The document provides a detailed analysis of the cinematography techniques used in the short film "Two Cars, One Night". It analyzes how establishing shots, camera placement, lighting, shot types like two-shots and Dutch tilts are used to introduce characters, show the passage of time, build intimacy between strangers and convey emotions like boredom and loneliness. Specific shots like low-angle shots of the characters in their cars and symmetrical wide shots are examined and how they progress the narrative and relationships.

1. Two Cars, One
Night Analysis
• In the establishing shot of the
short film, the director shows
the context in which our
characters are in.
• The mise-en-scene is dark and
droozy to match the feeling of
being at a seemingly suburban
bar at night, the light to the
camera is heavily restricted, with
the only light coming from the
pub itself.

2. Two Cars,
One Night
Analysis
• The film's characters are introduced in this two-shot which has been placed
deliberately to show how youthful the characters are.
• The camera is placed directly on the end of the car so we can see that the
children can barely see over the steering wheel.
• The camera is also perfectly in line with the centre of the car.

3. Two Cars, One Night Analysis
• Returning to the establishing shot is used repeatedly
throughout the opening minutes of the short film, this
is done to give the audience a good idea of just how
much time is passing with the children still in the car.
• This passing time is shown visually with the use of a
time lapse and a very long shutter speed on the
camera, which creates long trails on motion of moving
objects, to show how much is coming and going around
the children in the seemingly long amount of time.

4. Two Cars, One Night
Analysis
• In the next scene, another character is
introduced. They are introduced by the camera
following their car on a dolly system, the
character is occluded by the car of the
previously established characters, delaying the
introduction of this character.
• Light is also used to introduce the character in
this scene as we can see the light of the car
light up everything in the scene, which signifies
that it’s a character that will have an impact on
the narrative.

5. Two Cars, One Night Analysis
• A wide-shot is used here, to show
that all the characters are now in the
same situation.
• To do this the shot is symmetrical on
either side.

6. Two Cars,
One Night Analysis
• The camera slowly dolly's closer
to each of the characters as they
begin to exchange dialogue
between each other to show that
they are getting "close" and are
building up trust to talk, despite
being total strangers.
• The build-up is slow and
progresses to an ending point in
which the character jokes with
the others.

7. Two
Cars, One Night Analysis
• An over the shoulder shot is used here, the shoulder of the old man is
placed far to the edge of the frame as he is seen as a threat to the children
in the car due to his adolescence.
• The character react in a defensive and volatile way to the man until he
leaves the scene.

8. Two
Cars, One Night
Analysis
• The camera slowly tilts to
around 45 degrees for the
Dutch tilt shot, this shows
the growing boredom in the
character as she looks to the
boys for some sort of
amusement.
• The character yawns in
unison with the camera
doing this action.

9. Two Cars, One Night Analysis
• A similar shot to one used before is used here.
• The camera is slowly dollying up the camera hood, as the
interaction between the characters becomes more personal.
• This is reinstating the feeling of the characters becoming close to one
another, and the trust between them is becoming stronger
throughout the narrative.

10. Two Cars, One Night Analysis
• Another two shot, almost identically to the one used with the boy and his
brother, is used here.
• The fact that it is identical to the two-shot used earlier, shows the amount
of trust that the characters have built up between one another.
• The boy has now entered the girl's car.

11. Two Cars, One Night Analysis
• The newfound friendship between the characters is cut short, as the girl's
mother comes back to take her home.
• A wide shot is then used to display the loneliness and abandonment of this
occurring to the boy who was just getting to know the girl.
• The symmetrical nature of the wider shots used previously is no longer
apparent.