Kill Bill Vol.2 Wedding Crasher Scene


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.



Comments

Post a Comment

Popular posts from this blog

Pans's Labyrinth Pale Man Scene

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...
Read more

How Far Does Winter's Bone Rely Upon An Understanding Of Its Social Context

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...
Read more

Horror Film

Image
Horror film is a genre that seeks to elicit fear for entertainment purposes. Horror at the beginning was inspired by literature from authors such as Edgar Allan Poe, Bram Stocker and Mary Shelly. The macabre and the supernatural are frequent themes. - A famous scene from the 1922 German horror film  Nosferatu. Horror films often aim to evoke viewers’ nightmares, fears, revulsion's and terror of the unknown. The horror genre has been around for more than a century. The first depiction of horror in film was in 1896 a 3-minute short film called le Manoir Du Diable known as in English as “The Haunted Castle”. Some of the most iconic horror films in cinema history are Psycho, Night Of The Living dead, The shining and The thing. Then some of the most famous and greatest horror directors are John Carpenter, George A Romero, Alfred Hitchcock and Guillermo Del Toro to name a few. One issue raised by horror movies is that they reflect societal issues such as in Get Out (2017) where ...
Read more