A power point or keynote is a great way to prepare for an IB Oral Presentation. Here's an analysis of the use of film language in an extract from Children of Men.
This document provides an introduction to analyzing films through their language. It discusses macro and micro elements of film language, including genre, narrative, cinematography, sound, editing, and mise en scene. Specific techniques are described for cinematography like shots, movement, color, framing and focus. Editing techniques include shot transitions, montage, continuity and parallel action. Mise en scene covers lighting, color, and special effects discusses CGI, stunts, and animatronics.
The poster depicts an old woman sitting alone in a dark, dingy room holding a creepy doll. Details like scratches on the walls, shadows on the floor, and the woman's posture imply something supernatural or terrifying has occurred. The poster uses conventions like a dark color scheme, isolated central image, and taglines to promote the film as a supernatural horror and attract audiences interested in the genre.
The document discusses the importance of color in storytelling in films. It describes how color can elicit psychological reactions from audiences, draw focus to details, set the tone of a movie, and represent character traits. Different color schemes like monochromatic, complementary, analogous, and triadic are described. Monochromatic uses shades of a single color to create harmony. Complementary uses contrasting warm and cool colors to create tension. Analogous uses neighboring colors on the color wheel for harmony. Triadic uses three evenly spaced colors, with one dominant. Filmmakers must choose color palettes carefully to maximize emotional impact.
The document discusses different types of cinematographic space including flat space, deep space, limited space, and ambiguous space. Flat space emphasizes the two-dimensional screen and lacks depth cues, while deep space uses techniques like size change and perspective to create the illusion of three-dimensional depth. Limited space includes some depth cues but only frontal surfaces, and ambiguous space makes the spatial relationships unclear. Tone, color, position, contrast, and other visual elements can be manipulated to achieve different types of spaces.
This document discusses various techniques for sound mixing and editing in film to create meaning, including sound bridging, foley effects, sonic flashbacks, and manipulating perspective through volume, timbre and pitch. It provides examples from films like The Matrix, Jurassic Park and Sixth Sense to illustrate these concepts. The overall purpose is to understand how sound mixing and editing can construct representation and drive narrative through linking scenes, revealing information and solving plot points.
This poster summarizes the film Hot Fuzz through several elements:
- A two-shot image of the main actors Simon Pegg and Nick Frost dominates the poster to attract audiences' eyes and signal Pegg as the leading role.
- Black is the main color, adding mystery and suggesting a story. Ambient lighting on the actors' serious expressions hints at their roles as police officers in an exaggerated comedy.
- The slogan "Big Cops, Small Town, Moderate Violence" promises action, adventure, and humor that would appeal especially to British audiences.
- Names of the recognizable actors are placed above the title, using their star power to draw audiences, according to Dyer
Sound is an essential component of film that enhances the viewing experience beyond just the visuals. There are two main types of sound in films - diegetic sounds that come from within the story world and non-diegetic sounds that are added later. Sound serves several purposes such as synchronizing with the visuals to create realism, setting the mood, orienting the viewer to locations, and conveying subjective experiences or emotions. Background noises are particularly important for creating an immersive sense of realism in a scene.
The document discusses the repertoire of elements, which are key elements that are consistently repeated throughout film genres to define them. It identifies seven categories of elements: iconography, props, style, settings, narrative, characters, and themes. As an example using the horror genre, it lists common iconography, props, styles, settings, narratives, characters, and themes found in horror films.
This document provides an introduction to analyzing films through their language. It discusses macro and micro elements of film language, including genre, narrative, cinematography, sound, editing, and mise en scene. Specific techniques are described for cinematography like shots, movement, color, framing and focus. Editing techniques include shot transitions, montage, continuity and parallel action. Mise en scene covers lighting, color, and special effects discusses CGI, stunts, and animatronics.
The poster depicts an old woman sitting alone in a dark, dingy room holding a creepy doll. Details like scratches on the walls, shadows on the floor, and the woman's posture imply something supernatural or terrifying has occurred. The poster uses conventions like a dark color scheme, isolated central image, and taglines to promote the film as a supernatural horror and attract audiences interested in the genre.
The document discusses the importance of color in storytelling in films. It describes how color can elicit psychological reactions from audiences, draw focus to details, set the tone of a movie, and represent character traits. Different color schemes like monochromatic, complementary, analogous, and triadic are described. Monochromatic uses shades of a single color to create harmony. Complementary uses contrasting warm and cool colors to create tension. Analogous uses neighboring colors on the color wheel for harmony. Triadic uses three evenly spaced colors, with one dominant. Filmmakers must choose color palettes carefully to maximize emotional impact.
The document discusses different types of cinematographic space including flat space, deep space, limited space, and ambiguous space. Flat space emphasizes the two-dimensional screen and lacks depth cues, while deep space uses techniques like size change and perspective to create the illusion of three-dimensional depth. Limited space includes some depth cues but only frontal surfaces, and ambiguous space makes the spatial relationships unclear. Tone, color, position, contrast, and other visual elements can be manipulated to achieve different types of spaces.
This document discusses various techniques for sound mixing and editing in film to create meaning, including sound bridging, foley effects, sonic flashbacks, and manipulating perspective through volume, timbre and pitch. It provides examples from films like The Matrix, Jurassic Park and Sixth Sense to illustrate these concepts. The overall purpose is to understand how sound mixing and editing can construct representation and drive narrative through linking scenes, revealing information and solving plot points.
This poster summarizes the film Hot Fuzz through several elements:
- A two-shot image of the main actors Simon Pegg and Nick Frost dominates the poster to attract audiences' eyes and signal Pegg as the leading role.
- Black is the main color, adding mystery and suggesting a story. Ambient lighting on the actors' serious expressions hints at their roles as police officers in an exaggerated comedy.
- The slogan "Big Cops, Small Town, Moderate Violence" promises action, adventure, and humor that would appeal especially to British audiences.
- Names of the recognizable actors are placed above the title, using their star power to draw audiences, according to Dyer
Sound is an essential component of film that enhances the viewing experience beyond just the visuals. There are two main types of sound in films - diegetic sounds that come from within the story world and non-diegetic sounds that are added later. Sound serves several purposes such as synchronizing with the visuals to create realism, setting the mood, orienting the viewer to locations, and conveying subjective experiences or emotions. Background noises are particularly important for creating an immersive sense of realism in a scene.
The document discusses the repertoire of elements, which are key elements that are consistently repeated throughout film genres to define them. It identifies seven categories of elements: iconography, props, style, settings, narrative, characters, and themes. As an example using the horror genre, it lists common iconography, props, styles, settings, narratives, characters, and themes found in horror films.
This document discusses the principles of visual storytelling through manipulation of visual components such as space, line, shape, tone, color, movement, and rhythm. It explains how increasing contrast between components creates greater visual intensity, while increasing affinity creates less intensity. Each component is then defined in more detail, outlining characteristics and how they can be manipulated for different dramatic effects in a performance. The document concludes with a suggested creative task applying these principles to create a high and low intensity dance sequence.
The document provides feedback on a trailer for a toy story. It summarizes that the backgrounds and props created an effective story through cinematography, editing, and sound. Specifically, it praises the strong mise-en-scene for making the film visually effective on a small budget and thinking outside the box. It notes that the tea lights shot on water and use of fairy lights were good ideas for recreating shots, but the occasional visible backdrop edge made the background seem unrealistic. Areas for improvement include lighting the rotating boat shot brighter and using higher key lighting in the sunny shot.
The document defines key terms related to editing such as continuity, pace, time, and transitions. It explains that editing is the process of organizing images and sound in post-production to construct a narrative. Various techniques like match cuts, shot reverse shot, and cross-cutting are used to achieve continuity and smooth storytelling through invisible or seamless editing.
This document discusses different types of shots used in filmmaking including:
- Establishing shots, long shots, full shots, medium shots, closeups, and extreme closeups which show different distances from the subject.
- Bird's-eye view, worm's-eye view, high angles, and low angles which show different vertical angles of the camera in relation to the subject.
- Scenes are composed of multiple shots to convey meaning about a single topic, while a film tells a complete story with multiple acts and characters.
This poster analyzes the film poster for the movie Sinister. It summarizes:
1) The poster establishes the horror genre through visual elements like the demonic eyes and blood imagery. It also creates intrigue around the antagonist through the tagline.
2) Strategic use of a little girl aims to elicit fear as innocent victims are common in horror. Her bloodied hand and hidden face imply demonic control.
3) Dull colors and contrasts between red and white effectively set a disturbing tone and imply corruption of innocence.
4) Minor details like the actors' names aim to attract audiences through recognition without revealing the plot.
Blade Runner reflects the social, cultural, and political contexts of the 1980s. There were fears of growing economic power in Japan, globalization, immigration, and loss of American culture. Environmental issues were also emerging in mainstream culture. The dystopian cityscape in Blade Runner reflected anxieties of the white middle class who viewed cities as dangerous and chaotic. However, some may find more freedom and anonymity in such an unplanned urban environment. The film also touches on issues of enforced slavery and marginalization.
The document discusses themes in the film City of God, including poverty, wealth, gangs, conflict, hope, hopelessness, loyalty, and family/friendship. It asks how the director communicates ideological messages about these themes through narrative events and film techniques. An example is given about how hopelessness is portrayed through the lack of structure and role models in the lives of the young characters, trapping them in a cycle of violence with no hope of escape. Theme statements from the board are also presented without choosing any specifically.
The document defines codes and conventions used in psychological thriller films. Codes are systems of signs that create meaning, including technical codes like camera work and symbolic codes like character positioning. Conventions are techniques commonly used within a genre, like using low lighting to create shadows in thrillers. The rest of the document discusses common codes and conventions in psychological thrillers, such as villains having horrific deaths, victims being vulnerable, heroes being tested physically and psychologically, themes of perception and psyche, and the use of dreary colors, mirrors as props, shaky or frantic camera work, and low lighting.
The document discusses various camera angles and shots used in the opening sequence of the film I Am Legend. It begins with an establishing shot of empty New York City streets to create a sense of abandonment. It then shows a close-up shot of empty Times Square before cutting to a bird's eye view of the city from above, with only the sound of birds to be heard. These shots introduce the protagonist and setting while establishing the deserted tone.
A power point or keynote is a great way to prepare for an IB Oral Presentation. Here's an analysis of the film language in the final scene of Raging Bull
The document analyzes a scene from the film "Children of Men" that portrays lower-class society. The scene takes place in a run-down cafe where the lower-class patrons cannot afford their own TV and come to watch the news. Details of the dirty mugs and tacky wallpaper establish the cafe's low income environment. The characters wear dark, cheap clothing instead of fashionable attire. The slow editing and handheld camerawork immerse the viewer in the scene. Sounds of traffic and debris in the streets further portray the area as the underbelly of society where the upper classes do not venture. Violence from the cafe exploding matches what is typically associated with the lower classes.
The film Children of Men depicts a dystopian future in 2027 where humanity has become infertile. The world is portrayed as dystopian through visual details that show a decaying society in despair without children. By the end of the journey, the main character Theo has found hope for humanity's future after witnessing the birth of a child, the first birth in over 18 years which represents a potential change for the hopeless world.
Children of Men - Context Essay Practicemmcdonald2
The document discusses different types of writing styles and purposes, including argumentative, expository, and persuasive styles. It then focuses on how the film Children of Men uses futuristic dystopian elements like global infertility to highlight themes that are relevant to contemporary society, such as the threats of war, terrorism, racism, and environmental issues. Rather than being about predicting the future, the film is about examining human nature and the forces that shape our current world.
Context of practice 02 essay Final DraftCrystalbeth
This document discusses Jameson's theory of pastiche and its relevance to modern typographic practice. It analyzes a design by Stranger and Stranger studios that uses pastiche of Victorian graphic design. While Jameson views pastiche as "blank parody" that undermines cultural awareness, the document argues that this design uses pastiche intentionally to deepen its message by connecting the product to Christmas traditions from the Victorian era. It concludes that pastiche is not inherently "bad" but can be used innovatively or not by designers, and that audiences are not passive receivers of messages but active interpreters of meaning.
The document describes various camera shots used in the film Children of Men. It outlines long shots showing large crowds and their emotions, a close up of a TV revealing what the crowd was focused on, and establishing shots providing the location and date. Shots portray a polluted and rubbish-filled London, follow a protagonist through the crowd, and show the devastation of an explosion at a location the man had just left.
This document introduces someone named Scott who is 17 years old and a senior in high school. Scott lives with his mom, dad, sister, and half-sister, and also has a half-brother. He mentions enjoying things and traveling to Hong Kong over the summer. The document also includes citations for dumpling and noodle dishes from restaurants.
1) The opening scene is set in a cafe in London in the year 2027 where people are watching news of the death of the youngest child in the world, Diego Ricardo.
2) An explosion then occurs in the cafe, with a woman screaming and holding her injured arm as she exits, showing the dreary and dangerous future world.
3) Symbols of a declining society are shown, such as dirty streets, outdated technology, and a man drinking alcohol in the morning, establishing the dystopian setting and negative portrayal of the future.
The scene shows Jake LaMotta alone in a cramped room, contemplating his life in front of a mirror. Various objects like newspapers and coat hangers depict his worn-out past. He recites a monologue about reaching his peak and declining, reflecting on how his violent actions estranged his relationships. As he shadowboxes and repeats "I'm the boss," his presence disappears, showing how far he has fallen but how he retains his pride. The religious quote at the end provides an opportunity for redemption and second chances in the audience's view of Jake.
Brooklyn lesson plan- Mark Rothko's SubwayBreen O'Reilly
This document discusses several influential artists and films related to themes of loneliness and isolation in urban settings. It references the paintings of Edward Hopper and his comments on loneliness. It also mentions the films The Killers, Taxi Driver, and the paintings of Mark Rothko. Students are prompted to write short stories or analyze shots based on the provided works.
This document discusses film genres, specifically focusing on the genre of romantic comedy. It provides information on genre conventions and how genres evolve over time. For romantic comedies, it identifies several cycles or eras of the genre, including screwball comedies, sex comedies, radical romantic comedies, and neo-traditional romantic comedies. It also discusses how genres can reflect and shape cultural values and explores how directors can assert their own vision while working within genre conventions, using Stanley Kubrick's The Shining as an example.
The opening scene is set in 2027 in London. It shows a café where people watch news of the assassination of the youngest boy. This reveals that even public places are now dangerous and violent. Women are represented as vulnerable and unable to have children. The future is depicted as a hostile environment where illegal immigrants are oppressed and seen as a burden. The film uses realistic cinematography like handheld shots to set a naturalistic tone for its sci-fi genre.
The document discusses Sigmund Freud's theories of the mind, consciousness, and the unconscious. It explains that Freud believed everyone's mind consists of both conscious and unconscious processes, and that people are continually repressing things in their unconscious minds. When repression is unsuccessful, it can result in hysteria. The document also mentions Freud's concepts of the id, ego, and superego and how dreams, like symptoms, are representations of unconscious wishes and desires that have been repressed.
This document discusses the principles of visual storytelling through manipulation of visual components such as space, line, shape, tone, color, movement, and rhythm. It explains how increasing contrast between components creates greater visual intensity, while increasing affinity creates less intensity. Each component is then defined in more detail, outlining characteristics and how they can be manipulated for different dramatic effects in a performance. The document concludes with a suggested creative task applying these principles to create a high and low intensity dance sequence.
The document provides feedback on a trailer for a toy story. It summarizes that the backgrounds and props created an effective story through cinematography, editing, and sound. Specifically, it praises the strong mise-en-scene for making the film visually effective on a small budget and thinking outside the box. It notes that the tea lights shot on water and use of fairy lights were good ideas for recreating shots, but the occasional visible backdrop edge made the background seem unrealistic. Areas for improvement include lighting the rotating boat shot brighter and using higher key lighting in the sunny shot.
The document defines key terms related to editing such as continuity, pace, time, and transitions. It explains that editing is the process of organizing images and sound in post-production to construct a narrative. Various techniques like match cuts, shot reverse shot, and cross-cutting are used to achieve continuity and smooth storytelling through invisible or seamless editing.
This document discusses different types of shots used in filmmaking including:
- Establishing shots, long shots, full shots, medium shots, closeups, and extreme closeups which show different distances from the subject.
- Bird's-eye view, worm's-eye view, high angles, and low angles which show different vertical angles of the camera in relation to the subject.
- Scenes are composed of multiple shots to convey meaning about a single topic, while a film tells a complete story with multiple acts and characters.
This poster analyzes the film poster for the movie Sinister. It summarizes:
1) The poster establishes the horror genre through visual elements like the demonic eyes and blood imagery. It also creates intrigue around the antagonist through the tagline.
2) Strategic use of a little girl aims to elicit fear as innocent victims are common in horror. Her bloodied hand and hidden face imply demonic control.
3) Dull colors and contrasts between red and white effectively set a disturbing tone and imply corruption of innocence.
4) Minor details like the actors' names aim to attract audiences through recognition without revealing the plot.
Blade Runner reflects the social, cultural, and political contexts of the 1980s. There were fears of growing economic power in Japan, globalization, immigration, and loss of American culture. Environmental issues were also emerging in mainstream culture. The dystopian cityscape in Blade Runner reflected anxieties of the white middle class who viewed cities as dangerous and chaotic. However, some may find more freedom and anonymity in such an unplanned urban environment. The film also touches on issues of enforced slavery and marginalization.
The document discusses themes in the film City of God, including poverty, wealth, gangs, conflict, hope, hopelessness, loyalty, and family/friendship. It asks how the director communicates ideological messages about these themes through narrative events and film techniques. An example is given about how hopelessness is portrayed through the lack of structure and role models in the lives of the young characters, trapping them in a cycle of violence with no hope of escape. Theme statements from the board are also presented without choosing any specifically.
The document defines codes and conventions used in psychological thriller films. Codes are systems of signs that create meaning, including technical codes like camera work and symbolic codes like character positioning. Conventions are techniques commonly used within a genre, like using low lighting to create shadows in thrillers. The rest of the document discusses common codes and conventions in psychological thrillers, such as villains having horrific deaths, victims being vulnerable, heroes being tested physically and psychologically, themes of perception and psyche, and the use of dreary colors, mirrors as props, shaky or frantic camera work, and low lighting.
The document discusses various camera angles and shots used in the opening sequence of the film I Am Legend. It begins with an establishing shot of empty New York City streets to create a sense of abandonment. It then shows a close-up shot of empty Times Square before cutting to a bird's eye view of the city from above, with only the sound of birds to be heard. These shots introduce the protagonist and setting while establishing the deserted tone.
A power point or keynote is a great way to prepare for an IB Oral Presentation. Here's an analysis of the film language in the final scene of Raging Bull
The document analyzes a scene from the film "Children of Men" that portrays lower-class society. The scene takes place in a run-down cafe where the lower-class patrons cannot afford their own TV and come to watch the news. Details of the dirty mugs and tacky wallpaper establish the cafe's low income environment. The characters wear dark, cheap clothing instead of fashionable attire. The slow editing and handheld camerawork immerse the viewer in the scene. Sounds of traffic and debris in the streets further portray the area as the underbelly of society where the upper classes do not venture. Violence from the cafe exploding matches what is typically associated with the lower classes.
The film Children of Men depicts a dystopian future in 2027 where humanity has become infertile. The world is portrayed as dystopian through visual details that show a decaying society in despair without children. By the end of the journey, the main character Theo has found hope for humanity's future after witnessing the birth of a child, the first birth in over 18 years which represents a potential change for the hopeless world.
Children of Men - Context Essay Practicemmcdonald2
The document discusses different types of writing styles and purposes, including argumentative, expository, and persuasive styles. It then focuses on how the film Children of Men uses futuristic dystopian elements like global infertility to highlight themes that are relevant to contemporary society, such as the threats of war, terrorism, racism, and environmental issues. Rather than being about predicting the future, the film is about examining human nature and the forces that shape our current world.
Context of practice 02 essay Final DraftCrystalbeth
This document discusses Jameson's theory of pastiche and its relevance to modern typographic practice. It analyzes a design by Stranger and Stranger studios that uses pastiche of Victorian graphic design. While Jameson views pastiche as "blank parody" that undermines cultural awareness, the document argues that this design uses pastiche intentionally to deepen its message by connecting the product to Christmas traditions from the Victorian era. It concludes that pastiche is not inherently "bad" but can be used innovatively or not by designers, and that audiences are not passive receivers of messages but active interpreters of meaning.
The document describes various camera shots used in the film Children of Men. It outlines long shots showing large crowds and their emotions, a close up of a TV revealing what the crowd was focused on, and establishing shots providing the location and date. Shots portray a polluted and rubbish-filled London, follow a protagonist through the crowd, and show the devastation of an explosion at a location the man had just left.
This document introduces someone named Scott who is 17 years old and a senior in high school. Scott lives with his mom, dad, sister, and half-sister, and also has a half-brother. He mentions enjoying things and traveling to Hong Kong over the summer. The document also includes citations for dumpling and noodle dishes from restaurants.
1) The opening scene is set in a cafe in London in the year 2027 where people are watching news of the death of the youngest child in the world, Diego Ricardo.
2) An explosion then occurs in the cafe, with a woman screaming and holding her injured arm as she exits, showing the dreary and dangerous future world.
3) Symbols of a declining society are shown, such as dirty streets, outdated technology, and a man drinking alcohol in the morning, establishing the dystopian setting and negative portrayal of the future.
The scene shows Jake LaMotta alone in a cramped room, contemplating his life in front of a mirror. Various objects like newspapers and coat hangers depict his worn-out past. He recites a monologue about reaching his peak and declining, reflecting on how his violent actions estranged his relationships. As he shadowboxes and repeats "I'm the boss," his presence disappears, showing how far he has fallen but how he retains his pride. The religious quote at the end provides an opportunity for redemption and second chances in the audience's view of Jake.
Brooklyn lesson plan- Mark Rothko's SubwayBreen O'Reilly
This document discusses several influential artists and films related to themes of loneliness and isolation in urban settings. It references the paintings of Edward Hopper and his comments on loneliness. It also mentions the films The Killers, Taxi Driver, and the paintings of Mark Rothko. Students are prompted to write short stories or analyze shots based on the provided works.
This document discusses film genres, specifically focusing on the genre of romantic comedy. It provides information on genre conventions and how genres evolve over time. For romantic comedies, it identifies several cycles or eras of the genre, including screwball comedies, sex comedies, radical romantic comedies, and neo-traditional romantic comedies. It also discusses how genres can reflect and shape cultural values and explores how directors can assert their own vision while working within genre conventions, using Stanley Kubrick's The Shining as an example.
The opening scene is set in 2027 in London. It shows a café where people watch news of the assassination of the youngest boy. This reveals that even public places are now dangerous and violent. Women are represented as vulnerable and unable to have children. The future is depicted as a hostile environment where illegal immigrants are oppressed and seen as a burden. The film uses realistic cinematography like handheld shots to set a naturalistic tone for its sci-fi genre.
The document discusses Sigmund Freud's theories of the mind, consciousness, and the unconscious. It explains that Freud believed everyone's mind consists of both conscious and unconscious processes, and that people are continually repressing things in their unconscious minds. When repression is unsuccessful, it can result in hysteria. The document also mentions Freud's concepts of the id, ego, and superego and how dreams, like symptoms, are representations of unconscious wishes and desires that have been repressed.
This document analyzes the motifs, patterns, and parallels found in Pan's Labyrinth, including its object and image settings, characters, lighting and color, events, dialogue, musical themes, parallel editing techniques, and intertextual references to other works of fiction. Key events discussed are the main character's desire for her son to be born in a new Spain and a character stating they are all there by choice, with dialogue examining why one character did something because it was the only thing they could do.
This document discusses three aspects of narrative: 1) Narrative as representation through the cinematic world, characters, and realism. 2) Narrative as structure, specifically the relationship between plot and story as well as plot patterns. 3) Narrative as the act of presenting the story through narration, subjectivity, and point of view. It also outlines characteristics of classical Hollywood style narratives, including clarity, unity of cause and effect, goal-oriented characters, two intertwining plotlines of romance and another theme, and closure that ties up loose ends.
This document provides a detailed analysis of a four-minute scene from the film Inglourious Basterds. The scene focuses on the character of Shoshanna as she prepares for a movie premiere that she plans to use to kill hundreds of Nazi officials. Some key points made in the analysis include:
- The scene contrasts with the rest of the violent film through its elegant and calm tone.
- Dominant colors like red are used consistently and carry symbolic meaning.
- Mirrors, circles, and eyes are recurring motifs related to Shoshanna keeping watch and the passage of time.
- Shots emphasize Shoshanna's dual identity as a Jew hiding among Nazis.
- Music
A dystopian society is characterized by oppression, violence, disease and pollution. It is the opposite of a utopia, which is an ideal community. Dystopias in literature serve as warnings about oppressive regimes and criticize current cultural trends. Examples of famous dystopian texts include George Orwell's 1984, published in 1949, and Aldous Huxley's Brave New World from 1932, which depict totalitarian states and the loss of individual freedom. Characteristics of dystopias include imaginary future worlds, oppressive regimes, and dehumanizing technological advancements.
Script for recording video analysing Detourlivgascoine
This document provides a script for analyzing various clips from the 1945 film noir "Detour". It summarizes key elements in each clip such as lighting, music, shot types, and how they advance the plot and develop characters. The opening credits set the tone with their font and music. Early scenes establish the protagonist Al as an ambiguous figure and use flashbacks to build mystery around his journey. Subsequent clips showcase techniques like voiceover and femme fatale characters to reveal Al's inner thoughts and complicate the narrative. The film employs many classic noir elements like dark lighting, reflections, and an ultimately tragic ending left ambiguous for the audience.
Textual analysis of a teaser trailer - Get OutKaiNicholls24
This document provides a detailed analysis of shots from the teaser trailer and poster for the film Get Out, summarizing the mise-en-scene, editing, camerawork, and sound used in various scenes. Key shots analyzed include an early shot showing the main character smiling in a car with his white girlfriend that contrasts with the film's exploration of racism. Later shots build tension through fast edits, dark lighting, and unexplained scary events like a man running at the main character. The trailer aims to intrigue audiences and build a sense of unease through the use of jarring sounds, shifts in tone, and unexplained occurrences.
The trailer for Chernobyl Diaries uses various film techniques to set up tension and build suspense. It begins by establishing the storyline of a group of tourists exploring Chernobyl, then shows footage of the real-life disaster. As the characters arrive in Chernobyl, ominous sounds are heard and they realize they may not be alone. Shots of a creepy doll and disturbed objects imply a threatening presence. The trailer references the director of Paranormal Activity to draw in fans of that successful horror film. It culminates with characters fleeing from an unseen antagonist, leaving viewers wanting to find out who or what threatens them.
The document analyzes the opening sequences of four films - Watchmen, Jaws, Napoleon Dynamite, and Scream. It discusses elements like cinematography, lighting, shots, sound, and how they establish genre and set the tone for each film. Specific techniques highlighted include the use of zooms and silhouettes in Watchmen to create a dark atmosphere, point-of-view shots from the shark's perspective in Jaws to build tension, the comedic presentation of titles in Napoleon Dynamite, and the use of screams and phone calls to signal horror in Scream.
The document summarizes and analyzes the opening sequences of several films through their use of visual and audio techniques:
- Watchmen establishes the dark, gloomy tone through low key lighting and blue/grey color palette. Shots show a TV broadcast and the turning of a doomsday clock to convey importance of media and sense of impending danger.
- Jaws uses an underwater point of view and ominous music to build tension and portray the shark as a lurking threat. Shots show an isolated swimming girl to make her seem vulnerable against the vast sea.
- Napoleon Dynamite establishes the comedy genre through its titles presented on food and objects implying silliness. Shot types and locations within a house create familiar
The document analyzes the trailers for three horror films - The Woman in Black, Paranormal Activity, and Fright Night - across four categories: cinematography, editing, sound, and mise-en-scene. For each trailer and category, the analysis identifies conventions and techniques used that are common in horror genres, such as close-ups, fast editing, ominous music, dark lighting, and isolated settings. The analysis shows how visual and audio elements in the trailers build tension, fear, and a sense of impending danger to effectively promote the films as horror stories.
The document analyzes three horror movie trailers across four categories: cinematography, sound, mise-en-scene, and editing. For each trailer, the analysis identifies conventions used in that category to create tension and establish the horror genre. Close-ups, establishing shots, and changes in camera movement are discussed for cinematography. Elements of sound design like non-diegetic music and ambient noise are examined. Settings, costumes, and props are considered for mise-en-scene. Editing techniques like fast pacing and fades are identified. Overall, the document analyzes how these filmmaking elements come together in movie trailers to effectively convey horror and build suspense for the audience.
The trailer uses conventions from both the horror and comedy genres to advertise its hybrid nature. It begins with everyday, relatable characters in a school setting accompanied by upbeat music, establishing it as a comedy. However, as the protagonist learns of his strange new neighbor, the trailer takes on darker lighting, sinister music, and frightening imagery typical of horror films. By combining elements of both genres, the film aims to appeal to a wide audience of fans of comedy and horror.
The opening sequence of Taken establishes mystery and danger through a black background and white text. It then cuts to a home video showing a happy birthday celebration, highlighting the vulnerability of the girl through a shot of her blowing out candles. It jumps to the protagonist waking up abruptly, looking confused and tired in close-up before the camera zooms out to show he is alone. Dirty Harry begins with a plaque listing police officers who died in the line of duty, using a zoom and wipe to gradually reveal the names and dates, establishing the context of sacrificing cops. The Godfather opens with a slow-paced, quiet scene of a man asking the titular character for help, using lighting, blocking and gestures to introduce him
The opening sequence of Dirty Harry establishes the film's setting of San Francisco and theme of honoring police officers who died in the line of duty. It shows a stone plaque with the names of fallen officers carved into it. The camera zooms in and uses a wiping technique to gradually reveal the full list of names and dates. This establishes the context of danger and sacrifice within the police force before the film's story begins.
This document compares shots and scenes from the Cantata trailer to successful horror films like The Conjuring, Halloween, and The Omen. It analyzes how similar techniques are used to build tension, establish characters and locations, and convey a sense of danger or possession. Corresponding shots from each film are displayed and discussed in terms of lighting, framing of characters, use of close-ups or long shots, and how they advance the plot or create an unsettling atmosphere for the audience.
The film The Arrival follows a woman sitting alone in a cafe who is debating whether or not to keep her baby. Through a voiceover, the audience hears her inner monologue as she weighs the pros and cons. The film uses a consistent color palette and simple mise-en-scene to focus on the character's internal conflict. A single continuous shot zooms in and out on the woman as her thoughts spiral, representing her coming to a conclusion. Though nothing outwardly happens, the audience gains insight into her fears and decision-making through her thoughts. The film aims to create empathy and understanding for women facing an unexpected pregnancy.
The trailer for The Woman in Black uses various film techniques to build mystery and intrigue around the thriller genre. It begins by establishing the dark and isolated setting through point-of-view shots. Unsettling close-ups of toys and a child's ominous nursery rhyme voiceover create an atmosphere of suspense. As the trailer progresses, it ramps up tension through fast editing, minimal sound, and ominous music and weather. These techniques leave just enough unanswered to encourage viewers to see the film.
The trailer for The Woman in Black uses various film techniques to build mystery and intrigue around the thriller genre. It begins by establishing the dark and isolated setting through the use of point-of-view shots. Unsettling close-ups of toys are paired with a child's ominous nursery rhyme voiceover. As the tension rises through fast-paced editing and minimal sound, the trailer leaves viewers questioning what they witnessed to encourage seeing the full film.
The trailer begins by establishing the suburban location of the characters and their journey to an isolated cabin in the woods. Various shots are used to introduce the characters and build an atmosphere of tension and suspense. When they arrive at the run-down cabin, strange noises and a sense of being watched put the characters on edge. The trailer then reveals that the characters are unknowingly in a controlled experiment and are being stalked by unknown antagonists. Intense action shots show the characters coming under attack, increasing the tension until the final disturbing shot of a character screaming.
This trailer provides an overview of a horror/thriller film about two brothers. Through analysis of the mise-en-scène, editing, sound, and camerawork, the trailer effectively establishes the dark and ominous tone of the genre. Key events shown include one brother making a paper boat for the other, the boat getting lost down a drain, and the younger brother encountering a frightening clown face in the dark. Intense non-diegetic music and sounds build tension throughout. While much of the clown's appearance is obscured, creating mystery, the trailer leaves the audience with questions about what will happen to the brothers.
The trailer is for the supernatural horror film Final Destination 5. It is 2 minutes and 5 seconds long, directed by Steven Quale and distributed by Warner Bros. Pictures. The trailer uses dialogue, credits/intertitles, camera shots, special effects and music to build tension and suspense around the film's narrative of a group trying to escape death through premonitions. It targets audiences aged 15 and older with its scary scenes and intensity meant to draw viewers to the next installment in the Final Destination franchise.
Analysing film openings- Donnie Darko, The shining and Insidiousemilyhollowaymedia
The Donnie Darko opening sequence establishes the mysterious tone and setting through its use of slow panning shots, tense music, and Donnie's strange behavior in his pajamas. The Shining opening uses sweeping shots of the isolated location and unsettling non-diegetic screams to build tension. Insidious employs a chilling red title font, ghostly fading text, and unnerving violin music to set an ominous atmosphere.
This document contains an analysis of two soap opera trailers: Coronation Street and Eastenders.
For the Coronation Street trailer, the analysis notes that the song used creates a sense of familiarity but also dread. Facial expressions change from happy to shocked. Color, lighting, camera angles, and sound effects are used to create tension and disequilibrium for the audience.
For the Eastenders trailer, a cheesy western soundtrack is used for humor. Props and clothing are analyzed for their symbolic meanings. Settings, expressions, and lighting are used to build tension between characters. Western tropes through costumes, boots, and camera tilts are referenced. Cuts between shots also heighten tension.
This document provides an analysis of the opening scenes of the 2004 film I, Robot. It discusses the mise-en-scene, cinematography, editing, sound, character exposition, setting, and themes presented in the film's trailer. The mise-en-scene establishes a dark, gloomy atmosphere through the positioning of a car in water and characters appearing restrained. Cinematography uses dull colors and slanted camera angles to achieve a sci-fi look. Editing uses fading, juxtaposition, and parallel cuts to build tension. Sound incorporates exotic music that increases in tempo with the tension.
Similar to Sample oral presentation for Children of Men (20)
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Leonardo DiCaprio House: A Journey Through His Extravagant Real Estate Portfoliogreendigital
Introduction
Leonardo DiCaprio, A name synonymous with Hollywood excellence. is not only known for his stellar acting career but also for his impressive real estate investments. The "Leonardo DiCaprio house" is a topic that piques the interest of many. as the Oscar-winning actor has amassed a diverse portfolio of luxurious properties. DiCaprio's homes reflect his varied tastes and commitment to sustainability. from retreats to historic mansions. This article will delve into the fascinating world of Leonardo DiCaprio's real estate. Exploring the details of his most notable residences. and the unique aspects that make them stand out.
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Leonardo DiCaprio House: Malibu Beachfront Retreat
A Prime Location
His Malibu beachfront house is one of the most famous properties in Leonardo DiCaprio's real estate portfolio. Situated in the exclusive Carbon Beach. also known as "Billionaire's Beach," this property boasts stunning ocean views and private beach access. The "Leonardo DiCaprio house" in Malibu is a testament to the actor's love for the sea and his penchant for luxurious living.
Architectural Highlights
The Malibu house features a modern design with clean lines, large windows. and open spaces blending indoor and outdoor living. The expansive deck and patio areas provide ample space for entertaining guests or enjoying a quiet sunset. The house has state-of-the-art amenities. including a gourmet kitchen, a home theatre, and many guest suites.
Sustainable Features
Leonardo DiCaprio is a well-known environmental activist. whose Malibu house reflects his commitment to sustainability. The property incorporates solar panels, energy-efficient appliances, and sustainable building materials. The landscaping around the house is also designed to be water-efficient. featuring drought-resistant plants and intelligent irrigation systems.
Leonardo DiCaprio House: Hollywood Hills Hideaway
Privacy and Seclusion
Another remarkable property in Leonardo DiCaprio's collection is his Hollywood Hills house. This secluded retreat offers privacy and tranquility. making it an ideal escape from the hustle and bustle of Los Angeles. The "Leonardo DiCaprio house" in Hollywood Hills nestled among lush greenery. and offers panoramic views of the city and surrounding landscapes.
Design and Amenities
The Hollywood Hills house is a mid-century modern gem characterized by its sleek design and floor-to-ceiling windows. The open-concept living space is perfect for entertaining. while the cozy bedrooms provide a comfortable retreat. The property also features a swimming pool, and outdoor dining area. and a spacious deck that overlooks the cityscape.
Environmental Initiatives
The Hollywood Hills house incorporates several green features that are in line with DiCaprio's environmental values. The home has solar panels, energy-efficient lighting, and a rainwater harvesting system. Additionally, the landscaping designed to support local wildlife and promote
The Unbelievable Tale of Dwayne Johnson Kidnapping: A Riveting Sagagreendigital
Introduction
The notion of Dwayne Johnson kidnapping seems straight out of a Hollywood thriller. Dwayne "The Rock" Johnson, known for his larger-than-life persona, immense popularity. and action-packed filmography, is the last person anyone would envision being a victim of kidnapping. Yet, the bizarre and riveting tale of such an incident, filled with twists and turns. has captured the imagination of many. In this article, we delve into the intricate details of this astonishing event. exploring every aspect, from the dramatic rescue operation to the aftermath and the lessons learned.
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The Origins of the Dwayne Johnson Kidnapping Saga
Dwayne Johnson: A Brief Background
Before discussing the specifics of the kidnapping. it is crucial to understand who Dwayne Johnson is and why his kidnapping would be so significant. Born May 2, 1972, Dwayne Douglas Johnson is an American actor, producer, businessman. and former professional wrestler. Known by his ring name, "The Rock," he gained fame in the World Wrestling Federation (WWF, now WWE) before transitioning to a successful career in Hollywood.
Johnson's filmography includes blockbuster hits such as "The Fast and the Furious" series, "Jumanji," "Moana," and "San Andreas." His charismatic personality, impressive physique. and action-star status have made him a beloved figure worldwide. Thus, the news of his kidnapping would send shockwaves across the globe.
Setting the Scene: The Day of the Kidnapping
The incident of Dwayne Johnson's kidnapping began on an ordinary day. Johnson was filming his latest high-octane action film set to break box office records. The location was a remote yet scenic area. chosen for its rugged terrain and breathtaking vistas. perfect for the film's climactic scenes.
But, beneath the veneer of normalcy, a sinister plot was unfolding. Unbeknownst to Johnson and his team, a group of criminals had planned his abduction. hoping to leverage his celebrity status for a hefty ransom. The stage was set for an event that would soon dominate worldwide headlines and social media feeds.
The Abduction: Unfolding the Dwayne Johnson Kidnapping
The Moment of Capture
On the day of the kidnapping, everything seemed to be proceeding as usual on set. Johnson and his co-stars and crew were engrossed in shooting a particularly demanding scene. As the day wore on, the production team took a short break. providing the kidnappers with the perfect opportunity to strike.
The abduction was executed with military precision. A group of masked men, armed and organized, infiltrated the set. They created chaos, taking advantage of the confusion to isolate Johnson. Johnson was outnumbered and caught off guard despite his formidable strength and fighting skills. The kidnappers overpowered him, bundled him into a waiting vehicle. and sped away, leaving everyone on set in a state of shock and disbelief.
The Immediate Aftermath
The immediate aftermath of the Dwayne Johnson kidnappin
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Leonardo DiCaprio Super Bowl: Hollywood Meets America’s Favorite Gamegreendigital
Introduction
Leonardo DiCaprio is synonymous with Hollywood stardom and acclaimed performances. has a unique connection with one of America's most beloved sports events—the Super Bowl. The "Leonardo DiCaprio Super Bowl" phenomenon combines the worlds of cinema and sports. drawing attention from fans of both domains. This article delves into the multifaceted relationship between DiCaprio and the Super Bowl. exploring his appearances at the event, His involvement in Super Bowl advertisements. and his cultural impact that bridges the gap between these two massive entertainment industries.
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Leonardo DiCaprio: The Hollywood Icon
Early Life and Career Beginnings
Leonardo Wilhelm DiCaprio was born in Los Angeles, California, on November 11, 1974. His journey to stardom began at a young age with roles in television commercials and educational programs. DiCaprio's breakthrough came with his portrayal of Luke Brower in the sitcom "Growing Pains" and later as Tobias Wolff in "This Boy's Life" (1993). where he starred alongside Robert De Niro.
Rise to Stardom
DiCaprio's career skyrocketed with his performance in "What's Eating Gilbert Grape" (1993). earning him his first Academy Award nomination. He continued to gain acclaim with roles in "Romeo + Juliet" (1996) and "Titanic" (1997). the latter of which cemented his status as a global superstar. Over the years, DiCaprio has showcased his versatility in films like "The Aviator" (2004). "Start" (2010), and "The Revenant" (2015), for which he finally won an Academy Award for Best Actor.
Environmental Activism
Beyond his film career, DiCaprio is also renowned for his environmental activism. He established the Leonardo DiCaprio Foundation in 1998, focusing on global conservation efforts. His commitment to ecological issues often intersects with his public appearances. including those related to the Super Bowl.
The Super Bowl: An American Institution
History and Significance
The Super Bowl is the National Football League (NFL) championship game. is one of the most-watched sporting events in the world. First played in 1967, the Super Bowl has evolved into a cultural phenomenon. featuring high-profile halftime shows, memorable advertisements, and significant media coverage. The event attracts a diverse audience, from avid sports fans to casual viewers. making it a prime platform for celebrities to appear.
Entertainment and Advertisements
The Super Bowl is not only about football but also about entertainment. The halftime show features performances by some of the biggest names in the music industry. while the commercials are often as anticipated as the game itself. Companies invest millions in Super Bowl ads. creating iconic and sometimes controversial commercials that capture public attention.
Leonardo DiCaprio's Super Bowl Appearances
A Celebrity Among the Fans
Leonardo DiCaprio's presence at the Super Bowl has noted several times. As a high-profile celebrity. DiCaprio attracts
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The landscape of independent filmmaking is evolving at an unprecedented pace. Technological advancements, changing consumer preferences, and new distribution models are reshaping the industry, creating new opportunities and challenges for filmmakers and film industry jobs. This article explores the future of independent filmmaking, highlighting key trends and emerging job opportunities.
The Evolution of the Leonardo DiCaprio Haircut: A Journey Through Style and C...greendigital
Leonardo DiCaprio, a name synonymous with Hollywood stardom and acting excellence. has captivated audiences for decades with his talent and charisma. But, the Leonardo DiCaprio haircut is one aspect of his public persona that has garnered attention. From his early days as a teenage heartthrob to his current status as a seasoned actor and environmental activist. DiCaprio's hairstyles have evolved. reflecting both his personal growth and the changing trends in fashion. This article delves into the many phases of the Leonardo DiCaprio haircut. exploring its significance and impact on pop culture.
3. Why choose this scene?
This scene, from the scifi Children of Men, was
chosen because it was filmed entirely in one shot
with no cuts. Despite the complexity of having to
film this action filled scene in one shot, director,
Alfonso Cuaron, manages to make the audience
feel a widespread of emotions within a short
amount of time. At first a sense of nostalgia, and
sympathy for the characters is created, then, as
soon as the attack starts, Cuaron uses many
cinematic devices to create suspense and tension
for the audience.
4. Establishing Shot
This extreme wide shot serves as an establishing shot and demonstrates how
the characters have left the city. There is a contrast from this setting, to the
one the characters were in beforehand. There are no more dark tall buildings
with fences and barbed-wire around. Now the character are driving along a
country road. This setting is calm and peaceful which will later be juxtaposed
by the violent actions of the attack and car chase.
5. Mis-en-Scene & Symbolism
The mis-en-scene of the orange of this scene symbolises the theme of fertility
that runs throughout the entire film. The character of Miriam (Pam Ferris)
peels the orange and hands a piece to Kee (Calire-Hope Ashitey) who is the
only woman in the world who is pregnant. However, at this point in the film, it
is unknown that she is pregnant and Theo (Clive Owen), does not yet know
why he has to protect her. Therefore the mis-en-scene of the orange
foreshadows the fact that Kee is pregnant because fruit is a symbol for
fertility.
6. Contrast through Sound
Throughout the scene, Children of
Men director, Alfonso Cuaron,
creates a contrast between the
emotions created at the beginning
of the scene with the ones created
at the end. At first sympathy and a
sense of nostalgia is created for the
audience through the use of SOUND
DESIGN.
As the car is driving along the road, the diagetic sound of the radio saying “The
afternoon is looking good here on radio Avalon, and now one for all the nostalgics
out there: a blast from the past, all the way back from 2003; that beautiful time where
people refused to accept the future was just around the corner”. The dialogue of the
radio host about nostalgia is paralleled with the conversation that Theo (Clive Owen)
and Julian (Julianne Moore) have about their relationship in the past when they used to be
activists. They then play a game with a ping pong ball that they also used to play back
when they were together. This makes the audience feel sympathy for both Theo
and Julian, and the laughing of the other characters in the background also creates
a fun and humorous tone. Furthermore the slow pacing of the diegetic sound coming from
the radio adds to the relaxed and happy tone.
7. Camera Angles & Camera Movement
The calm and and peaceful tone of the beginning of the scene is further
emphasised through the camera angles and camera movement. In this
shot, the camera is angled so that all the characters are in one shot. By
placing the camera in this angle, the audience understands how the group
of characters are getting united and getting along better. Furthermore, the
camera has very little movement, and is very still considering it is filmed in
a car. This steadiness of the camera is later contrasted when they are
under attack later on in the scene.
8. Camera Angles
All of a sudden, there is a tonal shift when the scene goes from calm and cheerful to
panicked and tense. Alfonso Cuaron makes the audience feel suspense as soon as this
tonal shift occurs. Cuaron does so by placing the camera facing Miriam as she stops
laughing, and points towards the front of the window looking shocked. This creates
suspense for the audience because, since the camera stays on Miriam, the audience
does not know what she is pointing. Therefore the audience no longer feels cheerful
with the rest of the characters but realises that danger is coming ahead. This tonal
shift emphasises the severity of the situation of Theo having to protect Kee.
9. Sound Design
There is a contrast in sound compared to the first part of this scene. Although
the same diagetic sound is coming from the radio, it starts picking up pace as
soon as the car on fire blocks the road. Furthermore, the car starts making a
loud, repetitive beeping sound which combined with the fast pacing of the music
from the radio makes the audience feel extremely tense. The calmness of the
beginning of the scene quickly disappears as there is no more laughter from the
characters in the car. Instead, all the audience can hear now, is the sound of the
flames from the car on fire, the character’s screams and the screams of the
mobs trying to attack the car.
10. Sound Design
After Julian gets shot, the camera pans over to the glass as it shatters on the
dashboard. The audience can hear the glass cracking because sound designer,
Richard Beggs, chose to make the volume of the sound breaking louder than
it would be in real life. This sound of the glass shattering, adds more chaos to
the scene and makes the audience feel even more tense.
11. Camera Angles and Movement
The camera movement increases as the tension increases. Cinematographer,
Emmanuel Lubezki, uses chooses to increase the camera movement when
they are under attack. This makes the audience feel disorientated and
parallels the way the characters in the cars feel.
Furthermore, Lubezki no longer shoots all five characters together in one
angle, but focuses on what is going on outside the car and how it is affecting
the characters as individuals. This demonstrates how the characters are no
longer as united as they were in the first part of this scene.
12. Colour
Although the lighting has to stay
consistent in this scene, Cuaron uses
the colour to make the audience
feel more tensed and shocked. In
the wide shot of the car rolling
down the hill on fire, and in the
medium shot of Julian dying and
bleeding as Theo tries to help, the
colour red is dominant compared to
the greenery from the beginning of
the scene. The colour of Julian’s
blood, the fire and the warning signs
of the car emphasise the danger
occurring in this scene and makes
the audience feel on edge.
13. Characterisation
In this scene, Julian is characterised as selfless as she shouts “Cover Kee!”
when she sees that the people on the motorcycle have a gun. The audience
immediately has sympathy for Julian because she sacrifices herself to warn
Kee that they have a fun.
14. Framing
The framing in this shot foreshadows the events that will occur in just a
few seconds time. The door frame separates the two policemen and
Luke (Chiwetel Ejiofor). This framing demonstrates the conflict between
the policemen and the characters in the car and foreshadow the event
of Luke killing both of them.
15. Non-Diagetic Sound
As soon as Julian gets shot, all diegetic sound disappears for a few seconds, and all the
audience can here is a ringing tone. This lack of diegetic sound makes the audience
focus on the violence of the scene of Julian being shot. Furthermore, this ringing tone
is a motif that runs throughout Children of Men and symbolises the death of a
character. This ringing tone also occurs when Jasper (Michael Cane) dies.
16. The Car
In order to shoot this
continuous scene, the
crew
working
on
Children of Men built a
car was modified to
enable seats to tilt and
to lower actors out of
the way of the camera,
and the windshield was
also designed to tilt out
of the way of the
camera
as
moved
around the and slightly
outside
the
car.
Furthermore a crew of
four had to sit on the
roof of the car as it
drove along the country
road.