Shot reverse shot

this sequence, we are able to feel the uncertainly and the unsteadiness that Nina feels around Bloom. The camera is able to capture her face as she looks into the eyes of Bloom when she tells him that she only went on a date with him as a professional move and not for anything romantic. When the camera moves over to Bloom, the viewers are able to see how he is trying to convince Nina that he is the reason the news station is improving and that more people are watching it. We are also able to see how confident Bloom is in himself and his business that he has created. The camera captures his facial expressions such as smirks, smiles, his eyes get big, and even his tone of voice, when he is talking good about himself. The viewers then get a mid shot of Nina and Bloom sitting at the dinner table. You can see Blooms reaction to Nina when he notices that she is not engaging with him has much has he wanted. This is a smart move by Dan Gilroy in the sense of allowing the audience to see the feelings between them and how it is a one sided…

As the first two conventions mentioned above, this convention can also be found in most surveillance films. When watching this murder scene viewers are left feeling betrayed, because that is exactly what happened when Lou’s partner was shot and killed. What makes this murder scene different from other surveillance film murder scenes is that the murder was not for seeable compared to other movies. For example, as we seen in The Conversation the murder was mentioned before it happened even…

“Better Together,” which was a song off his first album. Mind you, all these songs are so relaxed, they’re a little upbeat, but mellower than anything. I’ve heard people say that the best time to listen to Jack Johnson is when they are smoking marijuana and just want to relax. I guess you can’t really take that to heart, unless you have done that before, but that’s just what I’ve heard. Anyways, Jack finally started to play songs off his new album after getting the crowd all ecstatic with his…

watching his mother spoon soup into her mouth, and then cuts to a close-up from the point of view of Amelia looking at her hand as she spoons soup out of the bowl. This close-up gives significance to the soup. Drawing our attention to the spoon that now, unknown to Amelia, holds a shard of glass on it. Kent cuts to a mid-level two shot of Samuel and Amelia sitting in the kitchen. This is a confining shot, as both people feel walled in by their surroundings. The table is black, and the wall a…

but it wasn’t until I took a step back and saw the variety of shots and how each one of them is put together that I realized that there is more then one way to watch a movie. The different ways that a film is shot and how the scene is constructed are ways directors convey meaning to the audience. Film language and mise-en-scene are greatly present during the film Edge of Tomorrow. The first scene that I want to discuss…

Medium close up. This shot is exactly the same as shot number 2, except that it can be categorized as a reaction shot from Ginger as she slows down and realizes how frantic she was; however, she soon aggressively speeds things up again that ultimately leads to fear and anxiety from Jason. These last three shots are rather slow placed relative to the rest of them because tensions are low, the scene is still relatively calm, and Ginger’s transformation into the monstrous feminine is not yet…

The Giant’s fighting scene from Spike Lee’s Mo’s better blues is a really interesting scene in terms of lighting scheme, camera composition, etc. The sequence opens with an establishing master shot #1 of Giant going to the restroom. Shot #2 is a medium close up shot of Giant. Behind him are two men peeking from the stalls. This foreshadows the trouble Giant might be facing. The director uses the division of surface in order to show the conflict between the men and Giant. The focus of the shot…

In these shots, like in shots 41 and 51, the car is moving from frame left to right each time. Without a sense of continuity of direction, the viewer would not know where the car was headed, and if it was making any progress. By showing the repetition of the car heading from left to right, we get a sense that we are getting closer to the goal, which will eventually be on the right side of the frame. This was especially important in Death’s Marathon, since the car was in such a rush, the shot…

of the storm; instinctual and unpredictable. The characters in the text wounded and destroyed by others, such as Heathcliff and Edgar, by themselves such as Heathcliff and Cathy or by both their own and others action as Isabella displays. Heathcliff was already a damaged person before arriving at Wuthering Heights as he had been a young orphan living on the streets. He was further hurt as his foster brother Hindley immediately displayed how unwelcome he was by spreading rumors around the…

walk into the lab. The camera pans left in a POV shot, like from the perspective of a horrified spectator, from a screaming woman to Stan performing the memory operation. The background is plastered by a large film of the woman’s memories projected onto the wall. Howard speaks of the procedure in the background. With dynamic camera movements, attentive editing, unique approaches to mise-en-scene, and sound alteration, the eight-minute sequence represents the stark cognitive changes Joel…