9 frame analysis


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The 9 frame analysis using the final scene of Rob zombie's "The Devils Rejects".

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9 frame analysis

  1. 1. Horror Film Nine Frame Analysis Clip used is the final scene of The Devils Rejects, directed by Rob Zombie.
  2. 2. An extreme long shot shows the Devils Rejects driving through vast desert land, making it seem as though they may actually escape the retribution people seek for the crimes that they committed. The desolate place fits in with the sound track used for the scene. The song “Free Bird” by Lynyrd Skynyrd also adds to the image that the trio are free to make their escape, and as though they are now free to restart life in a new place. The high key lighting gives the impression of positive times lying ahead for the .things around, giving them their chance to escape. This gives the audience the view that the Devils Rejects may deserve a new life, despite their crimes, causing the audience to emphasize with them. The car travels at what seems like a relaxed pace for people who are trying to outrun the police. This suggests that either they are tired of running and fighting or that they believe themselves to be safe now. Tracking shots of the car reveal both that and the Devils Rejects to look shoddy, untidy and dis-shelved, with all three passengers being injured somewhat, with blood stained clothes and exhaustion in their faces. This combined with the slow paced editing makes the audience sympathize with the criminals, despite knowing them to be cruel and unforgiving.
  3. 3. This shot is a point of view shot from Otis looking into the mirror of the car to check on Baby and Captain Spaulding who are sleeping or unconscious in the back of the car, making the audience question how badly injured they are. Only the rear view mirror and the reflection of Baby and Captain Spaulding are in focus in this shot, with everything else being blurred to specifically draw attention to the center of the shot. Both characters shown are not only exhausted but both covered in blood, as is Otis, who is seen just before this shot. This reveals that they have already had a difficult night before, in which they were attacked for the crimes they had committed, and this is shown more with the bright light constantly on them. The shot is also almost an over the shoulder shot from Otis, alerting the audience to the others being in the car with him, seemingly being in a worse condition. Again this shot has a fairly slow paced editing technique, with little, if any transitions used, in order to stick with the slow rhythmic flow of the song used to emphasize the Devils Rejects escape and their bid for freedom.
  4. 4. A close up of Otis being centrally framed in the shot reveals a look of frustration and exasperation in his, showing all is not well, combined with the fact that he brought the car to a halt. Otis’ face is covered in blood, which is most likely his own, due to the bandages he has on his hand revealing him to have been previously hurt in the film. Otis’ hair is also matted with the blood, which now seems to flow from a cut somewhere on his head. The way Otis’ is gripping the wheel reveals him to either be afraid of something or to preparing for something serious, as his grip subtly tightens. The pull focus draws even more attention to Otis, as all of the background is now blurred out to the audience, meaning Otis is now the only thing in focus in the whole shot, which seems to draw more attention to his expression. It is at this point when the soundtrack for the scene (Free Bird) seems to no longer be appropriate as something is wrong, preventing the Devils Rejects from actually being free, almost being ironic, as though mocking the family.
  5. 5. A long shot is used here, to reveal why Otis stopped the car: because a barrage of officers have formed a barricade to prevent the Devils Rejects from escaping to safety, causing Otis to become distressed and wake the others. High key lighting is used to show the importance of the officers, making them look like the positive strong characters, compared to the now weak and broken Rejects. This again causes the audience to sympathize with the trio, almost pitying them. It is at this point in the scene that the song “Free Bird” seems to become ironic, as it seems impossible for the trio to escape now, suggesting that they will either be captured or killed, so anything but free. Centrally framed is the an officer who is armed, aiming at the trio, with more around him. This again makes it seem less likely that the trio will escape, and leaves the audience pitying the Rejects who are now greatly outnumbered. The flashing sirens can be seen but not heard as they are muted out by the song, although it is possible to see officers shouting at the Rejects, presumably telling them to turn themselves in as it is clear they have no chance of escape, portraying the trio as the victims, not the killers they are known to be.
  6. 6. This shot is a flashback of the trio, showing them in happier less serious times, where the song “Free Bird” seems to fit more. All the Devils Rejects seem much more like an ordinary family, being shown laughing and messing around like all families do. This is contrasted by the previous and following scenes in which the families spirit is broken and they seem emptier now. The high key lighting of this shot seems more in support of the happy image, to show the playful carefree time, unlike the previous shots, where it seems to beat down upon the trio, almost punishing them. All of the characters look a lot more well groomed than they are seen earlier, despite wearing the same clothes, all typical of the seventies, when the film was set. None of the characters is covered in blood or injured, suggesting this may not be a flash back but a flash forward to what could happen should the family escape. The editing of this scene is again slow, but this time it is to keep with the relaxed atmosphere as witnessed, showing the family to be happy and peacefully, contrasting to the other scenes.
  7. 7. A close up shot of Otis’ loading a gun preparing for an assault on the police officers despite being severely outnumbered. This after a faster paced edit of handing Baby and Captain Spaulding their guns, showing that they also have to fight. The shot is centrally framed showing Otis loading the gun quickly despite having to also drive while firing, and being injured, again making the audience almost pity the characters, keeping the scene filmed in a way that victimizes the Devils Rejects. Otis’ hands are bandaged, although the blood seems to have seeped, making his bandages look worn and slightly useless, as they expose his continuously bleeding hand. This shows Otis’ to be able to handle pain , making his seem brave and slightly heroic for wanting to help his family while being hurt. The low key lighting adds a seriousness to the shot, which hasn’t been seen yet, although it also makes it look as though the Devils Rejects are desperate to stay free and despite knowing they cannot win this fight, they would rather die trying.
  8. 8. A tracking shot follows the car as they speed towards the police officers, making their last stand and bid for freedom, suggesting that they are all either brave or unafraid of death. The shot seems to also focus on the screeching tires of the car as they drive towards the officers showing their determination and will to fight despite their injured state. The trio are centrally framed in the shot, showing them raising their guns in preparation to shoot at the officers, despite being severely outnumbered, informing the audience that they would rather die fighting to be free, than go to jail for their crimes, making the song “Free Bird” again seem fairly appropriate. This shot also shows Baby and Captain Spaulding seemingly more awake than they have been before in the scene, again emphasizing the strength of the characters, making the audience support them for their bravery. In the scene Baby can also be heard shouting and swearing at the officers as though it is a final act of defiance, condemning them to the officers, and pretty much sealing their fate.
  9. 9. Pull focus shot of Captain Spaulding, having been shot by the police, showing him in detail, continuing to return fire, showing his lack of fear. The shot also shows Captain Spaulding being hit by shards of glass from the shattered windscreen of the car, with the shards also being in focus in order to draw the audiences attention. Fast paced erratic editing to show the speed of the scene, almost as if from an action film, not a horror, emphasized by the barrage of bullets flying towards the trio in the car, from the barricade of officers. The gun in the shot is centrally framed, in what seems like another attempt to remind the audience that despite being greatly outnumbered and having no chance of success, the Devils Rejects would rather die fighting than be taken alive. The sound of the scene is a mixture of firing guns, screeching tires and images of people on both sides shouting although their voices cannot be heard in the commotion, although the scene seems to slow down so it is possible to lip read what is being said.
  10. 10. This shot comes after a fast paced action sequence in which the Devils Rejects are bombarded with bullets from the officers who are determined to prevent their escape. This is aided through the use of fast jerky movements to mimic the bullets hitting the trio. Baby is seen here covered in bullet holes, bleeding relentlessly, at which point the audience can tell it’s the end for the Devils Rejects and that their last stand is all but over. All of the Devils Rejects are seen yelling in pain at being repeatedly shot, as seen here with Baby, who looks even more exasperated than before, almost as if she has lost the will to fight back, although all three rejects are seen to carry on shooting at the police officers while they themselves are being seriously injured. Along with the fast paced editing, the lighting seems to dim slightly, signifying the end for the trio, while it also becomes erratic, with dark transitions in quick succession of each other, to again show how destroyed the Devils Rejects have now become. High angles are used in this part of the scene, to look down on all the Rejects, almost to symbolize how much they have fallen, no longer being the strong characters they were to start with.