Up Close and Personal the Movie The "Movie Up Close and Personal," is a modern-day story about a young reporter, Tally Atwater (Michelle Pfeiffer), who is determined to make a place for herself in the broadcasting field as a news reporter. At a Miami, Florida based station, where she is given her first chance at making it, Atwater meets Warren Justice (Robert Redford), a well known reporter who has irritated some important people in his career. Justice shows Atwater the ropes of becoming a successful
The Simpsons Up Close and Personal There is a fine line that exists in TV land that had never been crossed until The Simpsons graced the television sets of over one million Americans. This sitcom has become one of the most popular television programs in America. Is it because The Simpsons is a cartoon? My answer is yes! This show is able to sneak through the wormholes of TV land because it is a cartoon. People are overlooking the underlying issues conveyed through the characters because it’s only
There is a disconnection within this scene, as the mother runs up toward her son in the direction toward the soldiers the shot cut and she changes direction now walking down to pick up her son. The second example of this montage is the sequence of the baby carridge is the close up shot of the Cossacks guns being fired, to the close up of the mothers face showing the viewers she has been shot which are juxtaposed against the close up of the wheels of the pram. The juxtapostion of these 3 scenes
Contrasting Themes in “Blue Velvet” The subconscious psyche is one of the most fascinating and almost completely inexplicable aspects of human behavior. Even more intriguing than merely the subconscious is the notion of a darker, more repressed side that many individuals refuse to acknowledge exists within them. In David Lynch’s film “Blue Velvet,” the director attempts to explore the psyche of a young man named Jeffrey Beaumont, most notably the clash between his darker side and “good” side
map of California that Faye previously gave him, the camera shows a close up of the map. This close up reveals that the Cop has kept the map thinking about Faye, which makes Faye feel touched and respond to him. The camera takes high angles at the Cop’s perspective and then low angles at Faye’s stand. These shots make audiences view Faye to be shy and cute and focus on Cop’s gaze toward Faye with love. The scene ends with a close up of the audio, which played the theme song, California dreaming, at
times of distress and panic. One example of this is when Gilbert wakes up with Becky in the field and he realizes he needs to go home and fix the damage that he has done to his family. Another example of this technique is when Mama Grape dies and Arnie finds her. She is shot at an oblique angle, which emulates the distress that Arnie then feels for the loss of his mother. One other varying technique is when he shows Arnie up in the tree. He is shot from below, putting him in somewhat of a power position
during the opening titles of The Others, Amenabar chose to use Sepia as the colour to his small yet disturbing animation. This has a good effect because we all associate evil and horror with dark and plain colours, furthermore he goes on to use close-up shots of cartoon boys and girls screaming, and headless angels which are connotations of iconography for the horror genre, zooming in on them as soon as they come in shot giving the audience an eerie feeling that something has happened to these
difference in physical appearance John Steinbeck stresses the similarities of dress "Both were dressed in denim. Both wore black, shapeless hats and both carried tight blanket rolls", this suggests that Lennie maybe trying to copy George as he looks up to him and wants to be like him, as also imitates George actions at the river bank. In the following pages George and Lennie's conversation and behaviour helps the reader learn that the two are migrant ranch workers, on their way to one job to
suspicious going on, possibly with a shark. These sounds disappear and the theme tune, well-known sound of ‘Duh dum’start to build tempo and volume. If you think about it the ‘Duh dum’ sound mimics that of the one our heart makes and as the music picks up-tempo so does our heartbeat. As this tune starts so does the visual, it being the point of view of a shark swimming through seaweed. The audience is led to assume that the shark is looking for something because the music gets louder every second
police force after the murder of an undercover officer. The use of suspenseful non-diegetic music and an extreme close up shot of Samuel's eye as the witness to a murder, implies that danger is heading towards him. Weir effectively applies a long shot of Samuel staring blanking with suspenseful music to portray Samuel as in a position of no power and in danger. The slow motion of the close up and zooming in onto the killer and Book’s realisation of the corruption exposed by lowering Samuel’s hand, can
probably not appear again as they are all put together in rapid succession. As they drive up to the house there are a lot of strange things hanging up such as strange dead animals and wind chimes. The camera does not focus in on these separately as they are not too important but their presence makes the viewer think that the old man could be a fun character before they have even seen him. It also builds up the spooky atmosphere of the place and makes it seem as though nowhere there is normal
movies 99). This example from our books shows how by changing the angle of the shot it can mean two completely different things. The filmmaker can also use movement to distort the image speeding it up and slowing it down. Adding to the tension or suspense of the scene or for comedic purposes. Speeding up the movements of a character in a comedy makes his movements seem unnatural machine like and unnatural.(understanding movies 129). There are so many ways that movement can be used to add to
How Mise-en-scene and Cinematography are Used to Position the Audience and Create Effect in an Opening Sequence to an Action Adventure Film In Entrapment the opening sequence plays a key role in captivating the audience and setting the plot for the rest of the film. Mise-en-scene and cinematography are vital in positioning the audience and creating a sense of mystery which will attract the audience to keep watching. Mise-en-scene refers to everything put in front of the camera during filming
em yourself, you have to think about three important factors — The FRAMING or the LENGTH of shot — The ANGLE of the shot — If there is any MOVEMENT involved When describing different cinematic shots, different terms are used to indicate the amount of subject matter contained within a frame, how far away the camera is from the subject, and the perspective of the viewer. Each different shot has a different purpose and effect. A change between two different shots is called a CUT. Framing or Shot Length
as he really is, apprehens... ... middle of paper ... ...her perfections and criticisms of others. The camera also focuses on Carolyn as she has a break with reality when faced with failure. The scene, in which she cannot sell a house, has a close up of her abusing herself by screaming, crying and the slapping herself back into her altered reality. Although Carolyn appears to be socially savvy, she is often shot alone struggling to be the success she has created in her mind. “American Beauty”
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
who wakes up and gets out of her bed where her 'partner' is still sleeping under the sheets. She then walks to the balcony, there she sees the 'workman' is washing the car in a slow sexual way, he is attractive to women and it is obvious the two want sex. The woman is seen as a person with low morals and wants this man as 'a bit on the side'. The twist in the story comes when the man and woman are about to make love in the kitchen, the radio breaks causing the 'partner' to wake up. We then
furthermore, how technology is able to factor into this connection. To achieve his goal, Vertov uses one scene which begins with a close-up, eye-level of a woman cleaning her face with a towel (Vertov, 11’42”-12’11”). The use of a close-up, eye-level shot pins the viewer on the woman’s eyes. The woman abruptly peers up, and as she does so, Vertov fluidly cross cuts to a close up shot of blinds of a window looking out the city opening, successfully blending together the motion of both shots. The window
code to one of his crew hits the train clerk with the but of his gun. At this point the director zooms up on Jesse's face and he doesn’t look as calm as usual, he has this surprised face, probably because someone has just denied him something. After the refusal of the code Jesse start to get
In the early years of narrative cinema there was little pressure on filmmakers for the ‘evolution of film forms before nickelodeons’ (Salt, 1990, pp31) as cinema neither became a mass nor high cultural product and was still a novelty but ‘Production companies’ profits were based principally on the sales of longer fiction films’ in the later years (Musser, 1990, pp256) so focus was made for the production of popular narratives so I will show how the early development of narrative evolved from trick