Eye to eye and face to face is where Harmonica and Frank found themselves. They were both seconds away from pulling the trigger, but who draws first is the question? This grand showdown was produced by one of the best western directors in the game. His name is Sergio Leone. Sergio Leone combined the smallest and largest details to create a “spaghetti western” movie. The so called “Spaghetti western” film that I will be focusing on will be, Once Upon a Time in the West. I found that Leone is very precise with his facts about the historical western era plus his ability to put us in the setting of the film. Leone demonstrates in this film how he brings together the different camera angles, the mise-en-scene, but also the musical composition aspect …show more content…
The death of Frank is symbolic to the death of Harmonica’s brother in many reasons. The death of Frank provides Harmonica a sense of justice and revenge. I add the revenge part into the scenario, because Harmonica feels that Frank took away his brother from him, so by taking Frank’s life Harmonica feels that he is getting the payback he deserved. For example, at the beginning of the flashback, Frank plots to kill Harmonica’s brother with Harmonica carrying out the actions. Harmonica’s justification for Frank’s death is very fitting. To me, the good in this movie prevails to defeat the evil in the movie, but paints the way for the final dual scene between Harmonica and Frank. Frank and Harmonica were the last of the “gunslingers” in the movie, and this was critical to the west. The men were the ones who settled that land and expanded the …show more content…
In the opening scene, the camera zooms out to focus on both the men individually. The camera switches focus back and forth from Harmonica to Frank. The camera views the men from their faces to the whole body picture. By doing this effect to the men’s character it builds suspense on who may or may not fire first in the movie. Throughout, the beginning moments of the duel, the camera angles follows both men capturing them both, but the while the camera angle is facing both of the men I can see the emotional expressions in each of their faces. In Harmonica’s face, I see revenge, hurt, but also a man of much courage and bravery to defeat a man who had him kill his brother. In Frank’s expression I see a man of much confusion since at this point in time he still does not truly recognize who Harmonica is. Both men lead to a very suspenseful, but meaningful ending to the movie. I can sense violence in the future by the way the camera was used. The camera angles allowed Leone to depict a scene of terror, but builds the bigger picture of what Leone intended for it to be. I feel that movement was also a major key in the film. Right before, the men start to approach one another Frank begins to take off his coat and throw it to the grown. From this, Frank realizes that he is going to have to face the consequences of his actions, and be a man about it. I
I have discussed how Francis F. Coppola exploits a wide array of audio and editing techniques to create suspense, tense, and anxiety in the sequence to affect the audience’s feelings. Despite the simple fabula, this multifaceted film requires certain intellectual involvement and efforts of the audience to grasp fully its underlying meanings and subtle nuances.
use of the camera the sound and the mise en scene. I will analyze the
In the opening scene of the movie we see Frank’s character played by Denzel Washington. Right away we are shocked by his violence and see his power. This is the first motif we are introduced to. We see Frank stand tall over his victim, and the dark shadowing we see on his face and body show his dominance. Another motif we are introduced to is how real this film is setup to be. The car headlights that setup the background and introduce where we the setting is as well as motivate lights. They have a purpose in the film in promoting its authenticity. We also hear the all the sounds in the forefront. When hear the sounds up close it dramatic for us as viewers. We hear every 7drop of gasoline that is poured on the man’s body and we even hear the flick of the lighter as Frank sets the man on fire. This is the director Scott Ridley’s way of saying to the audience I want to fool you, and I want you to feel like you were there and what you are watching in front of you is real.
Quite often in life we wish for things bigger than ourselves. Seeming to get wrapped up in our own minds we do not pay attention to reality. As reality comes full force we are not sure how to take it, so we let it take us. In the writing “Where are you going, where have you been?” we see Oates craft archetypes and allegories into the work through detail and word choice in order to help the reader understand the shocking outdistancing of day dreams and the overshadowing sockdolager called reality. These archetypes and allegories provide a way for the reader to join Connie in the story, but also to see the danger of what Connie doesn’t see.
...ue to their circumstances. The film’s final shots are extremely powerful, especially in the last film shots as it captures Antonio’s emotions because of his mistake. Father and son both hold hands in the crowd in tears. The last scene portrays to the audience they are desperate to have the bicycle back. It presents the significance in their lives and the effect it will have on their future.
The sound used in this scene are all diegetic, the sounds of gunfire and explosions show that the characters in this scene are in very real danger of being shot or blown up, this helps the viewer develop a more personal connection with the characters since the scene is towards the end of the film, the viewer has developed a personal connection with the characters and do not want them to die. The diegetic sounds of military personnel can be heard, this is used to show the urgency that the military personnel have to get The Sapphires and Dave out of the dangerous situation. This scene is used to emphasise the danger that Dave and The Sapphires are in very real and very lethal danger, the mixture of sinister camera angles to emphasise the visual danger that the characters are in to the inhospitable sounds portrayed by the scene to highlight the explosive danger that the characters are in. The lighting used features the darkness and the difficulty to see due to the night sky.
Interestingly we don’t get to see much of shot reverse shot during dialogues but we get the point what Mulvey is trying to say. Visual representation of introduction is done my narrator before and after each chapter. She tries to give us a clue what next to expect. But still it is not crystal clear because of the strange but powerful selections of shots. However in deep analysis each shot composition has its own meaning. Each scene is special and is tryi...
In The Passion of Joan of Arc, Carl Theodor Dreyer uses the visuality of spatial relationships in each shot with the human face and its ability to convey unspoken emotion in his portrayal of the demise of Joan of Arc. Unlike most film, the message is almost entirely told by just the eyes and expressions of the actors. There is very little reliance upon props and background. The camera angles and close-up shooting accentuate emotions and reactions. The editing style is almost methodic in keeping the emotional pace; it is much like an argument, alternating images of Joan’s tenacity, and the judges’ contempt. The artistic elements of the film are found in the subtle elements of the setting in contrast with the story that is realized by looking into Joan’s eyes as she witnesses her lifelong beliefs condemned and destroyed by her martyrdom.
The way that the director has manipulated the camera angle to represent the theme is more unique than I have ever seen in any other movie directors. For example, in the beginning of the movie, the director chose to have huge flakes of Vincent’s body flakes and hair falling to the floor. This scene shows how discrimination has evolved from the looks to the DNA of
...of what an individual can truly be to give ambiguities of framing and atmosphere. The ending of the film is by far the most unnerving scenes of all time. This is done in one shot in front of the camera, no other dialogue is said but narration.
At the beginning, the movie appears to be very dark and gloomy. This is shown from the riot at the bakery and the young revolutionist running away from authorities. There was so much trouble that the family went through to eat, and survive. The tension increases so smoothly yet it drives the nerves of the watcher during the family argument scene (which proves to be very effective).
As the world evolves so do the people within it, but without much surprise some things do not change that drastically and one of those things is the culture in which a person was born and raised. Even though ones culture or way of life may progress in some ways, it does not totally change. The topic of discussion for this paper will be that of the Italian culture. Who are they really? What types of challenges do they face? Many other topics will be discussed about the Italian society, but first we begin with the basic facts as to who they were.
To begin, the idea of two realisms is first illustrated in the opening sequence of the film and continues throughout the length of the story. For example, the neighborhood shown in the film is very staged, with warm and soft lighting, providing a calm, serene feeling.
Due to the film’s quality and interest it became an award winning film. The film had excellent sound effects such as the battle scenes. The image quality was also outstanding; it used many different angles to depict the actor to make you feel involved in the scenes. In the action scenes the most common viewpoint used was a close up shot which allows the audience to see and feel the intensity of the scene. The second viewpoint mostly used was a tracking shot due to the actors c...
Therefore, it is possible to notice how the cinematography, the mise-en-scene and the editing are used to resemble the peculiarities of the space in which the actions are taking place. For instance, the first part is characterized by long pan or tilt shots, the camera is steady but still manages to follow the characters actions. The editing points to the linear occurring of the events. Also, the characters and the objects are usually methodically placed in the scene. All of the elements are used to convey the rigid organization, efficiency and control typical of the military environment. On the other hand, in the second part, there are usually shorter shots and steadicam shots. The camera is free to investigate the space of action. Here, the editing is used to create a dynamic perception of the events. In this way Kubrick is able to bring in the spectators’ minds the chaotic reality of the war. Moreover, colors become another tool to communicate to the audience this sort of split within the film. In fact, after Pyle’s death the viewer can notice how those metallic and cold colors, that are present at the beginning of the film, shift into wormer colors. It is actually through Pyle’s suicide that the the spectator gets this switch. In that scene the dark red blood stains, and ideologically violates, the cold white tiles of the bathroom. This film is also different on