Stressful Situations Become Manifest In Ruben Leaves

{The curtains open to a scene that has a backdrop of moving a train. The background music starts the minute the curtains open and plays under the dialogue. Raul is looking out the door. }

The long take begins with an alarm clock waking up a couple, sleeping out on their balcony. As the camera moves from window to window around the courtyard, we see a few brief snippets of characters’ lives. And finally, the audience sees inside the apartment that has been its point of view all along. Mise-en-scene, framing, and cinematography

He is able to use these parts to manipulate the audience’s emotions. The music playing from the car is an on-screen sound. As the man gets attacked, the volume increases. The sound helps intensify the scene that has been created by the film’s visual elements. The audience then subconsciously forms ideas, opinions, and feelings about what they are seeing. The viewers develop scared feelings as the scene intensifies to the happy upbeat tune. The increasing volume of the cheery song reflects the violence and the sinisterness of the scene. The song stops with the slamming of the car’s driver-side door as the man is abducted. There is a moment of silence and then a new song abruptly entered the silent scene. The music is non-diegetic and is an offscreen sound. The song is screechy, high pitched, and jagged sounding at first, continuing the anxious and scared mood. The song shifts into a sort of soulful hymn. The tone shifts along with the song. The audience begins to feel relieved and relaxes to the peaceful song.

To see what they see, and compare our own thoughts with the evolution of the characters and the story. The dexterity of the images, and the impact that each scene has in portraying this theme, guide the viewer throughout the film with little use of dialogue and action. Our central character “Jeff,” is struggling with his casted imprisonment, his need for adventure is apparent as he watches outside his window. Conflicted with his girlfriend and conflicted with his theories, his character becomes more palpable, we begin to realize what is going on not only on the outside of him, but the inside of him as well. The aspects of the outside courtyard and the visual isolation of each apartment, help depict the humanity of each individual and sympathy for even the darkest characters. Hitchcock uses his camera, just as our protagonist does, to focus with him. The camera angles are depicted in a way to which we react with the character, rather than at the character, and eventually expose the minor elements of the story that bring to fruition the suspense of the movie and the thrills of discovery.

The movie begins with a shot of a cemetery of unmarked crosses. From the beginning, the audience is clued in that this isn’t going to be a simple film. Herzog does an outstanding job dragging out the transitions between scenes, whether it be the sun setting on a highway, or fields of corn shaking gently in the breeze, to create a bleak ambiance that carries out throughout the film. It gives time for the audience to analyze the new information they’ve been given to add onto their own judgements. When the audience first gets to view the original crime scene where the bodies of two young men were discarded, only the sound of insects and other nightlife can be heard, creating an unsettling effect that only adds to the gruesome

As the film begins, we see the slow pan across the cityscape of Manhattan at the same time a lullaby is playing in the background. Upon reaching The Bramford, the camera stops and brings us inside the courtyard of the building where a real estate agent is ushering a young couple inside. As the agent converses with the real estate agent, we learn their background. Inside the apartment, as they look around, we hear them joke about smoking marijuana which is one cultural element of the time and presents them to us as a modern couple.

Alfred Hitchcock’s thriller ‘Rear Window’ (Hitchcock, 1954) begins with the immediate use of mise-en-scène in order to establish a sense of atmosphere, equilibrium and the mundane, soon to be disrupted as the events of the film unfold and are observed through the eyes of the voyeuristic protagonist, Jeff. Setting, cinematography and various other expressive mise-en-scène techniques work together to influence the overall appearance of the film. Though, by taking a closer look, these techniques reveal the significance of the narrative and characters. In the opening sequence, Hitchcock’s original visual style provides signposts for the audience to recognize what will be significant in the future: instead of establishing what is only happening in the moment in time; mise-en-scène is used to suggest what is to come. This arrangement of the “Classical Hollywood” narrative - starting with the setting and characters in a state equilibrium - acts as a seemingly all-purpose, archetypal opening by establishing location and introducing character. Simultaneously we can see that this sequence is vastly different from the rest of the film: it is leading the viewer into a false sense of security – the calm before the storm – as Jeff soon happens to piece together information leading to the possibility that one of his neighbors murdered their wife. This sequence is one of the only moments in the film we see things the protagonist does not, thus this carefully constructed opening is preparing

To begin, the use of camera movement (and lack thereof) in this short film pushes the story forward by creating unity and disunity. In the beginning shots the camera has a large amount of movement, anxious to show the setting of Castello Cavalcanti, panning almost impatiently left and right to show every little part of the quaint community. In shot 2, the camera begins the shot focusing on the woman of Castello Cavalcanti. The camera then pans over to a little boy, then moves upwards in a crane shot to show some of the young men. In this shot, the camera pans eagerly looking for action, for something out of the ordinary. After the race car driver arrives on the scene, the camera stops moving. From shots 8 and onward the camera for the most part remains practically static. The camera has finally found something interesting, disunity, someone who

Each piece attempts to bait the viewer to linger, gaze, and engage in a moment of meditation on the state of their own waking consciousness—and the shadowy abstractions that lurk beneath.

At the beginning of the scene three out of four aspects come together to create a heart moving adventure that involves camerawork, discolouration and music. The main character Michele helps a kidnapped boy Filippo to come out of the hole he is trapped in to see the outside world. We first

As every story needs a better introductory start to describe the characters or the theme of the entire story. This video clip is also a kind of introduction, as it is picked up from the beginning of the movie “The Rear Window” directed by “Alfred Hitchcock”. This video explains a-lot about the movie that the all scenes would be created and filmed only in these buildings, its story would have been created by relating all the views from the particular window, as it is especially having a name ‘The rear window’. Here the video begins from the window of a room and the camera slowly moves towards the window, shows some buildings like apartments.

It than suddenly cuts to the lower half of a woman in a blood red one piece outfit with her arms by her side in one hand she is holding a rustic white statue of half a man on a mantle, which than shifts to the woman’s face which than quickly zooms out to present her in the centre of the scene standing in front of leave covered wall with a heart shaped symbol in the middle which is meant to represent a bunch of cocoa, with orange smoke blowing out from behind the woman. The scene quickly changes to show a woman in a white crop top and skirt with a futuristic head set on, the white clothes represent spirituality and serenity which is juxtaposed with the concept of the futuristic head set which symbolises the ore coltan which is used in phones, computers, camera’s and plasma TV’s, coltan also leads to brutal wars in Africa. The scene quickly shifts to the woman in the blood red one piece licking the back of the chocolate statue, which than switches back to the woman in the white clothes sitting on a bright orange mat surrounded by cocoa nuts with light purple smoke emerging from the

It is a cold environment where the noiselessness environment make you think about isolation or segregation. At some point this film remained me some scenes that I have watch in movies from the concentration camps in Germany. Some of the images are disturbing and unforgettable capturing the horror these hopeless animals suffer, the terror and man’s

The film alternates between a fierce critique of the status quo, personal portraits of the suffering caused by the recent economic crisis, and comical social satire. The film begins a series of security footages of bank robberies (one of the robbers was even on a crutch) accompanied by the song "Louie, Louie". Moore then uses an Encyclopedia Britannica archive video to compare the modern-day America with the Roman Empire. The film then depicts home videos of families being evicted from their homes, as well as the "Condo Vultures", a Florida real estate agent whose business flourished with the increasing number of foreclosures.

In order for our film to be a successful surrealist film, we have used subtle surrealist qualities throughout which the audience will notice gradually. These subtle qualities increasingly become prominent and this idea is supported and portrayed through the location. The film will be set in Varosha, which is on the coast of the island of Cyprus. This city is unique as it is completely uninhabited, due to an invasion by Turkey in 1974. The cities residents were evacuated immediately, never to return and the city now remains frozen in time. This concept is supported through