Thin Blue Line Vs Cloverfield

The vision Christopher Nolan had for The Prestige (2006) was to add to the outbreak of street magician film, whilst playing a large dramatic subplot equal in grandeur to the magical performances within the film. In the final sequence of the film, I will analyse how the cinematography and sound resolves the plot so that it summarises the themes present in the film, whilst also invoking a response from the audience. Nolan predominantly uses close up shots, non-diegetic sound (music) and dialogue collaboratively to convey the dramatic, personal subplot of the characters and their relationships, whilst appealing to the audience bringing forth an emotional response from the audience. The heavy, slow, dramatic atmosphere of the ending sequence uses various techniques to summarise and uncover the underlying mysteries of the events throughout the film and consolidate themes introduced during the exposition.

When a person watches a movie, and a scene with dim lighting shows up on the screen, that usually makes them feel tense and scared about what is going to happen next. Directors use cinematic techniques to convey feelings or connect with the viewer. In the movies Charlie and the Chocolate Factory, Alice in Wonderland, and Edward Scissorhands, Tim Burton uses flashbacks, diegetic and non-diegetic sounds, and high key and low key lighting to show a characters’ thoughts or past, create the mood of a scene, create suspense, and let the viewers know about the characters’ as if they personally knew each other.

At the very beginning of the movie Lurhmann starts by making the audience instantly focus on the screen and nothing else. The camera zooms in onto a TV set whilst an anchor-woman on a news programme presents the synopsis of the story, “two households both alike in dignity...” Because the only object on the screen is one TV set with a black background, the audience focuses only on the news reporter which gives them a better understanding of the movie ahead and it instantly gets the viewers to concentrate hard. This synopsis is then enhanced by words and repeated lines both flashing across the screen and said by the voiceover. Thus, even if the audience cannot

and the musical score show how these movies took different paths to keep the viewer

Our textbook, describes these four major emphasis strategies: Visual communication, Signposts, Internal summaries and Foreshadowing and Repetition.

For instance, in the intro of Edward Scissorhands when Kim was telling her granddaughter the story of Edward, they were in a room filled with warm light from the fireplace. This technique gave the audience the effect to become suspicious and watch more. Just like in The Big Fish when his Edward was telling the story of how he “caught” his wife with the fish swimming in the water. The lighting of the water made the viewer wonder if something good or bad is going to happen. Some of the viewers may not have noticed it but the camera framing plays a big role in establishing the mood.

In Blue Streak the plot moves at a slower pace. Each thing that happens doesn’t trigger another major event immediately after. They take more time in each scene to allow for more plot development. Bad Boys II moves very quickly throughout the plot. One event leads quickly to another major event, and this is seen throughout movie. Things happen in quick succession and the plot moves very quickly without any lull in the action.

An example of the latter is how the blocky text sometimes borders on illegible, calling the reliability of the protagonist into question subconsciously. Or how Lone Survivor is viewed through a graphical filter, ensuring the player at all times is acutely aware they are standing on the outside looking in - almost as if the protagonist examines himself. It feels otherworldly like there is something off about everything. The most impressive aspect of Lone Survivor's visuals is how Jasper Byrne goes beyond merely depicting concrete events; they are a part of the story in their own right. He achieves this in large part due to a terrific art direction, one that effortlessly blends the mundane and ordinary with the fantastical and horrific.

In The Thin Blue Line, directed and written by Errol Morris, he challenges our preconceptions and expectations of documentary films by showing viewers a series of lies by using cinéma vérité interviews that are in medium shot, eye level to allow the audience to make a connection to each person who is being interviewed regardless if their statements are untrue. In fact, with Errol Morris filmmaking skills in the opening credits with the text of the word “Blue” is actually in red and the non-diegetic sound score by Philip Glass creates a setting of pending action. The transitions of black screen to a medium shot of Randall Adams dress in white to illustrate his innocence cutting to visual flashing red siren lights to medium shot of David Harris

Wells also like to use deep focus, where both foreground and background can be kept in focus simultaneously. This cinematic technique gives the audience a choice of where to look at rather than them being guided to see what the director wants you to focus on. One of the many scenes that used deep focus was when the mother is signing off her son Kane. In this particular scene all three planes are in focus- the mother at the front, father at the door, and young Kane

When Will is trying to solve a formula he writes his work on his mirror with a dry erase marker. The camera blurs out will and focuses on the formula and also does the opposite. While writing the formula out, the shots fade to the same shot but at a different angle creating a feeling that some time is passing by. Also, to support this feeling each time the formula is showed there is more added to it than one can write in the brief moment that it took to come back to it with the camera. Additionally, the benefit of having the scene of him writing on the mirror lets the viewer see him concentrating on the formula and lets the viewer see the formula being written out which shows the viewer how intelligent Will must be, since the formula probably made little sense to him or her. Another effect was a fight scene captured in slow motion. After the fight scene the cops showed up and many flashes of the scene from different camera angles appeared creating a feeling of confusion and made it seem speeded up without it being filmed in fast motion. During this movie many close ups were filmed where the eyes were the only bit of color on the screen. When Will starts talking to prove a point, which is several times through out the movie, the camera zooms in on him concentrating on his eyes. However, while Will and his friends were in the car the camera looks at each one individually from a distance while mellow music is playing while it is

The opening scene in David Lynch's Blue Velvet portrays the theme of the entire film. During this sequence he uses a pattern of showing the audience pleasant images, and then disturbing images to contrast the two.

As a casual viewer, when watching a movie you only witness the surface of the picture. The more times you watch the film, it seems there's more to the story. There is so much more to cinematography, for instance, when watching the movie look at the characters and ask yourself. How are the subjects presented in the frame? How do they interact? How are the subjects characterized cinematically? In the film Pi: Faith in Chaos directed by Darren Aronofsky; Max the main character is filled with anxiety and with an on the edge personality due to the fact of trying to crack the code of the mathematical phrase Pi. The reason for this is because he is trying to predict the stock market. Which leads him to multiple characters such as Sol, Lenny, Marcy,

This highlight area of his eye is the part of the frame which has the greatest contrast, so naturally the audience is drawn directly into this man’s stare,

For example, in the scene whereby the three brothers were in front of a shrine, the others were equally distanced, creating the impression that they were looking directly into the camera whilst creating a balanced