Close-up

has a way of giving off a pitiful, scared, or uneasy feeling toward a character that will later on be the “good guy.” Burton has always had a love for childlike stories and films, and now in almost all of his movies a child, teen, or someone with a childlike mentality is the main character. This makes the audience want to care even more. Tim Burton has accomplished how to use close-up, long shots, and color contrast to portray an emotion. For example, in the movie Edward Scissorhands, for example, when Peg found Edward Burton made the audience feel scared for her as she walked up the long dark staircase. Tim…

D.W Griffith is known to Hollywood as the father of modern editing. In 1908 He introduced new innovations such as variation of shots such as the close-up shot, the long shot and the tracking shot and the variations in the pace of the film. While Porter concentrated on making the narrative in his films better through continuity, Griffith learned how to manipulate shots in order to have a bigger dramatic impact. His techniques included scene fragmentation which involves cutting from long shots to…

The audience gets a sense that the film was filmed in one go creating a logical coherence between shots. During the initial fight scene, dissolve and wipes were used to speed up the action, which is another way of involving viewers and getting their attention to anticipate what is going to happen next. It seems as if they planned and directed shots in such a way that they can be cut together smoothly and coherently. You could tell they implemented general cut on action, especially cutting from a…

Medium close up. This shot is exactly the same as shot number 2, except that it can be categorized as a reaction shot from Ginger as she slows down and realizes how frantic she was; however, she soon aggressively speeds things up again that ultimately leads to fear and anxiety from Jason. These last three shots are rather slow placed relative to the rest of them because tensions are low, the scene is still relatively calm, and Ginger’s transformation into the monstrous feminine is not yet…

Hamlet and it is this that differentiates the adaptation from earlier productions. The poster advertising the film in essential to the the reception of the film and shapes the expectation of the audience. Franco Zeffirelli’s poster delineate the power struggle and tension between the characters, as explored in the film while Branagh’s poster stages the perspective of the deserted Hamlet, looking at a cold and distant view of Elsinore. Almereyda’s Hamlet shows a close up of Hamlet, providing a…

Shot4 to shot7 and shot9 they are over-shoulder close-up shot, which means the “listener” is also in the vision. However, shot11 to shot 15 are slightly closer than the previously mentioned shots. In these shots, only one actor (usually the speaker) is in the vision. This slightly difference is not easy to be consciously noticed. However, when the camera tracked in, the images became bigger; they highlighted the most important part of this conversation. More than that, personally, I think shot10…

The movie scene opens with a close-up shot focusing on the bold words March 9th, 1852 “Gold Coin Fifty Day Robbing Spree”, the camera slowly zooms out, having the picture focus perfectly on a gentleman’s frown. Reaching for his freshly poured water the man crumbles the newspaper fast out of frustration. Detective Henry Goober hasn’t received much sleep since the day he almost caught Gold Coin. The camera cuts to the train moving fast in motion with scenery of mountains off in the distance. The…

There have been many different versions of William Shakespeare’s play, Hamlet. Recreations range from plays to movies, and each one adds its own level of darkness. One recreation is the 2000 version of Hamlet starring Blair Brown, Roscoe Lee Browne, Campbell Scott, Lisa Gay Hamilton, and Jamey Sheridan, and directed by Campbell Scott and Eric Simonson. This version of Hamlet that we watched in class gives its own twist and darkness that the story needs. The opening shot of the movie is a close…

The Giant’s fighting scene from Spike Lee’s Mo’s better blues is a really interesting scene in terms of lighting scheme, camera composition, etc. The sequence opens with an establishing master shot #1 of Giant going to the restroom. Shot #2 is a medium close up shot of Giant. Behind him are two men peeking from the stalls. This foreshadows the trouble Giant might be facing. The director uses the division of surface in order to show the conflict between the men and Giant. The focus of the shot…

Danny then has a flashback which is in black and white of the night where three black guys try to steal Dereks truck. This Flashback was in black and white to show that it was in the past and that it was not a happy flashback. During this flashback Tony also uses the close up shot used very effectively in the scene where Derek is making the black guy put him mouth on the kerb. By using this shot Tony Kaye was able to show the audience the emotion of the black guy. In the close up of the mans…