Up Close & Personal

opening scene, a woman clutches a yellow handbag under her arm and she walks steadily along a train platform. A tracking shot follows the faceless figure, locked in close-up on the yellow handbag, until suddenly freezing. As the shot turns static, the character begins to mediate the distance between her body and the camera. The original close-up gradually transforms to a medium shot, and finally a long shot. This technique momentarily suspends the omniscient gaze of the camera, and evokes the spectator’s—as

The task was to create an effective advertising poster campaign for a specific film genre. I chose the horror genre as I am very interested in the way they are put together and how they create an eerie atmosphere by the technical codes (e.g. camera shots). For the primary research I created a questionnaire that looked at all the different aspects used to create a successful horror poster. I based my questionnaire around three different posters that were in the sub-genre that I wanted to research

Throughout Die Hard, many elements of cinematography were performed to reveal character, direct the audience’s attention, and shape their feelings. For example, at the beginning of the film when the plane is heading in for landing, the film commences at a close up of John 's stiff hand around his seat 's armrest for two specific reasons. The film does this in order to reveal that his character is married; hence the wedding band on his left finger, and to direct our attention to the possibility that he either

proposes that Lurhmann’s Romeo and Juliet makes much use of flashback and flash-forward to add to the drama of the script; as his style suggests irony and downplays the role of fate in the story. Baz Lurhmann (1996) picture (see Figure 1 below) extreme close-up, illustrates how very effective this scene is because they sacrificed themselves so they could be with each other. When the camera zooms, we see that the news report shows again, the television fades and the film ends, leaving the end of the film

it was not ‘born’ in a conventional way but it was created by people, and thus, it is a machine. Throughout the movie, Spike Jonez used a variation of close-ups, cuts and acousmetre (Chion, 9) to transfer the emotion of the main protagonists and their love relationship. According to Balazs (60), art deals with human beings which makes the close-up so powerful because we are brought into the very ‘soul’ of a person and it is normal for all people to start reading the facial expressions. As Balazs

letting his son: Daytone riding a horse, which portrays both his son and his happiness even though they aren’t in a happy environment. This is shown through different shots and techniques such as; a medium shot showing Daytone riding the horse; a close up on Bambi’s face to show his facial expressions and actors performance; lighting and colour ; and a long shot to show Bambi paying the man who owned the horse, money for the horse ride. All these help to show happiness in Bambi and Daytone.

father and son. Screen space is first used in the sense of camera placement and angle. Throughout the film, many scenes are shot from eye level and placed behind the characters. In the beginning, the camera is placed behind a long line of men waiting up the stairs to the unemployment office. Because of the perspective of the shot, the viewer feels like they too are waiting in the back of the line for employment. This shot creates a sense of frustration, chaos, and panic for the viewer- emotions that

Both Suzanne Collins’ The Hunger Games and Gary Ross’ movie, The Hunger Games, represent characters’ thoughts and feelings through their respective mediums. While the novel is written as a first-person narrative, the story is told with a third-person narrator the film, the latter giving insights to happenings outside the arena due to the ability to switch between internal and external focalisation (Fisher 28). Characters’ thoughts are foreshadowed throughout the novel using diction unlike the film

Major Actors: James Stewart (L.B. Jefferies), Grace Kelly (Lisa Fremont), Wendell Corey (Thomas Doyle), Thelma Ritter (Stella), Raymond Burr (Lars Thorwald), Judith Evelyn (Miss Lonelyhearts), Ross Bagdasarian (Songwriter), Georgine Darcy (Miss Torso), Sara Berner (Woman on Fire Escape), Frank Cady (Man on Fire Escape), Jesslyn Fax (Miss Hearing Aid), Rand Harper (Newlywed), Irene Winston (Mrs. Emma Thorwald), Havis Davenport (Newlywed) Director of Photography: Robert Burks Produced by: Alfred Hitchcock

despite himself, which upsets Suzy causing her to storm off to the tent and zip it up. Sam, after processing for a few dumbfounded seconds, goes after her to tent. He apologizes and tells her that he is on her side which she accepts. During the interaction, each child’s face is shown close up as though the viewer was the one sitting in front of them, adding another sense of depth into this fictional world. Suzy ends up reading her favorite book to Sam called “The Francine Odyssey,” a reference to Homer’s