club owner. We see his utter disregard for a French woman

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.

During the process of envisioning and designing a film, the director, production designer, and art director (in collaboration with the cinematographer) are concerned with several major spatial and temporal elements. These design elements punctuate and underscore the movement of figures within the frame, including the following: setting, lighting, costuming, makeup, and hairstyles. Choose a scene from movieclips.com. In a three to five page paper, (excluding the cover and reference pages) analyze the mise-en-scène

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

The camera tracks backwards as Szpilman walks towards us. It gives the audience the feeling that he is limping into our hands as if we are helping a poor elderly man. Then the camera tracks from right to left as we get the impression that he is searching for something. The director chooses to track his movements slowly to make the audience feel as if Szpilman is moving along in a fragile house just like himself. The camera tracks along showing the audience a full view of him showing us the little steps he is taking just to get to the other room. There is very low lighting in this scene which shows as if he is looking for something quietly without making noise. Szpilman then finds something on the floor, so he bends down and this is shown by tilting the camera down to a low angle. The director has chosen to do it this way because it makes it flow with Szpilman’s movements. Then the camera tracks and zooms into Szpilman walking into the next room. When Szpilman finds a tin opener and uses it the camera focuses on it even though it is a small object and not important. As Szpilman carries on trying to open it the camera is still focused on it. The director makes the audience focus on that repetitive movement of trying to open it but at the same time distracting them from the characters emotions if anything surprising happens.

The depth of field indicates what is significant in the street shot outside the cigar stand, having the Tramp, policeman and stand owner in focus. As the Tramp is escorted to the paddy wagon several observers walk into the frame and into focus, enhancing the narrative.