Shot 1: Dissolve from a establishing shot of Xanadu into a close-up of Susan working on a jigsaw puzzle. Susan looks up from her puzzle to the direction of Kane’s voice while the camera cranes away from a close-up to medium shot of her. This shot begins a shot-reverse-shot sequence between Susan and Kane.
Shot 2: A cut to extreme long shot of the interior of Xanadu and Kane in the background standing at the archway walking forward. Once again in shot-reverse-shot sequence. There are Egyptian, Greek, and Chinese sculptures in the foreground to middle ground.
Shot 3: A cut to same medium shot of Susan as in Shot 1. Once again in shot-reverse-shot sequence.
Shot 4: A shot-reverse-shot cut to same shot as shot 2. The camera pans to the right
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Instead, she lets him answer his own question coming to the conclusion that she is working on jigsaw puzzles. This aspect of Kane asking and answering his own question towards Susan happens again later in the clip in shot 11. Susan looks at Kane but does not say anything when he asks her “What are you doing?”. He then questions why she keeps on doing the jigsaw puzzles by saying “ Susan gets annoyed with his comment and snaps back “It’s better than collecting statues”. Kane does not understand why Susan keeps on working on jigsaw puzzles and Susan does not understand why Kane collects statues. They both do not understand one another therefore alluding to the fact that they are growing apart and eventually going to separate. There lives are turning tragic due to the fact that they just stay at the palace all the time alone doing their hobbies. This is depicted by the six shots of Susan’s hands working on jigsaw puzzles. These scenes also have music playing over them sounding similar to a clock ticking. This shows that they are not happy and just trying to pass the …show more content…
Susan is redoing the same puzzles over and over again representing how mundane and repetitive her life has become with Kane. It also means that Susan has no control over her life but with the puzzles she can make the perfect picture. She is being manipulated by Kane by being forced to sing in opera even when she does not want to and forced to live isolated at Xanadu with Kane. Susan even asks about the time in New York and tells Kane she wants to go. Kane however just brushes off her interest and request to go to New York. She makes it obvious that she does not want to be kept in the palace all the time but Kane just ignores her.
The power dynamic in their relationship is shown when Kane and Susan have conversations. During all of their conversations Kane is always standing over Susan. Kane is often not looking at her or placing himself away from her as if he is not really there or listening to Susan. Kane’s body language depicts that he does not really care for Susan or her needs. He treats her like a child when she speaks to him which is further depicted by the height difference in the shots. This aspect is also showing Kane controlling Susan’s life as if she is a
...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.
Still another significant feature exhibited in the sixth last frame displays a family type portrait of a happy family where the couple’s children are grow...
...able. After following Kane’s movement the eye naturally moves to the glowing piece of paper that appears almost legible. Panning shots such as these allow an audience the ability to follow significant attributes in scenes.
Shot 4: Wide shot. Dorothy walks into center of the shot carrying Toto. Looks around in amazement. While back in turned, munchkins appear by popping their heads up out of the flowers to see her for the first time. They then hide again as she turns back around to face the camera. Straight on shot, no movement, sounds is still co...
What do I see in her performance? Her art performance “The Artist is Present” is the first career exhibition the MoMA under took for a performan...
Hitchcock captures the moments where the audience is able to see the visceral experiences with Madeline and Scottie through the use of camera movements. In the first scene of the film, the viewers see a chase in which a man is literally hanging from a rooftop, grasping tightly to not fall into his death. Hitchcock uses the zooming effect to enhance the fear of heights of Scottie Ferguson, as well as provide the point of view of the detective’s vertigo to appeal to the audience of Scottie’s emotive state of being. This traumatic experience of witnessing the policeman fall to his death represents that every experience will end tragically. The chase between the detec...
During the beginning of the film “Sherlock Jr”, there are multiple cut shots when he is trying to buy a portrait from the store lady.This scene shows continuity due to the fact that this is an eyeline match shot between Sherlock and the portrait. This scene establishes the setting Sherlock and the other characters occupy. The portrait also indicates that there is a graphic match towards the store lady and the portrait in the next upcoming shots. This also contributes to continuity because they both share the same pose, facial expression indicating the resemblance and establish that there is not a change between time and space.This scene also presents rhythmic relation that connects the shots together. This is to link the shots together in a format that relates to Sherlock’s hopes and coordinates with the music tempo. The shots decrease in time in order to represent the anticipation of the outcome, still contributing to the continuity.
The opening shot looks like it was taken with a handheld camera, as it is somewhat shaky and we can hear a background noise. We are introduced to the character right away. We see a reflection of him at first, and then the camera proceeds to pan up until we can see his whole body. His head is turned away, so we can only see his profile. He is wearing casual clothing and a red headband. We know he is in New York City because we can see Queensboro subway station behind him. He looks to the side of the camera as it makes a few quick cuts. He crosses the street and the camera is behind him, a safe distance away. It zooms in and out and makes another series of quick cuts as it observes him reading a newspaper. He is never really in the centre of the shot and does not appear to be the main focus of the camera. We see people pass by and block our view and we even see him from the back. The next shot, at 1:50, shows his back as he’s having a conversation with somebody, whose face we also cannot see. The next shot is him sitting on a car, smoking a cigarette. Another man approaches him and they proceed to talk briefly. We cannot hear what they are saying. After another series of cuts, w...
This shot foreshadows the relationship of Ennis and Jack. This is the second longest shot of the scene. It utilizes similar framing as Shot 2, the longest shot, however now they are not truly alone. As Joe walks into the trailer Jack and Ennis are seemingly left alone outside, but Joe is still present, walking past the trailer’s window. People are now out walking and driving in the area. Furthermore, since the arrival of Joe, the framing of shots from this perspective are repositioned to include a church steeple in the background. The church is overlooking them and in a sense judging them. Appearing only after the arrival of Joe, the church’s roof matches the colour of Joe’s shirt, creating a connection between the two. Joe will be the first
The climactic scene towards the end where Michael reveals he is a man is full of cuts, moves that go from one shot to the next. In the scene the camera jumps around between Michael giving his speech, the cameramen frantically moving to get the right angle, the director freaking out trying telling the cameras where to move, and the other actors reacting to his speech. A jump cut, a cut from one scene to the next when the time and place has changed in the next scene, is used when Dorothy is going with Julie to her Dad’s farm. The first clip has them on the train heading to farm in the mid afternoon and then the film jumps to the truck arriving on the farm in the evening. The movie also uses a montage, a collection of shots edited together to create a specific look and feel, to show Dorothy’s photoshoots and magazine covers she appears on. They show glimpses of her posing for different photoshoots, one in a red dress, one in a cowboy costume, one with a male model, and then they show the magazine or article with the photo on it. This helps to show how popular Dorothy is, and helps pass time in the movie to jump to the next important
...xt shot we observe them on the outside, for this Brown uses a straight cut rather than a jump cut to promote continuity into the next scene. All the scenes in the movie including this one take places in chronological order in a linear fashion. The editor also uses reverse angle cutting as well.
Montage is from the beginning of the twenties characterized as a process of synthesis, building something new and in terms of the physical planes also something quite simple. Most montage’s films were created as a dialectical process, where initially from a two meanings of consecutive shots form a third meaning.
plan and tells him to leave it to her. She's cunning as she uses words
In the third scene, the camera assumes Alicia’s point-of-view upon discovering her husband and stepmother have poisoned her. Alicia leaps from her chair and...
In scene 49, a 'montage ' shows the passage of time as Ricky Baker and Hector move through the woods as Paula, officers, and hunters chase after them. Except, instead of cutting between these moments in time, the camera slowly turns 780 degrees and characters appear and disappear in parts of the forest as needed. It 's a one-take montage. It 's a clever shot and it indicates Waititi is exploring other ways of presenting montages. It 's a very noticeable stylistic choice, but it doesn 't distract from what 's happening on screen. The montage itself is similar to previous ones in the film--passages of time are shown as humorous bits. The chase through the forest is a serious one--Hector is accused of molesting Ricky Baker and if Ricky Baker is caught, he would be sent to juvenile prison. And yet, since the film 's world includes incompetent police officers and hunters, the montage is