Two Shots

Doubt Alfred Hitchcock’s film Shadow of a Doubt is a true masterpiece. Hitchcock brings the perfect mix of horror, suspense, and drama to a small American town. One of the scenes that exemplifies his masterful style takes place in a bar between the two main characters, Charlie Newton and her uncle Charlie. Hitchcock was quoted as saying that Shadow of a Doubt, “brought murder and violence back in the home, where it rightly belongs.” This quote, although humorous, reaffirms the main theme of the film:

Chiefs. Coach pulls me aside and lets me know that “they got a real good player over there number seventeen”. At first glance I did not think much of him until I took it upon myself to watch him while warmup. he had a nice set of hands, Quite a wicked shot and tremendous speed I now thought this guy is going to be a problem. Warmup had finally concluded. As a team everybody helped pick up the pucks and brought them back to the bench

(Nichols, 2010, P.275) in the sense that Aldorf Hitler took advantage of the vulnerable Jews. This essay will discuss the differences between the Jews and Germans during WW II through race and ethnicity. This will be supported from examples in the two scenes chosen, book vocabulary, as well as the formal and social content to analyze the scenes. The movie The boy in the Striped Pajamas: is about an 8 year old, privileged German boy named Bruno, who loves exploring, is forced to move away from

life-altering. Even though Sanger Rainsford went through many trials and tribulations, he never lost his intelligence, composure, or his bravery.      Rainsford is an intelligent man. Early in the story, “Rainsford remembered the shots. They had come from the right, and he doggedly swam in that direction” (34). Rainsford had just fallen in the water,

scene is shot with a steadycam – evident through a smooth pan following Dan from the couch to the kitchen. For the majority of the scene, the camera is fixed in one position on Frances and Dan through a mid shot as they are seated on the couch. This shot size is framed around the subjects for a measure of distance (Bordwell and Thompson, 2008). The pair are sitting very close together and the shot further outlines this by being close to the subjects – without being labelled as close up shot. It is

Noriko, walks into the scene. At this moment in the film, Tomi is on the left side of the screen and Shūkichi is on the right. The film cuts and shows Noriko entering the room, cut, then Tomi is on screen right and Shūkichi is on screen left in a long shot. Desser clarifies “characters who converse with each other seem to shift spatially in relation to each other and to the space in which they are filmed” (12). Many films, especially American films, usually have an alternating over

I believe that in I Confess, the first four minutes is not only the most important, but it also relates back to the rest of the film perfectly. In the beginning of I Confess the audience is shown several shots of the beautiful povince of Quebec to emphasize the location and then we see a murder and a confession occur in the same night. In this essay, I 'm going to be analyzing the mise-en-scene, cinematography, and sound of the cinematic masterpiece I Confess by Alfred Hitchcock. Father Michael

Riddles of the Sphinx is critically acclaimed and extremely hard to understand feature which uses several interesting perspective of story telling. This movie generalizes the broad topic of feminism in playful demonstration through camera lens. Interesting long 360 pans and close ups on Egyptian Sphinx makes the movie outstandingly unique and delicate. Mainly focused in a story of a mother, movie revolves around so many factors trying to make comparison between existing examples and feminism theory

Jimmy Stewart stars as L.B. Jeffries, a world traveling magazine photographer accustomed to living a fast pace active lifestyle. When Jefferies injures himself taking a risky picture he is immobilized, confined to a wheelchair inside his apartment for two months. Bored with his uneventful life he becomes completely obsessed with the lives of his neighbors spending the majority of his waking hours watching them from his window. To obtain a better view he begins using a telescopic lens from one of his

Within the argument, the cinematographer films the scene as a shot reverse shot, further implying that Matt and Ruth are in conflict. One can see the veil depression places Ruth after Frank’s death, enabling her to ask Matt for the literal unspeakable task of murder; in a short story, one cannot read silence, but the silence