Glenn Close

a centred close up camera shot of Carolyn closing their house doors building the tension of the audience as if there was going to be a war between the family and Angie, knowing that she wouldn’t take the deal. As the scene carries on there are a lot of over the shoulder camera shots between Angie and Barnabas as he strangles her. These camera shots display to the audience the emotion of each character as the scene plays out between them.…

Fiske asserts that “normal camera distance…is mid-shot to close-up, which brings the viewer into an intimate, comfortable relationship with the characters on the screen. But the villain and villainess are also shown in extreme close-up.” Many times throughout the film, the producers showed Corben in an extreme close-up shot in order to show his villainy. By seeing Corben’s many features up close, the viewers see how unattractive he really is, making the audience favor the hero…

audience can see her reaction as he sings. Another example, is when ‘the kid’ sings Darling Nikki. Close up shots are used to capture the reactions of Apollonia, the boss, Morris, and a couple of women from the audience. This is done to display everyone’s disapproval and dislike of the song. Morris and the boss shake their heads, the women stare with distaste, and Apollonia is shown with tears in her eyes. A close up shot of Prince’s character’s face is shown in the basement after his father…

images and what they say, rather than be drawn towards other details. Even with the way the panels transition from one to another, gives off the impression that we’re in the front row, experiencing what Ella is throughout the stories. By being so close, and having such smooth continuity between panels makes it seem we’re just watching her adventures go by so smoothly.With such a story, with the main character and her adventures, it would make no sense for the readers to be focusing more on…

The close up shown in SG6 could be the director’s way of portraying his mental battle as well as his physical one. The camera’s continued shakiness now creates a sense of desperateness as Hook struggles to catch up with car. The background being completely foggy…

'The Graduate’ (Nichols, 1967) is a comedy that uses a three-act film structure and includes its major structural elements. The film depicts a recent college graduate (Dustin Hoffman), whose feeling of a lack of purpose results in his life becoming dominated by his relationship with Mrs. Robinson and eventually, her daughter Elaine. Act I establishes the key characters; Ben, his parents and their friends, including, Mrs. Robinson. The audience is empathetic towards him and likely wanting to see…

The scene then uses the audio and visual cues of the police siren being turned as both a graphical match cut and a sound bridge to the following cut, a close-up shot of two crows feasting on an animal carcass in the middle of the highway as the camera tilts up towards the two police cars. The focus of the staging of the two crows in the transition acts as foreshadow in the show’s narrative, as evident a…

to stop playing. She asks where Josephine and Daphne last played in a band. The camera switches back to the two girls in disguise with a close up shot this time. Sue questions Daphne where the holes on her bass came from (the shooting with Spats and Toothpick Charlie), the camera then cuts to a close up of the bass. The camera then tilts up from the bass to a close up shot of Josephine and Daphne. The camera returns…

Though Robert Zemeckis’ Back to the Future is extremely successful in being a fun, blockbuster film, it does a very job in how it crafts the relationships between specific characters. Though Marty McFly (Michael J. Fox) is facing a struggle to get back home, there’s another struggle occurring in the movie between his father, George (Crispin Glover), and town bully, Biff Tannen (Thomas F. Wilson). By tracing their acting and relative staging of these two in certain shots, a narrative between them…

Scottie. Over the next few seconds, she moves towards the camera which tilts downwards, putting her feet in a close-up right in the foreground. Moving back afterwards, the camera tilts upwards, bookending the shot with a similar frame. In the sequences with the full shot, the frames seem to be fairly balanced, with both sides basically equally filled by figures and objects. However, in the close up of the feet, as created by Novak’s movement and the tilt, there is an interesting balance in that…