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1. M
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The really slowed down fade, being so slow that the
audience can see two separate scenes concurrently, allows
for this introductory sequence, to pursue a psuedo-respectfulness
about it, which, by it being proved as being
such – (psuedo) – it makes for a greatly proportioned
comedic effect.
Bean

2. M
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B
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The much more gradual fade slows the pace down
of the trailer, to make for a proudness and
honourableness about it with drawing it out,
further than is commonplace, but not too much, so
as to be nonsensical.
Bean

3. M
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B
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A
N
Bean
This overhead, birds eye pan, gives off the impression to the
audience, that this video package start, is about, not as much
about honourableness and proudness like the last, but
profoundness of the magnitude of the Earth’s delights in its
mother natural qualities, set apart from humankind’s production.

4. M
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B
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This paced zoom-in to the Sydney Opera House,
produces the atmosphere of a studied approach to
it, kind of like that of a news report or
documentary.
Bean

5. M
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B
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A
N
By the speeding up of this tribal footage, whilst it
doesn’t look grainy or filmed by a low quality
camera, the speeding up of it, gives off the effect of
it being longstanding and archived from a long
time ago.
Bean

6. M
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B
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A
N
Bean
The blurry slow motion of this clip, dramatises it. It’s
pretty comical for the director to have done this, because
the content of the clip isn’t out of the ordinary. But the
slowdown, allows for greater inspection of it to be had,
which in turn makes it turn out to be funny.

7. M
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B
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A
N
Bean
This naughty and child-like still image of Mr. Bean,
helps to encapsulate the running theme and idea of who
he is. This is beneficial, because it allows for the
audience to be readily able to accept in the humour; by
having the required, base understanding of it secured.

8. M
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B
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A
N
Bean
From all three of the areas of his face circled, whilst superficially, seem to be all the same in being
apart of one silly antic, they all represent different aspects.
The straightforward eye: This eye is demonstrative of his normalness that is inside of him
The cross-eyed eye: This one - of lunacy and wackiness on a considerable scale
Stuck out tongue: This shows us goofiness and playful nature. So, with all of these features
collaborative, it allows for the ultimate Mr Bean experience to be had

9. M
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B
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N
Bean
1. 2.
At the second still, the detective says ‘’I think he’s a fruitcake’’. From that being
said whilst we aren’t shown his face, or the man’s beside him, it makes it a literal
facelessness – an offhand and inappropriate comment, made facelessly. This has a
great desired effect, as it turns the detective into a mere statistic – a commonality –
in that Mr. Bean in this movie, is highly likely to have experienced rudeness similar
to this, daily, by characters that are more unimportant.

10. M
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B
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Bean
1. 2.
In the second still, the camera being stationary at the floor, by,
where the painting is going to tumble onto, it gives off a very funny
effect, from the addition al tumultuousness from its placement.
Whilst 3D would never be right for this genre, the director gets
around this difficulty with the closeness of this mess.

11. M
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B
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Bean
This match on action sequence works to humourousness,
because we collectively, have a rough idea as to what will
result out of Mr. Bean shooting a peanut out of a nostril.
Us being proved accurate, makes us satisfied, because it’s
balanced between what is unknown and known by us.

12. M
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Mr. Bean scrubbing this painting to damage, is made
funnier by the varying shot distances. With it being
manifestly chaotic, the jarring distance changes,
which are far from gradual, add onto the craziness
and helplessness of the calamity.
Bean
1. 2. 3.