The first significant shot I will discuss is just after Eva Marie Saint’s face dissolves. This extreme aerial shot established the vast area in which Cary Grant faces. The camera stays in its fixed high angle as a bus approaches with Grant. The bus drives off and the camera angle and frame do not change. This establishes the setting for the viewers. “Such extreme high angle shots make characters into pawns” (E. Roger, 2008, 4). In other words it evokes the insignificance of a single human being in such a vast and secluded area.
The camerawork emphasizes the sense of detachment between the characters, and Billy’s inability with connecting with others. In addition, the film has a contrasty, bleak look to it, like a faded photograph. Gallo shot the movie on reversal film stock to capture that contrast and grain, in attempt to reproduce the same look of football games from the late 1960’s and early 1970’s.
One particular scene uses close up to effectively show the emotions displayed on Mani and Lola’s face. Mani portraying fear and anguish while Lola has a face of stress and her body language gives of the feel of her feeling responsible. This scene takes places as the start of the film and gives the story of the plot and an opening to the story. Close ups are used to get the audience's empathy or connection to the character. It gives a clear view of the emotions that are being depicted by both Lola and Mani.
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.
In this move, camera work plays a very important role. Since there are lots of emotional events in this story, camera work has to be able to transfer these emotions to the viewers. In fact this movie contains a rich camera work. The distance of camera, the angle and the way that camera moves toward the characters are significantly well done, because we can see all the changes that occur on face of each character. These make the movie to be more impressive and interesting.
Alfred Hitchcock’s film North by Northwest (1959) is famed as a classic man-on-the-run thriller, following protagonist Roger Thornhill as he flees across state lines in a mad dash to save his life and unravel the mystery to his extraordinary predicament. However, mid-way through the film Thornhill’s quandary is further complicated by the introduction of Eve Kendall, a beautiful yet mysterious woman he encounters on a train during his escape from the authorities and people trying to kill him. During the dining room scene on the train, Hitchcock expertly uses the camera to convey the characters thoughts and feelings. Interestingly, in a film that has several sequences with complicated cinematography and editing, the dining car scene is
In the book, Directing: Film Techniques and Aesthetic, the author describes the importance for different perspectives, “shifts of POV between characters five empathic insight into multiple characters’ thoughts and feelings, and portray a fuller and more complex understanding of the events of a narrative” (120). The music video switches between two perspectives, the husband and the wife. While the perspective of the wife follows her inner demons, the perspective of the husband follows the everyday struggle of helping her cope with those demons. For example, the wife is seen drowning emotionally and physically, while the husband is dealing with her outbursts at a party and attempting to calm her down. These two contrasting events allow the viewer to see how the wife’s actions effect the husband and the people around them. In “Coping with Mental Illness: a Family’s Struggle for peace, Stiles argues, “the main cause of caregiver burden is uncertainty. For instance, not the patient, doctor, family, or nurse can predict episodes of violence, outbursts, relapses, or other impulsive behaviors, such as suicide attempts” (140). By changing the perspectives throughout the music video, the viewer is able to see this uncertainty and its burden on family members. During a barbeque with friend, the wife has an outburst and yells at guests and her husband. This scene is told through the husband and the wife’s point of view. The husband is clearly shocked and surprised at his wife’s outburst, and is embarrassed about her behavior which leads to sending the guests home. The point of view of the wife shows the battle going on in her brain, which sparks compassion for her. However, the husband’s point of view allows the viewers to have sympathy for him because he is required comfort her, but also manage the consequences of her actions. The contrasting
In Kate Chopin's "The Story of an Hour," the main character is a woman who has been controlled and conformed to the norms of society. Louise Mallard has apparently given her entire life to assuring her husband's happiness while forfeiting her own. This truth is also apparent in Henrik Ibsen's A Doll's House. In this story, Nora Helmer has also given her life to a man who has very little concern for her feelings or beliefs. Both of these characters live very lonely lives, and both have a desire to find out who they really are and also what they are capable of becoming. Although the characters of Nora and Louise are very much alike in many ways, their personalities
Rikki-Tikki-Tavi was one brave mongoose who had the courage to go up against the fiercest animals on the planet, Cobras. (Movie)(Kipling 143) The story took place in Segowlee Cantonment, India in a house’s garden where Darzy the bird and his wife, Chucundra the muskrat, and the deadly Cobras live. (Kipling 143) The Rikki-Tikki-Tavi was a mongoose who got washed away from his home and ended up with a new family. He would would end up coming across three snakes in the large garden and killing them. Cobras, are one of the most dangerous snakes in the world. You must be brave to fight a cobra if you are not you could be snatched up any moment. Nevertheless Rikki-Tikki-Tavi the book and the movie are the same story they have differences such as the Plot, characterization, and the conflict.
Another scene using this filming method is Therese’s outburst after they find the private detective. There is a window frame separate these two in the long shot. However, Carol leans against and comforts her. Their bodies are in the same frame implying they units together to face this difficulty. The most impressive scene utilized this technique is Therese at Bill’s party. In this long shot, the gap between two windows is larger than any scene before, which contains an important implied meaning. At first, Therese seems absent-minded standing with a bunch of men. She occasionally glimpses at a woman in other side of the room. The woman also looks at Therese and then walks to her. The scene cut to the long shot. We see the framing divided by two windows. The left window is only Therese and the woman
On the 13th of October 1972, a plane which carried Uruguayan union rugby player team from to a match in Chile crashed, in an area in the Andes what was known as ‘The Valley of Tears'. They were stranded for 72 days in the harsh, unfamiliar environments; their story of survival would soon amaze – and disturb – the world, becoming the basis for a documentary named-"I am Alive: Surviving the Andes Plane Crash" (2010) and the movie "Alive" (1993).
Children today have access to many forms of literature, some of which are books made into movies. As the children become older, comments such as “the book was way better” or “the movie didn’t even come close to matching the book” or “the movie and book are the exact same, so save time and just watch the movie” are heard once children begin to make connections between the book and the film. It is important to me, as a future teacher, to be able to address such comments from my students and, in turn, help them understand why and how movies can either help or hinder the book’s original value and message. To help me prepare, I will compare a children’s film to the literary work that came from it.
Some similarities in the book are, Mason had to sell his horse and also tex’s horse because they needed the money for groceries. Mason said that if they didn't sell the horses then either the horses would starve or mason and tex would. Another similarity is that Tex had to go to the hospital. Tex had to go to the hospital because he got shot when he went to Lem’s friends house. Lem’s friend shot Tex in the hand because Tex was trying to leave. One more similarity was that Mason and Tex were on t.v. They were on t.v because they picked up a hitchhiker, and the hitchhiker had a gun and was trying to shoot mason. If Tex did not take the hitchhiker where he wanted to go then he was going to shoot Mason.
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,
The particular shot chosen from the film to analyse is the shot after Lisa Berndle (Joan Fontaine) rejected Lieutenant Leopold von Kaltnegger’s (John Good) proposal, and they walk towards Frau Berndle (Mady Christians), Herr Kastner (Howard Freeman) and Lieutenant Leopold’s uncle to break the news.