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La La Land

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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...
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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...
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Kill Bill Vol.2 Wedding Crasher Scene

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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.
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