This cuts to a dark medium-wide shot of what appears like a silhouette of the character. With a pan, it remains dark until a desk light is turned on, revealing a crowded and seemingly disorganized office space. Another cut reveals a medium-close shot of the main character with overhead lighting that is supposed to be coming solely from the desk lamp. This relatively stationary shot, only panning when the characters moves, focuses on the distraught character trying to comfort and make sense of the proceeding events to the clip. This relatively dialogue free shot reveals not much to the audience; only that this character would like to record observations. This shot is very crowded with visuals which also add to the confusing theme being portrayed. One final cut to a close up shot with similar lighting finally gives the audience insight into the mind of the character as they begin noting their observations. This shot is clear from distractions and gives the audience some relief and closure that has been build up with the proceeding cuts. Altogether there are 5 different shots being presented, all of which have very distinct length and composure that proceed to confusion and closure to the audience, as well as a smooth development…
References: Phillips, W. H. (2009). Film: An introduction (4th ed.). New York, NY: Bedford/ St. Martin’s.…
While researching on the different techniques applied on previous notable films created by distinguished filmmakers, I learned that they all similarly applied their understanding of human perception into the creation of their craft. To give a better point of comparison among the films cited in this section, all of the movies presented below share a similar technique: the uninterrupted shot. This method was preferred by this researcher in order to identify the differences in styles that were incorporated by each director in presenting his version of the uninterrupted shot. In the 1980 film ¬of Stanley Kubrick entitled The Shining, a long uninterrupted shot of the young boy Danny was shown as he explored the endless hallways of the…
Aside from the tilted angle, she is portrayed in only one frame with a medium shot in which her setting could be revealed. Mangold’s reasoning for limiting this lens is clear when the frame is overlaid with the dialogue in that shot. After Valerie mentions Lisa, Susanna screams, “You banish her for singing to Polly. We were trying to help her.” This is an argument that is surprisingly reasonable for her to make. Mangold frames this part of the scene so the audience focuses on the dialogue here and not Susanna’s hysterical state. Her words take precedence as her body fades into the background. It is not a coincidence that the only instance that Susanna does not seem completely disturbed is when plastered against the backdrop of the institution’s cold walls around her. It forces the audience to redirect their suppositions about the source of the patients’ madness away from the patients and onto the stark environment they are placed…
In both Ridley Scott’s Alien and Martin McDonaugh’s In Bruges, editing techniques are used to shape the overall effect of the film. Scott uses editing to make us feel on the edge of our seat, terrified, and thrilled, while McDonaugh drives home the emotional impact and turmoil of his characters.…
Pudovkin, Vsevolod. “[On Editing].” Film Theory and Criticism. Braudy, Leo and Cohen Marshall. New York: Oxford, 2009. 7-12.…
Editing is a post production process that compiles different shots of different lengths taken during production into the sequential thematic continuum that viewers know as the motion picture film. The coordination between two consecutive shots is a dimension by itself used to give indirect hints and communicate a smoother transition of ideas. The transition of the shots could be as simple as a cut and could be more complex as in a graphical match of colors and shapes between the two shots. Film makers typically have four areas of choice when it comes to editing:…
A movie is not just a motion picture, it is an art form. An art form that is put together by many shots and with that several shots it makes a scene. Editing shots and scenes can setup the mise-en-scene, also known as staging, and the visual design of a film. In the film, Juno (2007) Directed by Jason Reitman, it starts off showing a pregnant teen walking down a pathway with a sunny d drink, this shows the audience that the director is trying to tell us that Ellen Page is the main character of this film. The directorial decisions made in this film can be analyzed only if the audience catches what the director is trying to say or make us see. From the lighting to the composition of the film it can set up the mood that the movie is currently in.…
The next shot is the 'American Beauty' title card, meanwhile you hear the sound of the camera turning off, though this scene is over and very different from the next ariel view scene of the suburban streets; you understand that the previous scene may have been out of place (or maybe from a different part of the plot line possibly hinting at future story-arcs) as its a different time of day to the next shot. The shot zooms in closer to a particular road over a very sub-urban area of what seems like a city; the landscape appears large and very repetitive, with many of the houses and gardens appearing in very similar shapes as the camera gets further in. This establishing shot creates the idea that wherever the camera going could almost be directed into any of the houses on this road; this implies that though this film has a particular purpose, the viewer could 'drop' into…
This report is about how films work. In this report, I will give examples from the book and movie called ‘The Outsiders’. I will be using examples from ‘The Outsiders’ because the film has a lot of examples on camera movements, for example, close-ups, camera turning around, downward views, colored screen, camera edits, etc., and how films work.…
Based on the popular 1966 novel by Ira Levin, the movie stars Mia Farrow as Rosemary Woodhouse, the mother-to-be wrought with paranoia that a coven of witches living in her apartment building are plotting to steal her unborn baby for a human sacrifice. All at once, Polanski creates belief and disbelief in Rosemary, our protagonist and her situation through uncomfortable sound design, muffled sounds heard through the walls, unsure if it is dream or reality, and characters – that are just “a little too friendly and helpful” – that leave the audience second-guessing who can and cannot be trusted. The film feels all too real to even be considered a horror film, which may be why it is one of the most effective horror films ever made. 1.…
Movies are all about taking you on an adventure. They expand our minds, they bring our imagination to life, and manipulate our emotions. Directors do this in many ways, whether they are peculiar camera angles and shots, extreme lighting, or music that intensifies a scene. If a director correctly implements these within their movie, the audience’s emotions can very easily be manipulated.…
Because of the camera framing, the viewer can identify the main characters. The use of close up shots draws attention and focuses on the characters to show their expression and emotion. The use of low angled long shots gives a sense of drama and tension. Also, the body language of the characters helps communicate with the audience in addition to their speech.…
The opening scene fades in to a black and white overhead shot of a wedding chapel amidst a vast desert plain. A womans (The Bride) voice overlaps a slow tracking shot of the chapel. The progression of the camera is steady and calm, while the voice-over explains a massacre that occurred within the walls of the little, white chapel. The sequence begins slowly and uses deep space for a reason. By doing this, a startling contrast of the masochistic massacre and the seemingly peaceful ceremony is formed. There are no cuts or abrupt shifts within the establishing shot. Sally Menke purposefully chose not to use cuts because the lack of an edit can be just as effective as using one. The voiceover is in perfect pace with the continuous camera movement. The audience feels as though time is passing through the narration, all through one simple camera movement. The tracking shot begins with the chapel in the right corner of the frame and ends with it being centered. The axis of action guides the audiences eyes to the location where future action will occur. Once the shot is fixed on the immediate outside of the chapel, the viewer notices another contrast. Graphic patterns are present such as dark trees and a white chapel with a deep, black door. This serves as a transition into the next shot.…
“The Cutting Edge” is a documentary that shows the viewers the art of editing for film. In the documentary, the viewers are shown the amount of work that the editors have to put in to complete a movie. It also gives the history of editing, and how it became the vital role it is today.…