War Horse Camera Movement Analysis

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;”

A variety of camera techniques are used throughout the beginning sequence to enhance the mood and involve the audience. Camera techniques are harmonized with lighting effects to culminate this dramatic scene. I will begin by discussing examples of this. In the village, many close-ups and long shots are used to enhance facial expression and to set the sombre mood.

Almost every piece of cinema seeks to give the viewer an understanding by intricately assembling shots in a coherent, and a sometimes muddled, manner; the techniques used in editing places various shots in purposeful sequences, to emphasize certain relationships between shots. The shots can be arranged smoothly and logically, or shift abruptly from shot to shot; different methods of the aforementioned arrangement of shots are utilized in either discontinuous or continuous editing. Sherlock Jr. and The War on Drug’s music video “Holding On”, are two motion pictures that offer spatial relations, by applying techniques of both continuous and discontinuous editing.

The story’ opening shot is part of the montage sign of the neighborhood. Starting, the Camera tracks towards the STOP sign. There is also a distant aero plane behind, something which is catchy, and that suggests that there are remote likelihoods of escaping from these hood surroundings, that is, if the right decisions are made. The plane in particular tells a contrast to the sound of the hovering movement of helicopters, which is intrusive and always present. The sound of the intrusive hovering helicopters is already on the soundtrack even before any image appears.

clever camera techniques which create tension and fear. The camera shots also pay close attention to detail. For example, when the man with the dog throws a stick for his dog to fetch into the sea, the camera

The Storm troopers break through, and an eye line shot from their perspective is used to show the rebels firing back; connoting a "new perspective" has arrived. The cutters continue, and when the camera cuts back, they have created a smoke screen , and enigma is created as to what will appear next. At this point, all sound cuts to

This is achieved through the use of pan shots, combined with non-diegetic sounds. In the scene where Brandy was reading her diary, a pan shot was used to show that she was living in a poor neighbourhood and the negative conditions associated with it. When her dad aggressively pulled her mum through the room and out of the house she described the violence the family experience at the hands of her dad. A mid shot was used to express the anger in the dad's face but also the tears and screaming in her mum’s face. This focuses the audience's attention on the domestic violence that Brandy experiences. The director portrays this through Brandy’s voice over dialogue, “ I watched my mother being half beaten to death…..” This is a powerful use of non diegetic sound combined with a pan shot. This allows the audience to see that the whole family was living in a small house with one bedroom. The reason why the director combines the panning effect with sound is to have a stronger effect and draw stronger emotions from the audience. The use of voiceover and non diegetic sounds create a stronger and more realistic mood for the audience. The use of voiceover during the scene of her mum getting violently pulled and pushed is mixed with panning shots to also show the reaction of the rest of the family as they witnessed the violence. Through the use of these techniques the director encourages audience to think about and emotionally understand what a lot of young people in abusive families go through and the struggles which make them who they are

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.

A stylised moment was when Joey met the tank during the war scene; this moment was very intense as Joey was faced with a huge big tank that he cannot compete against. It shows the old technology in this case the horse meeting the new technology the tank. As Joey meets the tank he screams and gallops fast past the tank, while doing so Joey breaths rapidly. This is shown when the actors controlling the horse move the stomach inwards and out. There is a use of strobe lighting effects into the audience to make them feel Joey’s fear and panic that he is going through. In addition there is loud classical music playing in the background to intensify the emotions that the horse is going through. When Joey is first faced with the tank he runs, this is shown by the clever use of the revolve. The use of juxtapositioning occurs here, as it shows the old warfare facing the new warfare.

As the music goes on, the constant loud bang of the drum adds that scary effect that you don't know what's going to happen next. The sound of a train and furnaces firing up are amongst a few which add a heavier eerie feel to the sequence. The editing can be seen that throughout the sequence a filter was put on top of the film, as well as this many of the shots have a blur around the edges. This effect could connotate the feelings of the main character when he first comes out of the coma. A time-lapse shot has also been used from 0:09 to 0:11 to convey the many years that have passed since he has been in the coma. Many of the cuts are raw and sudden, the shot will go from landscape (wide shot) to a extreme close-up. Once again foreshadowing the events to come, this could mirror the act of the zombies suddenly appearing. lump cuts are also used In scenes of an abandoned house, giving a Jarring effect to the pace. The titles appear amongst the scene, sometimes moving. The final title 'The Walking Dead' flickers into shot over a green background that fades to black at the edges. The use of mise-en-scene in this sequence evokes anticipation in the audience. The post-apocalyptic world is conveyed through micro elements such as, the bare and dirty decor of the abandoned house and the low-key dingy lighting. The contrast of natural and low key

Analysis of the Methods Used to Make the Opening Battle Sequence of Saving Private Ryan Shocking and Realistic

Zahava Solomon, (an Israeli psychologist and researcher in the field of psychological trauma), have a conversation about a man who “looked through at everything as if through an imaginary camera”. As this scene carries through something happens his camera breaks. The situation he was in turn traumatic when they arrived in the vicinity of the stables in Beirut, (The Hippodrome). In this scene we see that Folman uses framing to create sadness within the audience. Folman creates the feeling of sadness by using different types of framing such as: close ups and mid shots. In this scene Folman uses mid shots of the Arabian horses to show the audience the suffering that the Arabian horses have to go through due to the soldiers that repeatedly abused them one by one. Close ups of the face of a wounded horse that falls over, creates a deep saddling feeling within the audience due to Arabian horse not being able to hold any longer to dear life, we see that the horses can no longer do anything which affects the audience as a result of us not being able to do anything about it. As the horse falls over we see the human figure reflecting in the eye of the horse that had just fallen over and died. The death of the slaughtered horses, which were scattered everywhere along the ground, creates a deep effect on the audience. Knowing that there are people so cruel out there in the world who carry on doing this and that this type of action still exists. The man behind the camera couldn't handle seeing the dead and wounded horses and so horror surrounded him and he freaked out. In this scene Folman also uses music to create a mood for the audience, which is happiness, whereas Ari in this scene feels down, buzzed and the song playing in the background “there's no love song” is a hyped song. Which creates an unusual and confusing feeling for the audience to feel, due to the character feeling down buzzed. Ari’s position in the force was that

At the start of the trailer, the background soundtrack is very calm and soothing, but as the minutes of the trailer increase, the build up of tension and quickness in the soundtrack increases too, loud instruments and sharpness of the sound are formed and the instruments are all played at the same time near to the end of the trailer where the upsetting ending happens, the instrument and sound techniques create tension and the build up of suspense synchronizing with the ending of the trailer, also the suspense wants to match the feelings an individual would have when getting closer to knowing what happens in the end. ‘The Boy in the Striped Pyjamas’ transforms from a novel into a movie. The speed of the trailer decreases towards the

The war film genre includes films about warfare, including naval, air or land battles. Films in this genre may focus on the battles, prisoners of war, military training, life during wartime or morality and humanitarian issues of warfare. This genre commonly includes works of fiction, works based on historical facts and occasionally works based on alternate-history fiction. According to American Cinema/American Culture, the genre also includes four narrative elements: the suspension of morality during times of war, the prioritization of collective goals over individual motivations, the rivalry between men and their objectification of women and the issues of reintegrating veterans. (Belton 165-71)

The style of edit for this sequence and entire film is continuity editing which produces a logical and straightforward narrative. The sequence begins with an establishing shot of the city road setting, orienting the viewer. The editing follows real-time human experiences, for example, the Tramp enters the paddy wagon then it cuts to him sitting down on the benches with the rest of the convicted, minimizing the perception of breaks between cuts (invisible editing).