DIRECTED BY FRITZ LANG This film was created during the decline of the Expressionist movement. Expressionist elements include the experimentation of sound, bizarre camera angles, and fascinating imagery. This film inspired a sequel, The Testament of Doctor Mabuse.
Pandora's Box (1929) Directed By: Georg Wilhelm Pabst
This film was created during a period of transition away from German Expressionism, but still contains many of its elements. It is a morality tale in which the moral is elusive and obscure. Expressionist Elements:
moved away from mass market storytelling and focused on delving into more psychological issues/ stories
urban setting
Anti-heroic main characters
illustrates that that realism should not be taken as a given.
This film has since been rediscovered and is regarded as a classic of Weimar Germany's cinema. The expressionist values presented in this film are still present in modern media as the act of film-making itself is a form of expressionism.
The Cabinet of Doctor Caligari (1920)
Directed by: Robert Wiene
This film does not merely fit into the expressionist movement: it encapsulates it. It recounts the story of a traveling magician named Doctor Caligari and his sleepwalking assistant, Cesare, is an examination of mental instability and again probes at the strict box of realism. Expressionist elements include: -Madness, paranoia, obsession -moved away from mass market storytelling and focused on delving into more psychological issues/ stories The influence of this film had a clear effect on Tim Burton and its influence is visible in his work, such as Edward Scissorhands.
Camera movements are utilized in a variety of ways within this film in order to connect the audience with the film. The pan shot up is one of the initial shots and works to transition the audience into the plot from the establishing shot. The use of the zoom within the reaction shot creates a sense of engagement for the audience. The Dolly is used in the point of view shot and effectively creates a sense of intimacy between the audience and Anas's character. The intense nature of the action is added to by the use of the pan shot from right to left for both Anas's character and Opiee. It also aids the audience in following the action in a more literal sense. The tracking shot following Opiee allows for a slower moment in the action. It also adds to the suspense of the scene as it elicits a sense of mystery as to the whereabouts of Anas. The extreme close up of Anas's also contributes to the building suspense.
The use of a variety of camera angles aide filmmakers in adding complexity and sophistication in their film. Each of the camera angles have their own purpose within a film. Close ups provide a sense of intimacy with the character. Point of view shots effectively insert the audience into the character's situation and can create a sense of engagement or empathy. Canting can be used to create a sense of confusion or incomprehension for the audience.
In terms of successes and failures of the film, I feel as though the film was humorous in a sort of quaint way. I felt as though we were also successful in using a variety of portals. The pop-in and outs could use some work but were good for a first effort. A major point to work on is the lighting. The lighting in some of our shots has a distinct green tint which gives the impression that the chase is taking place in a dystopian setting or a prison. If I were to redo the project, I might rethink some of the locations in favor of some with better lighting.
In this textual analysis, the
example under scrutiny is a chase scene portraying two individuals, a man and a
woman, running from a group of men. This scene demonstrates the strategies and
effects that chase scenes utilize in order to convey an underlying theme or
emotion to the audience. The film in question provides an excellent example of a
chase scene including a portal that leads to a different place and including obstacles
for the characters.
An
important question to answer when considering any chase scene is who is being
chased and who is doing the chasing. The audience’s reactions and emotions
shift drastically if the protagonist is the one being chased as opposed to the
one doing the chasing. In this case, our protagonists and who we are voting
for, are being chased and so there is an element of fear. Another important
question to address in any film analysis is that of the audience. The very
concept of a chase scene can vary dramatically in tone due to the genre of the
film, which is closely intertwined with the audience. This chase scene is
intense, with tension created through the lighting and the music, which lends
the conclusion of the film being a thriller. This conclusion is reiterated by
the conflict with the female lead, as she faces emotional obstacles in the
midst of the scene. The chase scene itself allows the audience to categorize
the film in the action genre as well. The chase scene is fast paced, and there
is the feeling of an impending threat.
The
construction of the chase scene is dominated by quick clips and an intense non-diegetic music that adds to the tension of the scene. The editing adds to the rushed sense that the
characters portray. In the scene where he consoles her on the street, the commotion
in the background, which is an example of diegetic sound, adds to the suspense. Some of this scene is shot
over-the-shoulder. There is also the emergence of the Adjustment Bureau workers
from the underground staircase which is an example of a portal and their
emergence from below increases the sense of wrong associated with them. Also,
the villains are all impeccably dressed in suits and hats. In some ways, this
plays on societal stereotypes of governmental figures such as the CIA and a
certain sense of fear tied to the mystery surrounding them. Regarding camera
angles, there are a variety used but notably the eye level shot that is also a
Dolly as the two protagonist are running down the street. As the couple step
off of the city street and onto the grass at Liberty Island, there is a drastic
shift in color, as the street scene had been dominated by gray, and the island
has a breadth of green area. Stepping onto the island, they utilize an over
the shoulder shot and then a worm’s eye view shot before focusing on the female
protagonist in a bird’s eye view shot. This angle demonstrates how at a loss
this character is in regards to the situation. It can also be considered a reaction shot. It is only on the island that he
stops to explain and so the lessened intensity in this location is important to
the pacing of the scene.
The
film can be categorized into a variety of genres, and because of this, it has a
broad audience. Both of the protagonists are middle-aged, which limits its attraction
to children as well as young adults. However, the element of romance and drama attracts
women and the sci-fi and thriller
elements can attract men. The film is inclusive in regards to interests of
various genders and interests, but has narrowed the target audience with its
older cast. The audience is engaged throughout the film due to its fast-paced,
enticing nature. Its mixture of romantic as well as action scenes continue to
interest its broad target audience.
This
film was written, directed, and produced by George Nolfi and Matt Damon stars
as the male lead. Nolfi’s emotional attachment to the film could stem from the
script, as it is the only film for which he has directed. The film poses a
multitude of philosophical questions including those about a higher power and
fate. The film therefore holds a degree of religious themes but also raises
questions about freewill. An interesting parallel that can be drawn is to The Matrix due to the questions of
freewill and philosophical provocations. There are a variety of movies that raise similar questions and therefore, this movie is part of a tradition of movies such as The Matrix.In addition, Nolfi had written for
films in the past, numerous of which star Matt Damon. Another note about Nolfi is
his history of writing for action films, as almost all of the films for which
he has written have contained some component of action.
This tutorial discusses various camera movements and the
emotions that they can convey. The first shot introduced is the Crane Shot
moving in a downward direction, which gives the impression of falling into the
scene. This shot can be used to interest the audience and create investment
into the plot or the characters. On the other hand, the Crane Shot moving in an
upward direction allows the audience perspective as to the insignificance of
the character or the character’s helplessness in the face of conflict. In
contrast, a Crane Shot from a high to low angle portrays the character as an
authoritative figure and inspires fear. Handheld Camera movement can create a
feeling of danger and uneasiness, as the shakiness is unsettling.A Quick Pan can reveal something that the
character is going to have to overcome, creating a shift in the emotional state
of the audience. A Quick Push In creates a feeling of emotional surprise or
shock. A Dolly is moving forward or backwards. A Slow Dolly In can create
tension, but also intimacy with the character whether in an uncomfortable way
or a way of shared emotions. A Slow Dolly Out creates a feeling of abandonment
for the character, or a feeling of emotional loss thus creating empathy for the
character among the audience. A Dolly Across reveals something that catalyzes a
change in emotion. A Glidecam Shot creates a ballet or dance feeling almost in
a dreamlike manner. A Handheld Shot tends to force emotion onto the viewer. A
Glidecam 360 Reveal captures the feeling of “the calm before the storm.” A
Zolly is a combination of a Dolly and a Zoom creates an overwhelming out of
body experience. A Zoom is a shot using a lens whose focal length is adjusted
during the shot. A zoom normally ends in a close-up, a zoom-back in a
general shot. A Pan is movement of the camera from left to right or right to
left around the imaginary vertical axis that runs through the camera. A Tilt is
the camera tilts up or down, rotating around the axis that runs from left to
right through the camera head.
A Tracking Shot is when the camera is being moved by means
of wheels.
The first shot of a new scene, designed to show
the audience where the action is taking place. It is usually a very wide shot or
extreme wide shot.
Long Shot (from 0:48-1:13) - Framing
shows the image as approximately
"life" size ie corresponding to the real distance between the
audience and the screen in a cinema (the figure of a man would appear as six
feet tall). This category includes the full shot showing the entire human body,
with the head near the top of the frame and the feet near the bottom.
Medium Shot - Vertical Lines Contains a figure from the knees/waist up and is
normally used for dialogue scenes, or to show some detail of action. Eye Level Shot (from 0:58-1:20) - Simplicity the camera is positioned as though it is a human
actually observing a scene, so that eg actors' heads are on a level with the
focus.
l Close Up Shot (from 0:27- 0:38) - Simplicity
a
certain feature or part of the subject takes up most of the frame. A close up
of a person usually means a close up of their face
Birds Eye Shot - Vertical Lines This shows a scene from directly overhead
Worms Eye Shot (0:33 and 0:42) - Simplicity
A scene shot from under the
subject, Low
angles help give a sense of confusion to a viewer, of powerlessness within the
action of a scene.
Extreme Close Up (3:54- 4:40) - Framing an extreme version of the close up, generally
magnifying beyond what the human eye would experience in reality
Reaction Shot - Repetition, Unity Reaction shot is a shot which cuts away from the main scene in order to show the reaction of a character to it
Point of View Shot (0:19-0:25) - Leading Lines This shot shows a view from the subject's perspective
Over the Shoulder Shot (starts at 1:30) - Informal Balance This shot is framed from behind a person who is looking at the subject. The person facing the subject should usually occupy about 1/3 of the frame.
