Film Studies

In La La Land, cinematography is important in establishing strong responses from spectators to a key character. In the "Mia and Sebastian" scene cinematography is used in this way for example the tracking shot of Mia walking down the street past a wall of famous Hollywood actors/actresses who "made it" in Hollywood this shows that Mia will never live up to them and fulfill her ambitions. Also the paintings of the actors/actresses are bigger than Mia this further emphases her living in their shadows as they as they literally tower over her. This would make a active audience empathize with Mia as her dream is crushed. Also at this point the audience would not know about Sebastian's dream of a jazz club so they are even more likely to side with Mia as they believe she's been through harder times. There is then a mid shot of Mia back lit by a red light this leads to connotations of anger and love which could be due to either Sebastian or her dead ended acting...

To understand whether or not Winters Bone relies on predetermined understanding of its social context it must first be understood what this context is. In the clip where Ree goes to confront the social context is demonstrated quite well. Here the social context context would be understood as the very niche mirco society of the impoverished American south. A rural and primitive community. This is supported within the clip by mise-en-scene clearly as all the clothes are of the earthly tones and no one wears makeup or jewellery. Tied together with very few shots but repeated as seen with the mid-shot from in front and behind Merab throws her drink at Ree the women drag her into the garage gives the impression of people living to survive. There are no luxuries for the people in the scene so no fanciful or artistic camerawork is used However, in order to pick up on such subtleties the film does rely on an active viewer. This meaning that they engage with the subtext of the film which hi...

Synopsis ·          Bates is shown murdering the kid. His motive is unclear but supposedly he is insane and looses his temper. There is a scene of gratuitous torture and violence. ·          Doyle gets called regarding the "suicide" and from Bates’ perspective he sees his chance to cover it up by requesting to assist Doyle. He leads him to an undisclosed location and we see him attack Doyle in the train station lift and drag the body away. ·          Bates finally gets to torture Doyle, he gags him, beats him and eventually murders him. ·        Finishes with a similar scene to the beginning and therefore has an almost circular narrative. ·        Film ends with a blackout after looking at Doyle's dead body on the floor of the art studio Bates used to frame his masterpiece artwork in, the murders. As he is not captured the ending is ambig...

The sequence begins with the dolly out from Ofelia into the fantasy world which is mainly warm  colours  contrasting the cold military  colours  showing Franco's rule on Spain this then cross dissolves into a long-shot of Ofelia at the end of the corridor where the architecture is medieval further highlights the fantasy world of the film. There is then a close up and zoom in on the hour glass showing the importance of it and how Ofelia should not waste her time this is then followed up by a long, wide, tracking shot of Ofelia walking up to the pale man's table which mirrors Vidal and his feast showing the pale man represents Franco and his fascist rule of Spain. There is then a panning shot of the paintings of the pale man eating children which was based of the painting Saturn devouring his son by Goya which also represents Franco and his rule Franco is Saturn and Spain is his son instead of nurturing his child (Spain) he eats it, destroying it this is show...

The scene starts with shot reverse shots of Bills face on the left side of the screen and the Brides face on the right side of the screen showing the relationship between the two characters to be turbulent this is then followed up by a long shot of the Bride where she is on the left side of the quadrants with the scenery behind her showing that the two characters have history that they’ve put behind themselves.   The lack of any non-diegetic sound creates a sense of close familiarity or friendship between Bill and the Bride. At the middle of scene is a tracking shot of the Bride then a cut in of her feet then followed up with another tracking shot but of Bill the a cut in of his feet this creates a feeling of uncertainty of why Bill is there and his intentions. The scene is then followed up with a close up-two shot of both character which further emphasizes  the relationship between Bill and the Bride.