Introduction Drawn from my experience of editing In His Shadow, a 10min thriller about a teenage boy Liam being trapped in a family and finally becomes their dead son/brother Tommy as they have intended, this journal discusses various editing techniques, especially the opening and the ending of a scene, and transitions between scenes, as well as how editing decisions are affected by staging and how it interacts with the narrative. It also examines how the picture can be improved through efficient collaboration of the crew in various phases of the production. The opening The opening sequence in The Edge of Love starts from a static close-up of Vera Phillips singing a melancholy song with the camera then slowly pulled back, to reveal the tunnel where her performance takes place. It’s a successful example of establishing the tone of the film as well as introducing the protagonist while also providing essential information about the time and the period. Additionally, the static close-up at the beginning helps to hook the audience’s interest by creating a mysterious atmosphere. Likewise, a dolly shot was planned, starting from a static close-up of the graveyard on a TV screen, with the camera then pulled back to reveal the lit candles, the picture of the dead boy, and three sisters sitting in a row on the sofa in a gloomy living room. However, the shot turned out to be shaky and hesitant at times, so I chose another medium shot of the TV screen where we see the dead boy’s picture lying in the graveyard, with the lit candles in the background, and cut to the down-the-line shot of the sisters sitting on the sofa watching TV and then going over to the TV screen one after another, which is the latter part of the dolly shot, when the dolly... ... middle of paper ... ...and engaging cinematic piece. Besides, I’m very pleased with the shot of birds flying across the house and the shot of birds flying wildly in the sky, which are not in the original plan. It’s great that we have shot this since these unexpected ‘magic moments’ will in return benefit the edit, thanks to the crew’s being flexible and creative on the set. After all, I truly enjoy the experience of editing the film and I’m very proud of being part of the production team and what I’ve learnt from working with my colleagues. Works Cited The Edge of Love (2008, UK, dir. John Maybury) Chinatown (1974, US, dir. Roman Polanski) Raise the Red Lantern (1991, Mainland China, dir. Zhang Yimou) https://www.youtube.com/watch?v=JUZvjPDD4vE In the Mood for Love (2000, Hong Kong, dir. Wong Kar-Wai) http://www.youtube.com/watch?v=212MrGd_LLU The Third Man (1949, UK, dir. Carol Reed)
Movie makers have agendas. They get their ideas across by using cinematic techniques and styles which make us view a certain subject in the light that they put it in. I will discuss the differing techniques used by the makers of "Stepping Razor" and describe what the overall impression of the movie has on the viewer, and what the agenda of the director is.
...ot where the camera follows a subject within a frame and motion of the subject or its surroundings is involved. In this movie Lee uses the double dolly shot which includes the camera dolly and the actor mounted on a second dolly so the actor is moving along with the camera. The double dolly shot signature move is one of Lee’s favorites and also plays into his technical competence for the movie. This shot stars Detective Keith Frazier and happens just seconds after a hostage is “allegedly” killed by the bank robbers. In this scene the camera tends to shake and Denzel facial expressions display feelings of sadness and anger. In addition, a small cameo of Sal’s Pizzeria pizza boxes are seen when the head bank robbers makes a deal with the officers to get food for the hostages. Lee has lots of these connections within his movies relating back to Do The Right Thing.
This pleasant outlook is often in stark contrast to what is being said. What I did next is to watch the scene several times without sound, to try and pick up the visual points in the scene. The first shot struck me as an ominous one; it is of the camera pointing. directly into the cutting blades of a large cutting machine, which is. moving towards the camera.
In the shot of Vera’s room, the camera is in a fixed position. This the fixed camera position gives the viewer adequate time to view the entire room, the clothes the characters are wearing, and the facial expressions the character. The camera angle makes it almost seem like the viewer is sitting in the room with the characters watching the argument between the prince and Vera unfold. When the scene flashes back, the transition is cut very sharply, catching the viewer by surprise.
The type of shots has an important role in the understanding of Joan’s victimization. Medium close-ups and close-ups are used through out the film, creating a scary intimacy between Joan and the judges. In The Passion of Joan of Arc, Dreyer uses close-ups to show that Joan is struggling against forces much larger than herself. “Dreyer uses strange and distorted medium shots, emphasizing the aesthetic tension between a frightened and disoriented Joan, and of her cruel and mocking tormentors. ” This distortion creates pity and fear in the viewer. Also, the close-ups make us fully focus on the story and Joan’s emotion since the set, props or anything else that could appear in a long shot cannot distract the viewer. In addition, Dreyer shot torture instruments with a close-up. By giving us the chance to see the instruments closely, we become fearful and feel sympathy for Joan. Again, this emphasise, the clergy’s
Suspense is a 1913 film that portrays the story of a tramp intruding into a family’s home, where a mother takes care of her child while her husband is away. The plot is a common one that had been used previous times before the film’s release, such as in The Lonely Villa (1909). However, through taking advantage of the single frame shot, the filmmakers were able to create a masterful aesthetic of two separate stories that turn a basic plot into a complex story. The film created an inventive way of illustrating stories within cinema by allowing the audience the chance to consume more narrative in less time within just one take.
The film Wendy and Lucy, directed by Kelly Reichardt, presents a sparse narrative. The film has been criticised for its lack of background story, and as a short film, much of the story is left to the viewer to infer from what is presented in the plot. However, Wendy and Lucy is able to depict the intimate relationship between Wendy and her dog as well as reflecting more broadly on the everyday, and commenting on the current economic state of the film’s setting in America. This essay will examine how film form contributes to the viewer’s awareness of the story in Wendy and Lucy and allows a deeper understanding of the themes presented. The aspects of mise-en-scene, shot and editing and sound in the film will be explored.
Then the question is posed to Mr. Lockwood, "How did it all begin?" The answering of this question is what my paper will explain. I will attempt to break down the opening scene and show how it all started. By using tools of film such as sound, editing, mise en scene, and cinematography, this paper will show how the scene was made as well. Mise en scene played an important role in this movie as with any other movie.
Paul Morrissey has created an atypical piece of cinema in which we view a character’s banal existence through the focal point of a choppy and broken editing style. This clip takes the viewer by surprise as it does not follow the conventional norms that we as an audience are familiar with, such as smooth transitions, clean editing, and sound dubbing.
In conclusion, I have demonstrated how Coppola exploits a wide array of sound and editing to create suspense, intensity, and anxiety in the sequence to affect the audience’s emotions, using diegetic ambient sound effects, non-diegetic music, voice over and four editing types. With this sequence, Coppola has shown the savagery of war and our complicity in this violence as an audience.
The next shot (shot 4) is composed so that we see Annie and Karin on the porch swing as if the narrator is standing out in the field watching them from afar. The following shot (shot 5) begins similarly, looking down on the corn field, but dollies and turns to follow Ray (indicated in shot 5.1 and 5.2) for a close-up amidst his crops as he first hears that famous line. He quickly looks around: shot 7 consists of a quick pan across the skyline — there’s nobody there. The movement of the camera in these opening shots makes it very clear that the camera is acting as a watchful and knowing presence, and it can easily be argued that the camera takes the point of view of the spiritual figure guiding the plot’s events. Shot 14 in particular, in which Ray exits the frame entirely and re-enters at the sound of the voice, reveals the camera to be a narrator with omniscient knowledge. The camera doesn’t follow Ray because something else is about to happen right where he was standing. It’s also important to note that in shot 5, the camera begins high above the landscape and then delves into the field so that the shot is almost overrun by the corn growing through the edges of the frame — the spiritual
Our scene aims to create mystery and suspense. The producer has created this anxiety by beginning the scene in the night. There is darkness and besides the ominous background music and the narration of the protagonist there is mostly silence. Flapping of birds wings in response to a door opening makes the heart beat faster. The birds are startled, so was the viewer. The protagonist is exploring a mansion. The mansion is heritage in comparison to the date of the production however, clothing worn by characters and costumes of those in photographs show that this is set to be a period film dating into the past. There are sheets on furniture, dust and vines on the building’s interior that show that the mansion is old still in comparison to the characters. A period setting and the dark of the night make the scene feel eerie. It is too dark to see properly and this works to create mystery. Crying can be heard and the source is unknown, there is tension as the protagonist is unable to locate the source as they are forbidden by another character with greater dominance. Forbidden territory creates conflict and the viewer is left eager to find out whether the protagonist will obey orders or disobey to solve the mystery. As the viewer one is left tense for conflict
The development of editing - Editing - actor, film, voice, cinema, scene, story. 2014. The development of editing - Editing - actor, film, voice, cinema, scene, story. [ONLINE] Available at:http://www.filmreference.com/encyclopedia/Criticism-Ideology/Editing-THE-DEVELOPMENT-OF-EDITING.html#ixzz2sNiIEQqt. [Accessed 10 February 2014].
‘Billy Elliot’ is a touching story about persistence, acceptance and resilient family relationships. There was a variety of film techniques enforced such as lighting, colour and sound. These skills were applied to generate a range of feelings for the audience, weather, it be an emotional response or dramatic. The film techniques brought the scenarios together to produce quality and rich scenes.
“Entertainment has to come hand in hand with a little bit of medicine, some people go to the movies to be reminded that everything’s okay. I don’t make those kinds of movies. That, to me, is a lie. Everything’s not okay.” - David Fincher. David Fincher is the director that I am choosing to homage for a number of reasons. I personally find his movies to be some of the deepest, most well made, and beautiful films in recent memory. However it is Fincher’s take on story telling and filmmaking in general that causes me to admire his films so much. This quote exemplifies that, and is something that I whole-heartedly agree with. I am and have always been extremely opinionated and open about my views on the world and I believe that artists have a responsibility to do what they can with their art to help improve the culture that they are helping to create. In this paper I will try to outline exactly how Fincher creates the masterpieces that he does and what I can take from that and apply to my films.