Stylistic Analysis Of Deception

Stylistic Analysis Of Deception
Inception: An Analysis of the Stylistic Aspects
The stylistic analysis of this paper will be focusing on the techniques used to indicate the dream
realities and the actual reality in the movie Inception by Christopher Nolan. The analysis will be
based on the mise–en–scene of the movie, especially camera movement, lighting, as well as sound
and editing. When analysing these techniques into detail of three different scenes, differences and
similarities should be spotted between the realities. By analysing these techniques, a conclusion will
be made on whether or not the ending of the movie is the actual reality, or if it is a dream.
The first scene to be analysed is the first dream the audience experiences lasting from 0:02:48 and
until 0:04:26. ... Show more content on Helpwriting.net ...
At 2:17:18 the audience sees an extreme close–up of Dom's face, the focus mostly on his eyes. His
facial expression is one of disbelief, which is also shown in the following shot, a close–up of his
face, the camera moving slightly backwards. The nondiegetic sound of the film's score is
sentimental, evoking emotions. In the following shot Dom's eyes move to look at the members of
his team, the camera following in an eye–line match. Jumping forward to the very end of this scene,
at 2:19:51, we see Dom coming home. Seven seconds later he is in the centre of the shot, the camera
panning slowly from right to left. As Dom takes his totem, the spinning top, out of his pocket and
spins it on the table, the camera follows his movement, but before Dom gets to see the spinning top
fall, a signifier of reality, he sees his children and the following shot shows the audience the two
children, who are out in the garden and playing. This shot is very close compared to the fact that
Dom is inside the house, and would not be able to see them so closely. The sentimental music is
high in volume before becoming more slow as Dom's children look up and see their father. The
lighting in this shot seems to be natural, but is a tad too high–key for it to be completely realistic. In
contrast to the lighting on the children, the lighting inside the house is rather low–key, with a golden
glow, much like the lighting in the first analysed scene. Before the scene and movie end, the camera
pans from right to left, removing the focus from Dom and his children and onto the spinning top,
which is still spinning when the final cut is
... Get more on HelpWriting.net ...

Tokyo Story ' 360 Degree
Tokyo Story's 360–degree In David Desser's "Ozu's Tokyo Story" he mentions that casual viewers
fail to notice Ozu's "scenic construction and segmenting of screen space" (12). Ozu Yasujiro's use of
the 360–degree space within the film Tokyo Story (1953) may seem like a "mismatched" action. The
180–degree line is a rule where the camera is position at an eye–line perspective. It causes the action
within a film to continuously stay on one side of the axis line. Through the editing of 180–degrees,
the audience has a connection to the film that makes them feel as if they were not watching a film,
but rather, watching the action in person. Ozu, like many other Japanese filmmakers, was influenced
by Japanese culture, especially architecture (17). Desser states "the first time we see the Hirayamas
in the film, they are seated next to each other, each facing right. Yet by the time the sequence ends
we suddenly notice that now they are facing left" (13). Near the end of the segment when a new
character, 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

Laid In America Film Analysis
Movies have a lot of work put into them in which us the audience tend to not really pay attention to.
In the movie Laid in America (2016) directed by Peter Vass uses editing, Cinematography, and
sound to grab its audience so that they can enjoy the film. These elements in film are combined to
portray two of the characters Olajide Olatunji's character (Duncan) and Casper Lee's character
(Jack) in which their dilemma starts off by them coming to America as foreign exchange students in
which their ultimate goal would be for them to get laid before they return back to the U.K. While
this is there mission they run into a bit of trouble when they use an app to get girls and find
themselves getting kidnapped for faking that they have money in order ... Show more content on
Helpwriting.net ...
Even the little things that people tend to ignore can make the major difference in a film. Editing
which combines all the shots together in which it takes various cuts to get to the final product, then
cinematography which gives us the views of the moving images in the film whether it being
characters or any important point of view that they are trying to show. Lastly sound which helps the
film feel more real and grab its audience with background music if they have any, to follow it would
also show its mood to introduce the characters or set the pace of the film or perhaps link scenes and
set the time and place. All of these elements weren't as in depth in the past as they are now, which
indeed has transformed the way we see movies

The Lives of Others Essay
Florian Henckel von Donnersmarck's film The Lives of Other's (2005) is set in East Berlin during
the socialist reign from November 1984, up until the fall of the Berlin wall in 1989. The political
context plays a significance role not only in the film's subject matter but also in its cinematography,
which exploits the voyeuristic tendencies of the audience, reflecting the surveillance of the Stasi
Secret Police officers. The film follows a loyal socialist and playwright, Georg Dreyman who
becomes subject (along with actor girlfriend Christa–Maria Sieland) to extensive Stasi surveillance
due to his association with subversive artists such as Paul Hauser and Albert Jerska. Hauptman Gerd
Weisler is the accomplished Stasi officer assigned to ... Show more content on Helpwriting.net ...
Similarly, Sieland stares into the bathroom mirror after a shower and taking her medication
following her sexual encounter with Culture Minister Hempf as she attempts to uncover and justify
her own life. Weisler has a very similar experience as he washes his face in front of the mirror
before his experience with a prostitute. After Sieland's initial allegations, Grubitz probes Weisler
"Are you still on the right side?" This is accompanied by a mid shot followed by a swish pan to a
close up Weisler in profile. Within the swish pan, the audience can briefly see the reflection of
Grubitz in the mirror, although this registers as a blurry, ominous figure, which in turn creates a
sense of the conversation being overlooked. The close up of Weisler's face reveals an expression of
nervousness and panic, whilst we hear off–screen Grubitz say "don't screw it up again." adding to
this sense of omniscience. Supplementary to this, Grubitz becomes even more suspicious when he
learns Weisler has left the interrogation swiftly, "Call Weisler for me! – Col. Weisler has left

The Motorcycle Diaries, Natural Lighting And Quick Camera...
In The Motorcycle Diaries, natural lighting and quick camera movements are consistent layers in the
filming technique used. To evoke a greater sense of importance in certain scenes, directional lighting
is used. An important and foreshadowing scene in the film, the ferry from Pucallpa, Peru to the leper
colony shows the division of wealth through soft natural lighting and the use of shadows. This
particular scene uses an important element of mise–en–scene, lighting, to create a powerful,
suggestive introduction to the culmination of their voyage. The 1–minute sequence is free of
dialogue, but conveys necessary information through subliminal filming techniques. The scene
begins with a wide, overhead crane landscape shot that encapsulates town they're leaving in a
shadow, while the ferry is surrounded by bright, natural light, heading towards the unknown. This
particular shadowing may infer they're leaving the past behind, while the engulfing bright light may
indicate a positive future in their travels. The next shot is a lower side shot that shows the expansive
river and the ferry with a small–unidentified boat trailing behind. This scene is void of any
structures other than the forest behind the two boats. Slowly, the boats move down the river with
beautiful, soft side lighting from the natural sunset. The use of this lighting induces a personal
connection with the ferry and its respective travels. Different from a typical Hollywood scene, the
side lighting allows for

The Crop Duster Sequence Of North By Northwest
In This essay I will discuss the use of camera movements, framing and the editing devices in the
crop–duster sequence of North by Northwest (Alfred Hitchcock, USA, 1959) By focusing on these
three techniques I hope to establish what effect they have on us and how that effect is achieved? I
will look closely and analyse certain shots in this sequence, which I feel are significant in creating
suspense. By dissecting the layers of each shot, I hope to reveal the technique and intentions behind
them.
The first significant shot I will discuss is just after Eva Marie Saint's face dissolves. This extreme
aerial shot established the vast area in which Cary Grant faces. The camera stays in its fixed high
angle as a bus approaches with Grant. The bus drives off and the camera angle and frame do not
change. This establishes the setting for the viewers. "Such extreme high angle shots make characters
into pawns" (E. Roger, 2008, 4). In other words it evokes the insignificance of a single human being
in such a vast and secluded area.
With nothing around the slow pacing in the beginning of this sequence can be seen as a tantalising
build up of suspense, not knowing what to expect. It cuts to a long shot and low angle as Grant waits
by the side of the road. This emphasises the space he is in and "establishes the characters level of
power and control" (Class notes, Introduction to Cinema)
A medium shot of Grant by the sign met with an eyeline match of approaching cars, which Kaplan

The Boy In The Striped Pajamas Analysis
World war II in Germany was a dull time for the Jews, hence they were discriminated against by the
germans. Ethnicity plays a big role in this movie because it is the reason that the Jews are locked
away in the concentration camps. The movie is a representation of "Political Power becomes
Personal Authority" (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 Berlin with his family to the Countryside during World War II. This is
because, his father has just gotten promoted to Commandment by Hitler himself and was asked to
live closer to the concentration camps. Bruno starts exploring the new area, and soon finds this
barbed–wired area where he meets a Jewish boy named Shmuel. Shmuel is held in the concentration
camps, however Bruno does not find out the truth until the near end of the movie. Bruno and
Shmuel form an undesirable bond that later in the movie causes many tragical events. Throughout
the two scenes I have chosen to discuss, there are some similarities. First and foremost, these
similarities include, the main idea of

Character Analysis of Sanger Rainsford: 'The Most...
Sanger Rainsford: The Realist
The most dangerous game began as a sport for one man. His name is Sanger Rainsford. In Richard
Connell's story "The Most Dangerous Game," Sanger Rainsford, an avid hunter, is lost at sea,
stranded on "Ship–Trap" Island–every sailor's worst nightmare. Rainsford goes through a series of
events that prove to be 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,
... Show more content on Helpwriting.net ...
Rainsford answers, "Yes, that's so" (85). Rainsford could have taken a stand. Of course, it is not his
place, but he was calm and composed to sit back and let Zaroff open up. '"Don't be alarmed, I'm
Sanger Rainsford" (47). Rainsford has a pistol pointed at his heart and he is telling this huge
creation of a man that he is hungry. As much as he has been through in the past twenty–four hours,
this did not alarm Rainsford. He presented himself as lost and from New York.
Rainsford is certainly a brave character. '"Hunting, Good God, General Zaroff, what you speak of is
murder" (110). Rainsford is composed until he figures out that Zaroff's new species is human beings.
Rainsford has just met this man, doesn't know where he is or anything about those people but he still
puts his foot down. Rainsford knew it was murder, and so did Zaroff, but it was brave for Rainsford
to tell him he would not keep a secret of what Zaroff was doing and Rainsford demanded to be taken
home immediately. Rainsford was brave to tell Zaroff, straight forward, that he would not participate
in his game. '"Ivan," he said to Rainsford, "will supply you with hunting clothes, food, and a knife"'
(170). Rainsford was now in the game and had to participate. His bravery came out when a three day
duel was forced against his will.
General Zaroff was ultimately defeated. Zaroff was never a match for the intelligence, composure,
or

Cannibal Holocaust: One of the Greatest Cinematography...
Ruggero Deodato's 1980 Cannibal Holocaust is arguably the most controversial film to date. The
film's plot consists of two distinct stories that are continually presented differently than their actual
timeline; however, directly influence each other. The movie follows the demise of four ruthless
documentary filmmakers: Alan Yates, Faye Daniels, Jack Anders and Mark Tomaso, as they
adventure into the Amazon Rainforest in order to capture footage of primitive cannibal tribes. As the
audience finds out in the beginning of the film, the documentarians have yet to return, prompting the
second and present timeline of the movie, the story of New York University anthropologist, Dr.
Harold Monroe. Dr. Monroe leads a rescue party into the Amazon ... Show more content on
Helpwriting.net ...
Both Cannibal Holocaust's set and setting are in the Amazon to depict a sense of realism; however,
the set was not actually inhabited by cannibalistic tribes. The film has a continuous theme in which
it attempts to present itself as a real experience, for example, the entire 16mm footage uses natural
lighting. The four cinema verité filmmakers have specific responsibilities during their journeys.
Alan's role as the director is to narrate the situation for the camera. Naturally, having that job, Alan
has the most amount of time pictured in the film of the four. Faye's role was the least conducive to
the group; she in charge of scripting and both her and Alan were romantically involved. Jack and
Mark, the final two members were the cameramen, using 16mm cameras, they usually filmed
together simultaneously, in different perspectives allowing the sequence to be viewed from different
distances, angles and depth of fields. Alan, being in charge of the operation, was a negative
influence on his entire team as he constantly encouraged them to act savagely. Along with Alan,
Jack and Mark repeatedly commit immoral acts when opportunities permit. In watching the
sequences of the plot, the properties of mise–en–scène are disturbing, but when in conjunction with
the cinematography, show the progression of the

Children Of Men By Alfonso Cuaron
Children of Men is a thought–provoking dystopian film directed by Alfonso Cuaron. It explores the
idea of mankind's own impermanence. Nearly two decades of human infertility have left society on
the brink of collapse. There are many important scenes that help to develop the film. The last scene
particularly intriguing as it left questioning viewers to come to their own conclusions
Children of Men explores the key ideas of hope and faith in the face of futility and despair. The
dystopian film is set on 2027, in a futuristic society in which humans are unable to reproduce. In the
novel from which the movie is based author P.D James says, "It is reasonable to struggle, to suffer,
perhaps to even die, for a more just, and more compassionate society, but not in a world with no
future, where all to soon the very words 'justice', 'compassion', 'society', 'struggle', 'evil' would be
unheard echoes on an empty air." It is evident from this that hope depends on the survival of future
generations. Without hope, lives are disregarded, and bodies disposed of by any means possible.
There is war, but in this war there are no winners. The reliability of even the existence of the
"Human Project" is unknown to viewers; talk of it is all circumstantial, as we are never offered
evidence of its existence. The Human Project is supposedly a group organised to experiment ways to
cure infertility and make an end to this shattered society, but what is does for Kee and her baby is
provide hope.

Wes Anderson : A Creative And Unique Filmmaker
Wes Anderson is widely known as a creative and unique filmmaker, who focuses his distinctive style
mostly on narratives and symmetry. Anderson has made a name for himself through several films
that depict unusual, yet comical characters, and also connect with the audience through visual
aspects. As a young director, Anderson began his amateur career with his debut film Bottle Rocket,
and quickly rose to fame by winning several awards, including an AFI Award for Movie of the Year
for his 2012 film, Moonrise Kingdom. This particular film expresses Anderson's quirky style by
following the love story of two rebellious teenagers who run away together following their parents'
disapproval, causing the whole town to go out and search for them. ... Show more content on
Helpwriting.net ...
This can be known as an establishing shot, which shows the viewers where the next few events or
scenes will take place. Establishing shots are often used at the beginning of scenes, to give the
viewer an idea of what kind of setting the following action will occur in. The next scene shows the
interior of the house, taking the audience on a tour by panning from room to room. In order to do
this steadily, a dolly is used so that the vertical movement is kept at a minimum, and the camera can
move horizontally instead. A dolly shot consists of a camera set up on a wheeled cart traveling on a
specific track to create smooth movements. In the film, the dolly shot prompts the audience to feel
as though they are inside the house as well, experiencing a slight dollhouse perception. As the dolly
moves throughout, it stops at several rooms showing the objects and the blocking of characters in
them. By the last room scene, the dolly pauses and zooms in to a close up of Suzy reading a book.
After a few seconds, Suzy is seen opening the window curtain. The camera then switches views
from the interior of the house to the exterior, with Suzy looking out of the window with her
imperative binoculars. The camera then zooms out at a relatively fast pace into an extreme long shot
of the house on the water. This shot mirrors the opening scene of the house painting, while
maintaining Suzy directly in the middle of the shot, creating the aspect of symmetry. The extreme
long shot, also called

Cinematography And Mise En Scene Of Edward Scissorhands
Analysis of Cinematography and Mise–en–scene of the film Edward Scissorhands (1990) In this
essay, I will analyze the use of cinematography and mise–en–scene in a five–minute extract from
Tim Burton's 1990's dark fantasy film Edward Scissorhands. The film is set in 1990 and follows a
young man named Edward, an unfinished creation exploring the world for the first time. In the scene
I have chosen, the audience establishes difference between the suburban street and the gothic
mansion and does it through the use of colour, deep focus and the use of props such as the dead
branches or the gargoyles. The function of the scene is to introduce the character Peg. Tim burton
does this by presenting a close up of a mirror at the start of the scene so ... Show more content on
Helpwriting.net ...
The gothic iconography of the gargoil obscures her car as it moving towards it and everything is
backlit, all in sillhouette so the lighting adds to the darkness. The camera moves from an area that is
bright, to an area that is dead, dark and decayed. The mise en scene changes and the use of the deep
focus, camera exposure enables the audience to acknowledge the comparison. It cuts to a reverse
crane shot of the gothic mansion that moves up and again the audience sees Peg's yellow car
foregrounded against this huge ornate gothic piece of architechure with huge spires but begins at a
low angle to enccentruate the size of this place.The director then uses an extreme low angle mid shot
to make the character Peg seem inferior to it's size. The entrance gate seems almost like a

Titanic Essay
Titanic Essay
Many people across the world watch films. It is so popular because it puts a story on the screen and
into life so that people can see it.
People watch films for the entertainment value, or are simply too lazy to read and enjoy the magic
of a book.
The advantages of watching a film at the cinema rather than on video is the bigger screen, and the
surround sound, also the atmosphere. This all adds up and creates a bigger impact than a video.
People make films to tell a story or get a message across, such as "Pearl Harbour," which tells us the
story of a real historical event through the eyes of a fictional love story, very much like "Titanic." Or
"Shrek," which puts a message ... Show more content on Helpwriting.net ...
An example of this on "Titanic" is when they go from the back of the boat to the front.
They also use Sound Effect to make what is happening sound more real, such as an explosion or
band. They also use backing tracks, which can be used to emphasise the emotion a character is
feeling. For example, if it was sad, they might use a love song.
They use costume to show you what time something was set it, or the class of the people,
particularly shown in "Titanic," as Jack is very poor and Rose is rich. The characters who wear the
costumes are also very important. They have to look the part and sound the part, not just be able to
read the lines. They have to act the way a person of that time would.
For my GCSE coursework, I will be writing a Media essay on "Titanic," which was directed by
James Caremon. It was made in 1997, and was the most expensive film made at the time. It won
many awards, and is one of the great love stories told, based on a real historical event.
The Titanic was quoted as being "Titanic, wasn't just another ship, it was bigger, faster, and more
luxurious than any other ship before her." She had two sister ships, The Olympic and The Britannic,
all of which were owned by White Star Line, a series of very luxurious ships. It was built in Harland
and Wolff Shipyard, and was 882 ft 6 inches, by 92 ft 6 inches. It had 2212 people onboard, 20
lifeboats, which only had

Life Of Pi Where During Pi 's Journey
Discoveries referring to people and places can lead an individual to new values and understandings
but also ramifications. These discoveries being on a large or small scale can lead to positive
outcomes such as new understandings and values or negative outcomes being ramification or
consequences brought from a discovery. This is evident in Ang Lee's film Life of Pi where during
Pi's journey and hardships lead to his new understanding of faith contrasted to his discovery to
survive on his journey, seen through his relationship with Richard Parker and his belief that animals
have souls, lead to vast ramifications. Similarly, in Julian Barnes' short story Marriage Lines the
return to the Island bring new understandings of his past memories ... Show more content on
Helpwriting.net ...
Pi's understanding of faith is further developed in the face of adversity during his time stranded in
the pacific. This is conveyed through Lee's use of magic realism in the daybreak scene, where
through Lee use of the wide shot of the horizon meeting the ocean, emphasising the hue colours of
orange which contrast's to Pi's message about God and placing his faith in him, "God I give myself
to you. I am your vessel. Whatever comes I want to know. Show me". Through Pi's actions of losing
hope in the message in the bottle, emphasised in Lee's close up camera work and stagnated water,
but also in the rational world, he demonstrates his discovery of religion and faith being tested,
linking back to the quote of the older Pi. Pi's ultimate test of faith is demonstrated through the Storm
and the "Carnivorous" Island both considered forces of nature where Pi's faith and submission to his
faith are tested through both situations appearing to be less violent and dangerous in nature than they
truly are. Lee demonstrates this new understanding by again using the experienced older Pi narrating
the lessons learned in adversity, "If I hadn't discovered the tooth, I would have been lost, alone
forever. Even when God seemed to abandon me he was watching...". This final step ultimately
displays how Pi found new understanding to his faith through the experiences on his journey.
Therefore, through Pi's journey leads him to the discovery of the new understanding

The Opening Sequence of the Coen Brothers' Movie O brother...
The Opening Sequence of the Coen Brothers' Movie O brother Where art Thou?
'O brother where art thou?' has a unique storyline based on Homer's classic tale of 'The Odyssey',
which is one story made up of short 'chapters', each relating a different adventure. In this story
Ulysses, (who Everett McGill is based on) and his companions (who are the two men, Delmar and
Pete, chained to Everett) are trying to get back home, however they anger the Gods and their
journey is lengthened. They get lured by the Sirens, captured by a Cyclops and have lots of near
death experiences.
The film is set in the 1930's, in the southern states of America during the Depression. It is clear for
the audience to see from ... Show more content on Helpwriting.net ...
When the credits start to roll there is noise of rocks being smashed. The slave songs are heard before
the audience can see the picture. The slaves are singing the blues. (Blues are songs that are full of
sorrow) This could be effective because the audience could grasp even before the picture emerged
that the people who were singing were made to do hard labour. The picture then merges in to show a
black and white long shot of a landscape. The camera pans rounds and the audience see a shot of
two lines of prisoners doing hard labour, then a low angle shot shows them chained together. This
could explain to the audience why none of the prisoners are trying escape.
When the audience has seen the prisoners the camera goes into a wide–angle shot and shows three
men running across a field and then jumping down. This can be quite comical as they are being very
obvious and could easily be seen but never do. There is a non–diegetic sound, which is used at the
start when they are escaping. This is 'Bluegrass' or country and western music. The song talks about
an imaginary place, a land of dreams. There is a parallel here with Everett and his companions. As
they were all chained together, in order to persuade them to agree to escape with him, he tells them
that he has stolen $1.2 million and that they can have a share in the treasure. The trouble is that they
only have four days to get

Badminton Learning Sequence and Cues Document
Badminton Learning Sequence and Cues Document
Methods of Teaching Individual Activities
PE–2111–002
Spring 2012
2/21/2012
Alan Fulcher
Dr. Rockie Pederson
The purpose of this document is to illustrate the most effective way to teach the sport of Badminton
to beginners. It will outline the basic skills necessary for one to be successful in the sport, and will
be divided into several sections in order to make it easier to navigate. The document will be
sectioned off according to each skill, beginning with the most basic skills and graduating to the more
difficult ones. This is known as the learning sequence, a recommended order of teaching the skills of
the sport to beginners. Each section of the learning sequence will focus on a different ... Show more
content on Helpwriting.net ...
This will allow students to familiarize themselves with the racket grip, as well as gauging their own
ability to cover ground on the court. (4)
Section II – Drive Shot
Skill Technique – The drive is a shot hit hard at a horizontal angle, typically near the sideline of the
court, while the shuttlecock is about at the level of the player between the shoulder and the knees
(5). Keep racket arm up in front of the chest and spread weight evenly between the feet. In the
forehand drive, side step toward the shuttle, leading with your racket leg, pointing the racket toward
the sideline (2). Lock the wrist and draw the racket back in a sidearm motion. Then, put your weight
on the racket leg, swing the racket forward, and unlock and flick wrist when contacting the shuttle.
If the shuttlecock is on the side opposite of the racket, either switch racket hands, or crossover with
the racket–side leg and drive it backhanded.
Learning cues – Lead with racket leg and sidestep toward shuttle. Spread weight and swing sidearm.
Flick wrist on contact
Teaching Styles – Have student get racket and shuttle cock, and face the wall, standing five feet
back from it. Draw a horizontal line across the wall about three feet up from the ground. Instruct
students to underhand serve the shuttle into the wall, making sure to strike the wall above the
horizontal line, with enough velocity for the shuttle to return close enough to the student to hit it
again without needing to

Analysis Of The Movie ' The Bedroom With Fill The Gaps...
In 1979, Dubus creates an alternate world, where he propels readers through the emotional
whirlpool spinning in the mind of Matt Fowler, a man who is trying to cope with the tragic murder
of his son; as the tide, acting through his wife, becomes increasingly overwhelming, Matt is driven
to seek revenge through the killing of Richard Fowler (Dubus 1123–1136). Years later, in 2001,
director Todd Field produces the film adaptation In the Bedroom to fill the gaps Dubus's short story
cannot; while the story focuses more on the killings themselves, Field allows views to understand
the emotional turmoil that pushes characters to the edge, ultimately explaining the journey of how
the killings come to be (In the Bedroom). Although Dubus wrote ... Show more content on
Helpwriting.net ...
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 permeating the film speaks louder than the Dubus's words.
While in neither the film nor short story does Ruth outwardly express her desire for the death of
Richard, within the film, one is able to glimpse into the inner workings of Matt's mind,
understanding the emotional manipulation, brought on by his wife, he endures. Matt describes how
Ruth has "concrete objections which he trie[s] to overcome" and "in his intent to do this[,] he
neglect[s] his own objects" (1127); here, Dubus is indirectly telling readers this is the foundation
Ruth has previously built in her marriage, allowing her to manipulate Matt into carrying out tasks, or
specifically "it" (1136). Furthermore, several times in the short story, Matt convinces himself that
"he [is] certain that [Ruth knows and] she [is] waiting for him" for "she knows" (Dubus 1125, 1134).
In Field's adaptation, one can see the change in behavior and demeanor both Matt and Ruth undergo,
driving Matt to commit a seemingly inevitable killing. Several times in the film, the camera focuses
on Matt and then quickly switches to a smash cut, implying disruption and cacophony follow Matt;
however,

Analysis of Themes in Rear Window Essay
Fear of Marriage and Voyeurism in Rear Window
In Alfred Hitchcock's 1954 classic thriller Rear Window, 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 cameras. By watching his
neighbors through the camera he assumes the role of both a spectator and a voyeur. This contributes
to ... Show more content on Helpwriting.net ...
Jefferies claims that Lisa is "just not the right girl for [him]" because she is too committed to high
society and materialistic for him. Jefferies barely acknowledges her and focuses most of his
attention on watching the neighbors' apartments specifically the Thorwalds. She is unable to divert
his attention from the window even with the most forward flirtations. It is not until she puts herself
on the other side and into the movie that he becomes interested in her. Lisa finally becomes the
subject of his gaze and only then does Jeffries show any sexual attraction towards her. Near the end
of the movie when Lisa breaks into Thorwald's apartment, Jeffries does not see the same Lisa he
saw when she stood by him and sat in his lap. This dangerous act of bravery and courage proves to
Jefferies that she is capable of more than he previously thought. By exposing her willingness to take
risks he sees that there is more to her than high society and fashion. He now looks upon a guilty
intruder exposed by a dangerous man threatening her with punishment Mulvey 207 . He is aroused
by this new spontaneous side of her. From this scene we see that Lisa Freemont cannot become a
part of the movie until she becomes a character in the movie within the movie. This creates a new
perception of Lisa

Analysis Of The Movie ' Rita Ha ' By Noah Baumbach
Chosen Clip: Clip 1 from Frances Ha (2012) Dir Noah Baumbach Directed by Noah Baumbach in
2012, Frances Ha follows young New Yorker Frances Halliday (Greta Gerwig) who, at age 27, is
living with her best friend Sophie (Mickey Summer) whilst in an attempt to get her life heading in a
succesful direction. The film examines and humanizes the importance of growing up in different
cultures, experiencing the highs and lows of a sacred friendship, the realities of early adulthood and
making sacrifices in order to get to where you need to be. The stand out aspect of cinematography
used in this scene and Frances Ha as a film throughout is the careful choice by Baumbach to shoot
digitally, but to edit the film as monochromic. Sam Levy (director of ... Show more content on
Helpwriting.net ...
Omtting colour and using natural lighting helps not only this scene but the entire story to develop as
it provokes more concentration from the viewer into this raw dialouge and acting. The classical style
of cinematography is used by Levy in shooting Frances Ha. The 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 a tight frame, with a tight fix on
the subjects. This communicates to the audience that these two are a couple and they are very
comfortable with eachother and have been for a long time. The depth of field and focus range is very
slim. This is a result of the distance between the closet and farthest objects in the scene being very
small. Baumbach wants to focus soley on the characters in this scene as the position of the frame is
extremely neutral. The lens is level with the pair sitting down on the couch with no high or low
angles used. For Baumbach, it was not a case of symbolic cinematography, but instead to provide a
more a neutral perspective to develop the

Examine the way that the two scenes from the Sixth Sense...
The intriguing supernatural thriller, Sixth Sense, combines a mixture of honesty and deception to
create a film which is renowned as having one of the most unpredictable and satisfying endings, at
least in recent cinema. Directed by M. Night Shyamalan, the film reveals the tortured existence of
Cole, a very unique little boy, cursed with a unique but sinister gift, a sixth sense – the ability to see
the dead. Haunted by these apparitions since birth and unable to share his troubles for fear of
suspicion of his insanity, Cole struggles under the burden of his gift, leaving him disturbed and
isolated from those around him until the more obvious signs of his mental turmoil begin to appear in
his behaviour. However, shortly after a violent ... Show more content on Helpwriting.net ...
In the following two scenes it is possible to find many instances of the techniques which make this
possible and to perceive more fully the connection between what we are shown and what this leads
us to presume.
In the first of the two scenes we witness the introduction of Cole and Dr Crowe in what appears to
be a pre–arranged visit. A vital part of convincing the audience of his existence is in creating the
illusion of interaction between himself and others and in the opening of the scene, the body
language of Cole's mother and Dr Crowe is used to suggest this. In medium shot, (often used to
provide a ?blank sheet? for emotions), we see the two characters in profile. While Dr Crowe is calm
and smiling slightly, Cole's mother holds her body angled away from him and has a tight, cold
expression, giving a definite impression of tension. From this it appears that a conversation and
more probably a disagreement has taken place between them, as a ghost he would be unable to do
this, the audience would have no reason to suspect him at this point. The tension also allows us to
presume that she looks away from him in order to avoid his gaze, rather than as a result of his
invisibility. However, both here and when Cole enters the room medium close up shots and shots
over the shoulder provide us with a view Dr Crowe's line of sight and of course it is only natural to
assume that if his gaze was

Alfred Hitchcock 's Marnie ( 1964 )
Alfred Hitchcock's Marnie (1964) depicts the psychological development of a young woman as she
navigates a life of crime and familial melodrama, ultimately unlocking the suppressed memories that
offer answers to her childhood traumas. The director utilizes evocative mise–en–scene, subjective
point–of–view shots, and expressive lighting schemes in order to project the title character's internal
state onto the physical world of the film. In doing so, Hitchcock crafts a diegetic universe that
reflects the unique capabilities of film–one that, through subjectivity and expressive editing, reveals
a deeper truth than objective representation.
The film introduces Marnie through character testimonies rather than offering immediate
identification with the protagonist. In its 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 well as Hitchcock's–desire to "capture" the female protagonist as she escapes off–
screen. In this context, the seemingly objective tracking shot may in fact reveal itself as a violent,
subjective

Death's Marathon Shot0By-Shot Analysis Essay
Shot–by–shot Analysis of
"Death's Marathon" dir. D.W. Griffith. (1913)
Shot 1(straight–on angle): White text on black background written, " To find his friend before he
losses all" (2 seconds). Cut to
Shot 2 (medium long shot, slightly low angle): Front of house, with stairs slightly to the right of shot
and potted plant on either side of stairs. Friend (man) enters from right and walks up stairs (2
seconds). Cut to
Shot 3 (medium shot, straight–on angle): Interior of living room where foreground is pretty vacant
but background has a study and a desk with a vase with flowers in it. There are three ladies standing:
Two nurses on either side of the wife. wife asks maid on left something (1 second) then turns back
His drivers drives him away, exit right of shot (4 seconds). Cut to.
Shot 15 (medium long shot, straighten angle) shot of husband walking on the street along shops, one
which has "rokers" written on window on the left of screen. He walks towards the shop, pauses to
stare at it and then walks in (4 seconds). Cut to.
Shot 16 (medium shot, straight on) interior of 'Rokers' shop. There is a desk with a telephone on it,
and chair in the foreground. The background though is more cluttered with a study, stacks of books,
a rocking chair and cabinets . Husband enters through door on the right of shot. inspects the space,
takes his hat off then unbuttons his jacket, pulls a gun that he's been keeping in his pocket out and
sits down on chair and is inspecting the gun (21 seconds). Cut to.
Shot 17 (long shot, slightly high angle) shot of exterior of house (like shot 2). Friend's car drives in
from right of screen and parks in front of steps leading up to house front door. Friend gets off car
and walks briskly into the house (5 seconds). Cut to.
Shot 18 (medium long shot, slightly high angle): interior of room (like shot 3), wife sitting on chair
on the right side of the foreground. Then enters maid with friend. Cut to.
Shot 19 (medium shot, straight on) interior of room (like shot 16). Husband sitting on chair, leaning

against table with telephone near his elbow. Husband looks at gun, chuckles then looks at telephone
and picks it up (8

Riddles Of The Sphinx Essay
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. In Riddles of the Sphinx Mulvey and Woolen create an altogether different project
for the mother within the organizing system of the gaze.
The film opens with a view of pages being turned from a book titled Myths of woman. This scene
goes on ... Show more content on Helpwriting.net ...
Pan moves us slowly along entire room and kitchen. This sense of being closer to the characters
tends us to predict what might be the next move or who else or what else we could see in the house.
We also see Louise and Anna outside the home, Louise at work as a phone operator at a switchboard
and Anna at day care. Louise converses with other women workers, especially her friend Maxine,
about their working conditions and the possibility of having child care on the worksite. Visible in the
background of their break room is a poster depicting dunes within a desert scene an image
reminiscent of the films opening desert scene with the woman as sphinx suggesting power and
change from previous authority. In one of the following scenes, Louise's ex–husband asks them to
watch a film he is editing. Artist, writer and theorist Mary Kelly appears in the film reading from her
journal about problems she is having regarding her son going to day care. She is wearing a dark shirt
with lighter crescent shapes, the same that documents her own postpartum Project (1973–79)
maternal project.
At that time Kelly was in the midst of producing her groundbreaking project, whose concerns about
the formation of a maternal space in language and culture dovetail with those being explored by
Mulvey and Wollen. Riddles of the Sphinx also discusses on how social issues coexist with the
psychic space of maternal. In a following scene the mothers

The Whole Movie Through A Few Shots By Run Lola Run
Close Reading Paper 2–Reading the whole movie through a few shots Run Lola Run is an
exceptional film which ties cinematography and effects together to create a dramatic story line.
Clocks shown throughout the film symbolize the element time, as major risk are taken symbolizing
the outcome of chance. Lola, the main character in the story, is attempting to collect 100,000 marks
cash to pay off her boyfriend Manni's mob boss Ronnie, in return for the money Manni has
misplaced. The harsh reality is that if Lola does not obtain the money within 20 minutes, Mannie's
life will be in danger. Lola is willing to go through excruciating circumstances, taking major risks
within this short time span, to save Manni's life. Matters of interest in the film are time and chance.
A close look at the movies content shows that it reflects these themes by the different actualities and
flash forwards provided, which allows a comparison to be made between the two interests. This film
is filled with animation, different types of camera shots, and red tinted scenes. The film portrays
three different run scenarios, which shows the detail of three different ways Lola will take the
chance of obtaining the 100,000 marks needed to spare Manni's life. All three run scenarios consist
of Lola encountering with the same people, however, the interaction with these same individuals
have a different outcome per scenario. The camera speed increases in
Turpeau 2 certain areas of each scene to create flash

Satire And Humor In Billy Wilder's Classic Sabrina
Many of the greatest directors and producers started as writers like best known director Billy Wilder
who directs the classic Sabrina. Wilder was known for movies with satire, melodrama, and humor.
He wrote to show the reality of the Hollywood industry and the world itself. Sabrina partakes film
star Audrey Hepburn as Sabrina Fairchild, costars Humphrey Bogart as Linus Larrabee, and William
Holden as David Larrabee. The opening scene for Sabrina begins with an extreme long shot of a
large house. Character Sabrina begins telling us a story. A cut is made to a long shot of a beautiful
garden then to an extreme long shot of a boating dock. A pan shot of the indoor and outdoor
swimming pools comes after. The next edit is to a medium shot of a ... Show more content on
Helpwriting.net ...
He was one of the many critics to review the film Sabrina on September 23 1954. I agree much with
what he had to say about the film. The movie had humor, romance, and commentary on the social
class. Billy Wilder's focus on movies was shown throughout his work. Crowther had said "For
"Sabrina"–we might as well say it and get to over with, now–is, in our wistful estimation, the most
delightful comedy–romance in years." (Crowther 1954). I was not around during the time Sabrina
had been released but had I been, I would have to approve with Crowther to say Sabrina was a great
romance–comedy movie. The film brings attention to the social class in the 1950's as Crowther
comments "And its deftly sophisticated plotting of the ways of a man with a maid..." (Crowther
1954). Crowther brings forward the message of the social note because it's frowned upon for a
wealthy man to be with a lower class woman. Director Billy Wilder knew what was frowned upon
and brought it to attention anyway and this is what made him stand out. I didn't see too much social
commentary in this particular film. I saw more romance and comedy more than anything throughout
the film. I can see where Crowther had seen the social issue but in my opinion I think it was limited
in the film. Wilder's career hit over sixty films for more than fifty years. Samuel "Billy" Wilder was
one of the greatest directors of all

Scene Analysis of Alfred Hitchcock’s Film Shadow of a...
Scene Analysis of Alfred Hitchcock's Film Shadow of a 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: we find evil in the places we least expect it. Through careful analysis of the bar
scene, we see how Hitchcock underlies and reinforces this theme through the setting, camera angles,
Hitchcock seats the Charlies across from one another and the action plays out in accordance with the
classic 180–degree rule for conversation. The 180–degree rule is the most basic way to film two
people having a conversation while sitting opposite from one another. This series of shots usually
consists of: establishing shots, two shots, close–ups of each actor, insert shots, and then possibly a
re–establishing shot. Hitchcock manages to bring a lot of tension out of this fairly conventional set–
up by the way he constructs his scene. The two characters sit down across from one another and are
positioned on the far edges of the frame, which emphasizes the emotional and psychological
distance between the two. In the same shot Hitchcock sets up for the "shot, reverse shot"
conversation, by having Uncle Charlie lean in towards his niece. His leaning serves as a lead in to
the conversation about to take place. It is important to note that during this same shot, Uncle Charlie
lays out a napkin on the table and smoothes it with his hand. The napkin exists to provide a parallel
to the way the scene will play out. The hands of Uncle Charlie can be seen as those of the director,
and the napkin as the fabric of the scene. The napkin is laid before us smooth as the scene begins,
and becomes increasingly tight and twisted by the hands of Hitchcock as he slowly tightens his hold
on the audience. It also has the importance of revealing something about Uncle Charlie's character.
It

Contrasting Themes In David Lynch's Film Blue Velvet
Contrasting Themes in "Blue Velvet"
The subconscious psyche is one of the most fascinating and almost completely inexplicable aspects
of human behavior. Even more intriguing than merely the subconscious is the notion of a darker,
more repressed side that many individuals refuse to acknowledge exists within them. In David
Lynch's film "Blue Velvet," the director attempts to explore the psyche of a young man named
Jeffrey Beaumont, most notably the clash between his darker side and "good" side for the first time
in his life. Using themes that sharply contrast one another, Lynch provides insight into the character
of Jeffrey and the struggle that he is faced with. Jeffrey is in a transitional period of his life, not very
old, and is on a ... Show more content on Helpwriting.net ...
The gun on the television is in direct contrast to what has been taking place visually up to this point.
The mise–en–scene has been depicting an idealized American town, and yet the image of a gun is
used as an allusion to something more sinister lurking within the town, with the interior of Jeffrey's
house perhaps representing the inner sanctum of Jeffrey's subconscious. From here, Lynch cuts back
to the long shot of Jeffrey's father watering the lawn, followed by a close–up of the faucet where the
hose is connected. Suddenly, the cuts are very rapid and the camera cuts between close ups of the
hose, the faucet, and Jeffrey's father, who eventually keels over in an apparent stroke. This is
followed by a long shot of a dog attempting to bite the water spraying out of the hose, with a cut to a
close up of the dog doing this behavior in slow motion. Slowly, the non–digetic sound of "Blue
Velvet" fades out, giving way to an unintelligible and faint sound which appears to be non–digetic as
well. However, the camera zooms into an extreme close up of the grass and tracks through the grass
as well, with the unintelligible noise increasing in volume. The shot then dissolves to reveal an
entire population of cockroaches infesting the soil, and what had previously been non–digetic sound
has now become the loud, digetic sound of the insects' movement. Immediately, there is a cut to an
establishing

Movie Analysis of Jaws Essay
Movie Analysis of Jaws
Martin Brody is the new police chief trying to rid Amity Island of a savage shark terrorising the
islanders and tourists alike in the 1976 thriller, Jaws. Jaws was directed by Steven Spielberg and
starred Roy Scheider, Robert Shaw and Richard Dreyfuss. Amity Island relies almost fully on the
income gained by tourists visiting the island in the summer vacation. It is up to Martin Brody to
protect the beach goers by finding the shark and killing it. This brings up issues of fighting fears as
well as fighting the constant battle between humans and nature. It is set around July 4th because this
would be the height of the tourist season for the island and the threat of the shark ... Show more
content on Helpwriting.net ...
However it also shows tension as during the silence the audience do not know if another attack is
going to happen.
The second attack is on a small boy in the sea at a crowded beach on Amity Island. It starts with the
young boy asking his mother if he can go back into the sea. We then see Brody sat on the beach
watching out for sharks. The camera does a long shot of Brody's point of view, which we see a
woman screaming. This makes us think that the girl is being attacked when she is not, this builds up
tension because it hasn't happened yet and we know it will do we just don't no when. Using the wide
angle shot of the shows us how big the sea is and how vulnerable people are in it. It then shows a
boy running back into the water using mid range shot with the boy on the lilo n the background and
the children in the fore ground. This makes us uneasy because there is a lot of splashing which
means if the shark was to be there it would be camouflaged and also the splashing attracts sharks.
Next, there is a close up shot of a small child singing, seeing the small child singing is calming
which lulls us into a false sense of security, making the imminent attack scarier as you do not expect
it. A view from under the water is then given from the shark's point of view showing legs. This gives
us the signal that something

Battleship Potemkin Essay
Editing manipulates the audience's point of view of the story. Different cuts can delineate the plot
and the meaning of the images distinctively. Battleship Potemkin, directed by Sergei Eisenstein was
the example of how editing created emotions to the viewers in the theatre. The editing made the
sequence into a lesson of how the Soviet Union authority was pressuring the public with complete
dominance of violence. Battleship Potemkin is a movie produced by Eisenstein in 1925. A film
about the Soviet Union soldiers' life on the battleship and how they disobey their authoritative
generals. In addition, how they are welcomed by their families and the people, but get turned down
by the governmental army by shooting down the crowd from the stairs. Therefore, this story was
expressed by the cuts from frame to frame with sensitivity and anguish feelings. The sequence will
be analyzed is when the soldiers return from their battleship and finally meeting their family and
friends in Russia. However, the government ... Show more content on Helpwriting.net ...
The scene was a cut of discontinuity. The scene used discontinuity editing to show the woman's
facial expression to demonstrate the pain of being shot. This made the crowd trying to escape from
the gunfires. The escape was first shot in a medium shot, which creates a clear image of people
running down the stairs. Along with some long shots of the entire crowd deserting, shows how
terrifying the firearms have impacted the innocent people on the stairs. Different angles of the
images were cut alternatively to increase the tension of how communist authorities had been
constraining the people from their rights to gather around. Additionally, Eisenstein included some
close up shots to give the image of people dying and kids sitting in the middle of the dead people.
The scene then jump cuts to the soldiers in white uniforms walking down the stairs roll by roll,
pushing the

Example Of The Conjuring 2
The Conjuring 2 I will be analysing the movie trailer developed for the supernatural horror movie,
The Conjuring 2. This movie is placed in present time, in Enfield of London. The main character,
paranormal investigators Ed and Lorraine Warren become the next targets of the demonic malicious
nun as they try to help the besieged girl, Janet who is possessed by a spirit and shows signs of
demonic possession. This movie can be classified under many genres. It is classified as horror,
thriller and mystery. The target audience of this movie is young teenager at the age between 15 to
24. Teenagers would found this movie appealing as this movie itself contains the scene that are
extremely frightening that even adult would find disturbing. This movie's unique selling point is the
fact it is based on a true story, making the movie more interesting as it has more of a connection to a
realistic life experience happens in a big family who are very close and show love for one another.
The conjuring 2 trailer opens with notorious ghostbuster Lorraine Warren and Ed and a priest sitting
around a table, listening to a tape. The camera is taking from top, projecting the view of a radio at
the centre of the table. The ... Show more content on Helpwriting.net ...
For example, the logos of Warner Bros and New Line Cinema show that they are involved with this
film. Moreover, the words "From the true files of Ed and Lorraine Warren" and "The most
documentary case in paranormal history" give information to the audiences about the true element
of this film. Then again, frightening words like "discover the truth" "behind the event" and "that
shocked the world" is on view to add more frightening information into the audiences' minds. In the
same way, the title of the film "The Conjuring 2" and the date "On June 10th" is displayed during
the trailer to enable the audiences to remember the date and the name of

Analysis Of Alfred Hitchcock 's ' I Confess '
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 Logan is an extremely holy character in I Confess as he discovers one night during an out
of the ordinary confession that one of his parishioners (Otto Keller) has murdered a wealthy member
of the community (Vilette). Keller is a desperate German ... Show more content on Helpwriting.net
...
They are greeted with musical stabs each time they appear and add suspense as the audience
wonders that the signs are pointing at. The fourth time the direction sign shows up, the camera pans
to the right and looks into a window. The open window reveals Vilette 's dead body and the music
escalates very quickly. The suspense in the first 45 seconds of this film is expertly crafted and
although the murderer is revealed directly after, it leaves the audience curious. Beside the corpse is
the murder weapon (a blunt instrument) and you can clearly see Vilette 's head bleeding at the top,
revealing how he was murdered. From the image of Vilette 's body, the camera pans to the doorway
where the beaded curtain is left swinging showing the audience that someone has just left the crime
scene. Next, the audience sees a man in a priest 's clothes hurrying down the sidewalk late at night.
The lighting is very important in this shot as it sets a very serious, ominous tone. The character also
looks over his shoulder hastily as if he 's worried someone might see him. The camera goes to a
wide shot to show that two young girls are right behind Keller as he briskly walks away from his
crime. Then the shot fades into Keller walking towards the camera down an alleyway. The lighting
is still extremely gloomy and shadowy as he takes off into a dark corner. The next shot has a
"revealing" as Keller takes off his priest clothing and he looks around suspiciously.

Descriptive Essay On A Hockey Game
It was the most important game of my life, I arrived at the Poco Rec centre Arena with all my family
and friends, With my heart pounding against my chest I knew that this was going to be the most
nervous night of hockey I've ever played. I slowly creep into my dressing room and I notice that the
distinct colour of the room was blue my, Face lit up with excitement because the blue rink is so
much better and gives me so much more ice to skate around I was for sure confident going into this
game with so much adrenaline going threw me I was ready. From the side of the room I was greeted
by my coaches and most of my teammates; The smell of sweaty gear and the sound of "We Will
Rock You" by (Queen) as everyone sings along I grip my laces and lace them up extra tight for the
game everything seemed just perfect. Coaches walk in and give the speech "if we go to them hard,
We won't see defeat".
As usual, The time had come to head onto the ice, We exit the room and head down the hallway to
just by chance or luck make eye contact with the Coquitlam 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

Essay on Citizen Kane Scene Analysis
Citizen Kane Scene Analysis The scene we're analyzing starts off with a shot of the New York Daily
Inquirer. It's a close shot, taking up the entire screen. I feel this close up is to show the viewer that
the newspaper company is going to be the primary focal point for Kane, and his two partners at this
point in the film. After the close up, the camera pans down to show Kane and Leland sitting in a car
looking up at the building. Kane says "Take a good look at it Jedidiah, it's going to look a lot
different one of these days." Despite the look on Kane's face being one of optimism and promise,
this statement gives leeway to all of the bad things to follow. Kane specifically says, "look a lot
different" as opposed to anything else (i.e. ... Show more content on Helpwriting.net ...
Mr. Carter, the bewildered editor in chief, who is confused by which man is Kane, meets both
gentlemen, where Kane introduces himself and Leland, whom he reiterates is his "dramatic critic".
Kane seems a little taken back from the formality of the situation as the entire floor is standing due
to his arrival, and after he requests everyone to be seated, he is off the races so to speak completely
changing the environment of the company. The scene immediately becomes chaotic with Bernstein
falling into the room, the dialogue being loud, and hurried, whimsical music being played, and a
very broken conversation being had between Kane and Mr. Carter at the entrance to his office, while
people are moving things into the office. The next shot is a continuation of showing how Kane is
making immediate changes to the company. It starts with Kane sitting at his desk (Mr. Carter's
previous office), while a weary and exasperated Mr. Carter standing at the desk, being given another
broken and chaotic conversation, while Leland interrupts with a cartoon drawing, Kane interrupts
twice in regards to being hungry, and Bernstein budding in to agree with Kane. The conversation is
about a missing persons report that was in The Chronicle, a rival newspaper, and Kane is telling Mr.
Carter that he wants it covered by the Inquirer as

Cinematography and Lighting Essay
Cinematography and Lighting The smoky greys shown in the street as the Tramp is taken away in
the paddy wagon reflects the people's uncertain futures due to the economic struggle of the Great
Depression. The depth of field indicates what is significant in the street shot outside the cigar stand,
having the Tramp, policeman and stand owner in focus. As the Tramp is escorted to the paddy
wagon several observers walk into the frame and into focus, enhancing the narrative. The
composition of the shots in the paddy wagon refers to whom the significant characters are, in the
way that the Tramp and the Gamin are positioned in the very foreground of the frame. The close
face–to–face proximity between the two main characters in ... Show more content on
Helpwriting.net ...
Editing The style of edit for this sequence and entire film is continuity editing which produces a
logical and straightforward narrative. The sequence begins with an establishing shot of the city road
setting, orienting the viewer. The editing follows real–time human experiences, for example, the
Tramp enters the paddy wagon then it cuts to him sitting down on the benches with the rest of the
convicted, minimizing the perception of breaks between cuts (invisible editing). The shot transitions
are cuts which maintain the flow of the narrative and the character's actions. The shot/reverse shot
between the Gamin and the Tramp in the paddy wagon conveys understanding between the two
characters and sympathy from the Tramp. The conversation between the two characters is
communicated through the editing as well as actions and facial expressions. Intertitles are placed
within the shots to represent characters' dialogue where they enhance the narrative most. For
example, the intertitle displaying "Now is your chance to escape!" is placed in the instant the Tramp
is pointing and urging the Gamin to run away. Editing reflects the decision the Tramp has to make
when the Gamin beckons for him to escape with her. The pace of the editing and the shot size
reflects the pause as he decides, drawing in the audience into engaging with the urgency of the
decision. The camera literally is drawn into the two characters' faces as the shots cut in closer.

Analysis Of Place Beyond The Pines
Directed by Derek Cianfrance, Place Beyond the Pines (2012) is a multigenerational crime–based
drama that changes narratives multiple times throughout the film. Following Ryan Gosling's
character's transition as he learns that he is a father, Bradley Cooper as the hero cop with both
ambitions and a conscious, and then both of their sons (Dane Dehaan, Emery Cohen) dealing with
growing up without present fathers. This multitude of narratives allows the viewer an insight into
how each character defines masculinity and the role of being a man. Ryan Gosling, a traveling
motorcycle stuntman, after learning that he has a son, quits his job in an attempt to be present in the
baby's life, unlike his own father. With little persuasion from his landlord and roommate, he resorts
to bank robbery in pursuit to provide for his new family. After eventually being caught and killed by
a trigger–happy rookie cop, (Bradley Cooper) the narrative changes to the new father and now hero
cop. Bradley Cooper, an ex–lawyer whose father was also a cop, lies about who shot first to save
both his reputation and his career, deals with the guilt by focusing on his ambitions and shutting off
his wife and newborn. The final narrative transition, where both sons, now teenagers, meet and form
a friendship despite not knowing their father's pasts. Dane Dehaan, a privileged but rebellious thug
with a distant father, and Emery, a loner pothead struggling with both his own identity and of his
biological father,

Film Analysis: Modern City Of Verona Beach
The scene starts at approximately 2:35 when the screen wipes to the left. We can see an establishing
shot of the modern city of Verona Beach. We also see a close up reverse shot on one of the
Montague boys (Gregory) as they are cruising in their yellow convertible. The convertible is located
and is driving on a highway with the Montague boys wearing beach–like shirts. The set is lit to
replicate bright sunshine which allows the viewer to really observe their whereabouts. The colours
of their shirts are bright. We can hear diegetic music coming from the car's stereo system. The music
has a gangster/rap style feeling to it which gives the viewer a good impression of what to expect
from them later in the film. Gregory (Zac Orth), turns his head ... Show more content on
Helpwriting.net ...
Then the camera wipes to the left from a medium shot of the building to a long shot of the gas
station sign called "phoenix gas" and then pans to the right as it zooms in. Keep in mind, that the
diegetic music from the car's stereo is still playing, but asynchronously, as the shots wipe from
building to building. Then the camera wipes to the right to a medium shot, as we see the Montague
car drive into the gas station. The medium shot quickly zooms to close up shot of the number plates
"MON005" and then tilts upwards to give a point of view shot of the car. As they halt their journey
at the fuel stop, we can hear diegetic sounds of the car's stereo and engine beginning to cease. You
can hear two consecutive diegetic sounds of the car's horn beeping and then Benvolio (Dash Mihok)
gets out of his car and in a hurried temper (fast motion) the camera cuts to a low angle shot of him
as he turns around taking off his shades and saying in a piqued manner, "The quarrel is between our
masters". We can hear a synchronous sound as he takes off his sunglasses and tucks them away. The
shot quickly cross cuts to medium/close up shot of Gregory who replies in a satirical manner "And
us their men!" Sampson and Gregory settle by taking a seat back in the car, as the camera takes a
medium shot of Benvolio as he is headed toward the

Film Analysis: Eternal Sunshine of the Spotless Mind
Michel Gondry's 2004 film Eternal Sunshine of the Spotless Mind, deals with themes of memory,
identity and love. The film focuses on a lonely man named Joel Barish and his progressively
dysfunctional relationship with Clementine Kruczynski. As their relationship deteriorates, they both
decide individually to get the memories of each other erased from their minds at Lacuna Inc.
Throughout the film, Joel demonstrates to the viewer, that although he is thoroughly unhappy, he
begins to regret his agreement to the procedure and desperately tries to cling onto the happiest
moments of his life. The scene directly before the sequence I have chosen is a memory of the first
and only time that Joel was so happy he could "die right now"; lying on the ... Show more content
on Helpwriting.net ...
This removal of Clementine introduces the idea of there being a controller of the deletion of his
memories, taking her away from him after one of the happiest points in his life. The viewer is next
shown a mid shot of Joel looking regretful in the darkness and lying on the ice of the frozen Charles.
Joel voices his emotions saying, "I wanna call it off" as he looks upwards. It next cuts to a bird's eye
or God's view shot looking down upon him. Here, Joel shows his hope in that the God–like Lacuna
workers can hear him by saying, "I'll give you a sign!" Here, Joel is on his knees and he scrunches
his face in silent prayer in hope that the procedure does not carry on. The bird's eye view and a
profile shot of Joel switches a number of times to form a conversation–like event but only this time,
when he says "I don't want this anymore, I wanna call it off!" Joel is pleading and no one is listening
or caring, which is shown through the empty echo of his last words. The ignorance of the Lacuna
technicians is shown next, through a cut to a one shot of Joel in bed. Here he is hooked up to the
memory deletion device and the camera tilts to a mid shot of the two Lacuna employees, Mary and
Stan, drunkenly dancing in their underwear to The Willowz's "Something". This shot establishes
where Joel really is – conscious in his dreams, but not actually being paid attention to. The pair
dance in a domestic, dim pink light, which immediately contrasts to a

'City of God' (2002) Represents Violence and Poverty as...
Some scholars criticise Cidade de Deus / City of God (2002) on the grounds that the film represents
violence and poverty as a 'spectacle' and fails to relate these issues to the wider socio–political
context of contemporary Brazil. Is this criticism justified?
'There are...two kinds of film makers: one invents an imaginary reality; the other confronts an
existing reality and attempts to understand it, criticise it...and finally, translate it into film'
Fernando Biri, 1979[1]
Fernando Meirelles's City of God (2002) has provoked critical discussion concerning its
representation of the Brazilian working class since its release[2]. The film has been described as
both disturbing and electrifying for its brutal realism and inspired ... Show more content on
Helpwriting.net ...
The spectator is thrown into the reckless and expeditious world of the characters, creating a sense of
hedonistic abandon and excitement. The chase leads to the first of the dramatic scenes within City of
God. A heavily armed stand–off between Lil' Zé's gang, and the police ensues and we are introduced
to Rocket who is caught between the two. It is here that the shot rotates 360 degrees, spinning us
into the past, leaving the spectator keen to understand more. It is this exhilarating sequence of
editing and camera work that has led some viewers to brand the film an indulgent exhibition of
romanticized ghetto life. However, the producers of the film claim that the effects are present in
order to assist the telling of a universally human story and are intended to capture its realism[9].
Kátia Lund commented on the rotation shot and remarked that "the critics would say this is a film
from Hollywood, they're doing The Matrix, these fancy shots. And the cost of the shot was...$20.
Just a guy pulling a dolly"[10].
There are three central sections within the film. Although they are consistent in character and often
in circumstance, they should be seen as separate narratives. Each narrative represents the changing
nature of the favela over a decade and contains its own visual style and mise–en–scene. It is through
this structure that I

The Uncanny In Alfred Hitchcock's Vertigo
In The Uncanny, Freud discusses the different definitions and claims that various theorists have
made regarding the feeling of uncanny. He defines the different factors that provoke the uncanny in
humans and demonstrates how these factors elicit that strange and seemingly inexplicable feeling.
Similarly, in Vertigo, Alfred Hitchcock, adopts the various factors that cause the uncanny to alter
Scottie's identity and beliefs. Ultimately, when Scottie is transformed from a rational being to a
psychotic obsessive, it serves to indicate the severity of Scottie's mental instability and his
detachment from reality.
In Vertigo, Hitchcock begins with building credibility and composure in Scottie's character. The film
starts off with a chasing scene in ... Show more content on Helpwriting.net ...
The camera cuts to a close–up shot showing viewers Scottie's facial expression, which indicates
distress and agony. The tone of the frame begins to change colors. It begins with a cool color and
then alternates between colors of opposite temperatures. As Scottie opens his eyes, the camera cuts
to an identical bouquet of flowers, which is one of the defining objects that both Madeline and
Carlotta had. Now that the two are both dead, the reappearance of the flower, which serves as an
indication of either Carlotta's or Madeline's presence, bears an uncanny aura as Scottie and the
viewers are well aware of their deaths. As seen in his facial expression right before the camera cuts
to the image of the flower, the image haunts him by suggesting the imminent return of the two dead
souls. The screen continues to alternate its colors as the flower decomposes until we see Carlotta
standing beside Elster. At first, we only see the silhouette of a man and a woman but as the color of
the frame switches, Elster can be seen more clearly with a woman beside him. After the camera cuts
to a close up of Carlotta's necklace, the woman beside Elster can be confirmed to be

Stylistic Analysis Of Deception

Recommended

Recommended

More Related Content

Similar to Stylistic Analysis Of Deception

Similar to Stylistic Analysis Of Deception (7)

More from Melanie Erickson

More from Melanie Erickson (20)

Recently uploaded

Recently uploaded (20)

Stylistic Analysis Of Deception