The first scene begins with a close up shot of Senor Love Daddy's mouth, the
top of a microphone, and an alarm clock. The alarm clock, being used as a prop, is
making a very loud, annoying, ringing sound. This is done in order to get the
viewers attention to the problem of racism. After the ringing stops, we start
reframing in, and zooming out slowly, seeing more of Senor Love Daddy and the
microphone. There is hard lighting present in the scene. The entire shot has a
reddish color to it. A slow zoom and the reddish color are used to show the viewer
how hot the setting of the movie is. The color also reflects tension, conflict, anger,
and frustration, things that are not being expressed in the film yet. As we are
zooming out, Senor Love Daddy says "Wake up, wake up, wake up…" This part of
the scene is also is intended to get the viewers attention to the problem of racism.
The foreground and some of the middle ground are in shallow focus. This is a get in
your face type of shot, letting the viewer know that this movie will be in your face
for the next two hours and that the viewer better pay attention to the problem at
hand: racism. This shot is solely for the viewers, to get their attention. We stop
zooming out once we see the whole microphone. At that point, we start tracking out
and the camera starts moving slowly up, via a crane. We now see the reflection of
the street outside Senor Love Daddy's workplace, on the glass window Senor Love
Daddy is facing. We also see hats of many different cultures sitting Senor Love
Daddy's desk. This shows that he respects many different cultures and shows he is
a very open person. Also Senor Love Daddy's workplace is street level. He talks to
all the characters in the movie like Mookie, Radio Raheem, and the people playing
outside with the fire hydrant. This shows he is willing to communicate with the
neighborhood and also show once again that he is a very open person. He is always
looking outside the window at the community. Senor Love Daddy is not hiding from
anybody. He is the voice of the neighborhood. The camera continues moving up on
a crane until it is at an high angle, and we start panning to the left.
has limited range of hues with mostly blues and red accents. There are some strong value
the relation of what is filmed and what truly is real. In an inspection of The Thin
... Not only does this provide an example of the ambient racism in this story, but it also relates to the previous statement of how the filmmakers exaggerated the sexual energy of black people.
followed by close. The film is mostly shot with a closed frame, but there ar...
Spike Lee is brand name when it comes to the film industry. When you try to ask any group of people their opinion about this man, you will probably receive numerous positive responses from the film community as well as the African American community. Do the Right Thing (Spike Lee, 1989) is a film that illustrates how racial conflict can become a reality while showing the repercussions that come with racial segregation. Spike Lee uses a number of tools to write and produce the film in order to ensure the message reaches his intended audience in the best way possible. The use of location, soundtrack, and dialogue is abundant in this film. Therefore, this film analysis paper is for Spike Lee’s Do the Right Thing (1989). It is a film in which racial segregation ignites riots in a neighborhood dominated by the black population. The heightened scene of this film analysis is where Spike Lee throws a trash can and it is from this that hell breaks loose and riots begin.
To begin, he uses an array of colors that allows each color in the sky to blend and transition harmoniously. Church also uses primary and secondary colors within the sky that consists of teal-green, reds, and bright yellow next to each other. This creates a contrast between the darker red shades in the cloud and the lighter shades of bright yellow in the sun. Besides the different shades that are being used, Church uses both neutral values and saturation. The neutral scheme can be seen in the black and gray-brown values of the trees and shadows in the bottom part of the painting. This, in comparison to the high saturation levels of the colors in the sky create a contrast. The colors in the sky are in their purest hue which means they are bright, and this being next to the dull and dark colored mountains and trees creates a contrast and more of an emphasis on the brightly colored sky. Those different colors also fall under complementary and analogous colors. The red cloud complement the blue-green colors of the sky they are in. There is also a heavy use of reds, oranges and yellows, all falling next to each other on the color wheel shows Church’s use of analogous
As the main character walks around urban areas, there are multiple displays that are highly reminiscent of modern racial inequities. On one occasion, a quarrian, stereotyped as a beggar and thief, is falsely accused of theft, and arrested for it. On another, a minority race is detained and called slurs for lacking appropriate paperwork. Also shown is a privileged asari doubting the wholesome intent of a krogan for romance on the grounds that krogan are brutish and incapable of affection. When the player recognizes events such as these, it is possible to intervene and decry the racist
But, still every morning we see or hear to some news saying that a black is killed or a white shot a brown man and said that ‘get out of my country’. These lines then really hurts, but, what we do, when we hear this; nothing. We can only debate or think but are unable to bring a big change. Similarly, an effort done by Jordan Peele is appreciable. He made a really good movie named as “Get Out” which revolves around experiences faced by black people. Following thesis will throw light on some of the aspects seen in the movie “Get Out”.
One of the biggest issues depicted in the film is the struggle of minority groups and their experience concerning racial prejudice and stereotyping in America. Examples of racism and prejudice are present from the very beginning of the movie when Officer Ryan pulls over black couple, Cameron and Christine for no apparent reason other than the color of their skin. Officer Ryan forces the couple to get out of the car
Director Max Ophüls is known for his distinctive smooth camera movements (Liang, 2011, p. 2). Frame mobility keeps the audience focused on the subject (Bordwell and Thompson, 2008, p. 203), and this can be seen in this shot. Due to the camera tracking Lisa and Lieutenant Leopold after they enter the frame, the audience’s attention stays focused on Lisa and Lieutenant Leopold, even thoug...
The point-of-view shot, also used by Curtiz was intended to place the audience directly ...
A sidewalk with trash aligned to it can be seen. The whole neighborhood is lit up, and the morning sun rise can be seen from the background. A lady wearing ragged clothing is carrying a baby and has her backpack on. A tracking shot of the lady continues from behind, she’s struts down the sidewalk until she reaches a door with yellow and blue letters “Daycare.” She rings the doorbell “It’s Maria.” A sound of a click and a door opens. The lady enters into a room filled with baby cribs and toys of stars and rockets attached to the sealing. One crib is three-point lighted. A close up of the baby’s sleeping face is shown in the mother’s arms and the camera zooms out a little. Both the mom’s face with eye bags and baby’s sleeping face is visible. The mom gently places the baby into the crib and says “sleep well.” A low angle camera shot from the baby’s crib shows the mother leaving, and closing the door. The baby starts to cry, and the mother opens the door, and from a POV of the baby the mother’s face is completely visible again. The camera cuts to a mid-angle medium shot and the mother begins to sing a melodic
We see how minorities can be discriminated against or stereotyped by just a few words that are exchanged. We as people have the opportunity to change, even those who seem helpless such as Derek Vinyard or the police officer. It also goes to show that we should be more conscious as to what we say to others even if it is harmless because it adds to the racism that goes on and it needs to come to an
From the start of the film it is apparent what time frame it is taking place in and the differences in the social stratification through the lack of colors. One of the most obvious portrayals of the bleakness and desperation of the era is the overall faded and washed-out look of the whole film, due to manipulation of the film saturation; the heaviness of it almost cries out to the audience. Though the film was shot during the summer, cinematographer Roger Deakins and Cinesite colorist Julias Friede were able to use digital technology to change the appearance of the colors. “Together, they worked on manipulating the [digital] saturation of the images, and in particular selecting the greens of the trees and grass and turning them into dry browns and yellows” (Escaping, 2). These dry brown and yellows enhance the audience’s impression of the desperation of the characters and the time period.
The movies In Bruges and The Station Agent share a technique utilized by many other films known as a medium close-up. The textbook, Looking at Movies: An Introduction to Film, defines a medium close-up as a shot that, “shows a character from approximately the middle of the chest to the top of the head.” This type of shot can often give the audience more information about a character than a traditional close-up shot. The observer is able to see the actor’s posture along with his or her facial expressions. The shot gives the viewer more context within the scene, and it can deepen his or her relationship with the character. Although a cinematographer can use a medium close-up shot for any number of reasons, I believe the two scenes from The Station Agent and In Bruges use this shot to develop their characters.