"Going Down" written and directed by Mark Brown is a short film about a dark thrilling story of a businessman and repairman in a never ending elevator going down. the main idea in this short film is to not judge a book by its cover. Mark Brown used a similar idea by do not judge someone or anything by their look or appearance. In this short film there is a lot of aspects used therefore the major aspects that I have chosen is dialogue, extreme close up, editing effect, camera angles and Lighting. At the start of the short film there is dialogue being used between the two characters, a repairman and a businessman but there is no more dialogue between the two of them after he and read the article in the newspaper that explains about an …show more content…
The faces on the two characters also show sweat and fear after one of the characters had read the article about a escaped convict. In the short film the close up show the to men anxious and confused as they were having second thoughts of who the convict on the loose is because it could be on of them. The close up on there face show the viewers gives us more detail of how intense and scary it is in the elevator as you can see the waterfalls of sweat falling off there face. Mark the director was successful with this because it felt like it was a scary situation to be …show more content…
This shown throughout the short film but as it gets more intense the lighting get more and more gloomier. There is more lighting to show darkness behind the characters to give it that extra effect of the surroundings but the lighting on the faces were the key impact when watching the short film because you can see all the sweat trickling down the faces and the reactions through there facial expressions. This shows the viewers how dramatic the short film and how horrifying it would be to be in there shoes. The purpose of the underexposure lighting was to focus more on the characters while the surroundings were still creepy and dark. It was very successful because it made me stay hooked in for the whole short
In the movie Edward Scissorhands, a lot of different cinematic techniques are used. This movie mostly focuses on lighting, usually using darker low-key lighting throughout most of the film to create a darker, creepy tone. Low-key lighting is used mostly in scenes with Edward scissorhands in them, not as much with the girl. A good example of these low-key lighting scenes are the beginning ones, when the girl first enters Edward’s castle. The atmosphere inside is dark and creepy, adding to the already mysterious and dark tone of the movie. Another example of a scene with low-key lighting is the very beginning of the credits screen. The words are displayed in white with the rest of the background as a dark and evil setting. This already gives
Though the majority of the film remains well-lit as the characters remain in the generator-powered bunker, the scenes begin to darken with low-key lighting as the film nears its ending, reflecting the more sinister and suspenseful aspects of the plot. In the chase to escape from Howard, Michelle is flooded with shadows and darkness as she crawls through the air ducts to reach an air filtration system room with a door leading to the outside world. The unpredictability of Howard catching up to her already triggers a thrilling sensation within the audience, causing their hearts to race with adrenaline. Along with the action, Trachtenberg enhances these emotions of fear by dimly lighting the film sequence in order to generate apprehension towards the uncertainties held within the shadows. As Michelle frantically manages to break open the door, low-key lighting continues to add intensity to the still shot of her standing in the darkness of the night outside the bunker. This holds the viewer in their seats and encourages them to glance around at the corners of the screen, anticipating a jump scare to come out of the shadows. Though previous scenes have been flooded with light, Trachtenberg’s use of darkly lit scenes presents a stark contrast, creating suspenseful tones that impose feelings of fear and adrenaline on viewers and making the film out to be incredibly
that is indicative to the lighting style. But it is more than just lighting and narrative; there is also a
A soft light can establish innocence or youth in a character, and a hard light can establish the evil in a character (Barsam, 222-24). During the bar scene with Terry and Edie, Edie has a softer light that symbolizes her innocence. Edie has been sheltered from the trouble in her town; therefore she is not aware that Terry is in the gang that killed her brother. The main mob boss is often shot with a harsher light. The boss is older and he is pure evil, he is not afraid to kill Terry for ratting him out to the police. The overall film is shot in a hard or high-contrast lighting that features deep shadows (Barsam, 223). The shadows increase the film’s drama and dark style. The overall lighting connects the setting with the plot and allows the audience to feel a certain way about a
One way the filmmakers did this is with the on location shots of rubble in many scenes. The characters in these shots are carefully placed to make the rubble stand out behind them. Lighting is carefully placed to illuminate the rubble and make it stand out. However, the carefully planned cinematography also plays into the overall meaning of the film and not just how it looks. The lighting, for example, influences our feelings for certain characters. Susan Wallner is always filmed in light. This is a drastic difference from how we see Hans Mertens. Hans is usually filmed with low light and is very dim. This helps show that Susan is optimistic, while Hans is pessimistic. Another way lighting is used in this film is to create shadows. Shadows are very prevalent in the last sequence of the film. Hans has confronted Bruckner and as the camera cuts back and forth to each of them we see Hans shadow keeps growing bigger and bigger behind Bruckner. We can interpret that as the shadowing is growing bigger so his Bruckner’s fear, because the dialogue coming from Bruckner is getting faster and we can also hear the fear. There are many times in the film where close ups are used to make the storyline more dramatic. One scene that comes to mind that makes use of quick cuts and close ups is in the end of the film: Susan ran in, stopping Hans from killing Bruckner. At this point we
Falling down directed by Joel Schumacher is the portrayal of a recently unemployed middle aged William Foster living in Santa Monica. Schumacher presents a man whose patience is running out, a man who is sliding towards madness with consequences. Living in 1990’s recession and caught between gang rivalries and the melting pot of Los Angeles, Foster is making his way across the city of Los Angeles to make it in time for his daughter’s birthday, despite his ex-wife having a restraining order against him.
Close up tends to take up at least 80 percent of the frame and this helps get a feel for what a character is thinking. One example of this technique being used is when Connie and her friends were changing their clothes at the mall. The director did a good job of using this technique because it helped the audience get a sense of a coming of age moment for Connie as she dresses in very short clothing. Another example of this technique being used is the confrontation between Connie and Arnold where you can see Arnold is making Connie get into the car. The director decided to do this to show the innocence of Connie being taken away and consequently to show the audience her vulnerability. The last example that shows close takes place in the scene where Connie is making out with the guy in the car shows another situation of her losing her innocent. The close up shot on Connie shows the emotion of fear and sadness in Connie face. Connie has created an attractive adult persona through her clothing, hairstyle, and moreover her general behavior and nevertheless gets the attention she desires from boys. But Connie confuses her ability to command attention from the boys with her desire to have them pursue her in a sexual way. These close up shots are very useful in showing the detail and emotion of the
People flock to horror movies each year. Usually to be scared. Another is to solve the question of Who done it? Unfortunately, a lot of these horror movies fail to scare people or make the killer so obvious the audience gets bored. Occasionally, there are a few horror movies that stick out. Scream, directed by Wes Craven, is one of them. Wes Craven is always toying with the viewer's fears. Always finding ways to scare the audience at every turn. He also plays with the viewer's head, and has them second guessing themselves. How does he do it? Well, as one of the characters in the movie exclaims, "There's a formula to it. A very simple formula. Everybody's a suspect!" This paper will discuss how Craven uses sound, camera shots, and mise en scene
Alfred Hitchcock’s 1954 film Rear Window is truly a masterpiece, as it uses fascinating cinematic elements to carry the story and also convey the meaning of voyeurism. Throughout the film we are in one room, yet that does not limit the story. This causes the viewer to feel trapped, similar to the main character, while also adding suspense to the detective story. The opening scene itself, draws the viewer in. In just five minutes and 27 shots, the viewer is given an introduction to the main character, his lifestyle, his condition, and his neighborhood. The lighting, the costumes, and the set are all presented in a way to catch the viewers eye, compelling them to crave more. Combining vivid lighting, edgy cinematography, and unique set design, Rear Window, proves why Hitchcock is still remembered as one of the greatest and most influential directors of all time.
It hints of danger when Peg sees a man standing in a dark corner of the room looking like it was a bad guy, so Peg got scared when she first saw him standing there. It also made the audience have a scary feeling. Tim also uses low-key lighting in the movie Bettlejuice, there was a moment when Adam and Barbra made this secret door inside their attic and it had a low-key lighting effect, so it made it look like it was dangerous because it was a mysterious door. Now I have listed some examples when Tim Burton uses low-key lighting in his
The lighting in this movie is very effective. It helps to establish the characters very well. The audience is helping in distinguishing the bad and the good characters through the lighting. The movie overall is very stylized. There are some other strange lighting patterns brought out by Hype Williams, but by far the most effective lighting patterns are ones that help to characterize the main players in the film.
The lighting played a major role in setting the tone for both the theatre performance and the movie. In both the film and play, the lighting was dimmed and the non-important elements, such as background elements, were often hidden in the shadows. In the film the murky lighting also hid Todd in the shadows, in order to increase the suspense and further emphasize his intimidating demeanor. In the play,
generate moods, and have great psychological affect. This is just as true for the very first series of shots for the film, and perhaps more important since these first shots will give the audience the initial feeling of the film, and set a tone for the picture. The first shot is highly dramatic in its lighting method, and the audience is drawn in immediately to one single detail. A man begins revealing the details of a tragic incident that befell his daughter. We don’t see who he is talking to. There is a spotlight directly above the man, and this is pretty much 95% of the light used. This really lights up the top of his head, which is bald, but there is no hot spot or reflective element which is good because reflection here would be aesthetically displeasing. The lighting causes dark areas under the man’s eyes, which emphasize the passion and eventually the hatred of what he is talking about. The scene is lit so that the background is completely black, so that the only thing we can see is the man. Even though this is logically unrealistic, the stylistic decision to light in this manner is warranted, since this or any other good film draws heavily upon our expectations and imagination to convey a message or meaning. We as audience accept the unrealistic elements, if they assist in making the story ...
The mood of this film is truly captured in the lighting and the lighting plays a key role in the accenting the humor of the film. “Deep inky blacks and desaturated colors that characterized the look of Jean-Pierre Jeunet and Marc Caro’s Delicatessen” (McGrath). The dark nature of the film is maintained using lighting. This helps to set the mood for many scenes and is what provide the juxtaposition. In the few scenes of the film that are purely comedy the dark moody lighting helps to provide contrast to the humor and makes the character’s actions seem even more out of place and
The lighting in this scene contributes the sadness in the scene but so do many other aspects.