The 2005 stop-motion animated film Coraline by Harry Selick, adapted from Neil Gaiman's book of the same title, tells the story of a young girl, named Coraline who moves to new town. Coraline is less than thrilled about this move and tries to find some excitement to make things less boring. After receiving a ragdoll that eerily resembles her, she takes the doll exploring with her around her new home. It is this exploration that she encounters a door that allows her to venture into an alternate world that seems perfect but has many dark secrets, while she sleeps. Selick uses of mise-en-scene, editing, narrative and camera movement to allow viewers to realistically see Coraline’s worlds. The opening scene (0:45 – 12:30) starts with sinister looking claw hands creating a doll that looks exactly like Coraline; insinuating that control will play a large role in the film. The film then progresses to the establishing shot; of the …show more content…
Initially there is no indication of who this person or thing might be. There are many instances where the doll watching her. In the scene where Coraline is outside playing with Wybie, the doll is shown watching her from the window; through the use of graphic match, Coraline’s face dissolves into the doll’s. These tilted angles are associated with the doll, and, the Other Mother, who is able to watch Coraline through the doll. When Coraline finds the secret world behind the door, a canted frame is used. Coraline is levelled, but the room appears tilted. Coraline tilts her head when she first sees the door in an effort to decipher it. In contrast, when Coraline goes to the Other World in the daytime, there is no canted frame in use. It is when she is returns to the Other World to confront the Other Mother, that the canted frames become common. The Other World is shifting to a more frightening space, where everything is continuously getting out of
The opening sequence showcases Patrick's ambiguous actions throughout the film as red droplets similar to that of blood droplets fall against a off-white background, highlighting how there are some dark secrets buried under the glamour of the rich society. The non-diegesis plucking of strings serve as a warning to watch for the subtle horror elements that the film has in store. A high angle showcases the sauce accompanying a steak shows the importance of objects to a person's status. The food presented in several high-angle shots complement the clean, vivid colors surrounding the restaurant to compliment ...
The female moves her head within the avenue walls during the male display, providing her with motion parallax depth cues that will conflict with the false depth cues of forced perspective.
to the film early on but makes the viewer want to make sense of what
effect due to the basis of the film. This is used as an opening sequence
... To be hones though, the film still confuses me. The most confusing part was the images of all the objects. I watched this scene on repeat several times to try and figure out what some of the stuff was just so I could understand. I still don’t really get it.
The opening scene fades into a girl rolling along a wheelbarrow. A horse is trotting along in front of her. Both of these indicate that she is in a rural area or on a farm. The camera is behind her and we don’t see her face. It is lit naturally and demonstrates deep space (it focuses on the breadth of the entire view of the camera). The camera then cuts to a shot of a boy on a bicycle, in a similar setting as the girl. The sun is facing the camera, creating a natural glare. He rides towards us and then goes out of view. We cut again to the girl, this time closer up. We see her face for the first time. She is probably around 8 years old. The music is a soft, playful piano piece that goes along with her footsteps as she is playing. There are a series of cuts between the boy and the...
Under the sea, in an idyllic and beautiful garden, stands a statue of a young man cut out of cold stone – for the Little Mermaid who knows nothing but the sea, the statue stands as an emblem of the mysterious over-world, a stimulus for imagination and sexual desire, an incentive for expansion of experience, and most predominately, an indication that something great and all-encompassing is missing from her existence. Traces of curiosity and a vague indication of the complexities of adult desires mark the child mermaid; in such a stage of development, the statue will suffice. However, as the Little Mermaid reaches puberty, the statue must allegorically come alive in order to parallel the manifestation of her new-found adult desires – the statue must become a prince in his world of adulthood above the sea. Thus, powered by an insistent and ambiguous longing for self-completion, the Little Mermaid embarks on a journey of self-discovery, and, to her ultimate misfortune, prematurely abandons her child-like self as sexual lust and the lust for an adult life takes hold of her.
During this film, the first thing noticed that classified this film as an art film was the very first scene, when the music is playing and the earth slowly rises with the sun in the background. This goes on for about 3 minutes ...
My Mise-en-scene analysis is on American Beauty on page 217: number 1(The dinner scene). The frame itself is a very closed, tight shot; there is no way for the characters to escape and they're left with only confronting each other in this very little space. The shot of the camera isn't necessarily far away or close either. It's neutral, and we can see the full action of the family's dinner conversation happening right in front of us. My eyes were immediately attracted to the bright, white table and then my eyes focused on the faces of the family. The scene's texture is slightly fuzzy, and is not very detailed. But the character's faces are still recognizable. The foreground of this scene is the table with the man and woman sitting at each end; the middle is the girl-who is
The Lady From Shanghai is a timeless film that captures how a black and white film can be interesting for viewers. The overall film was effective with the help of the mise en scene, cinematography and editing. Each of the three parts put together brought out the complexity and intensity of this film and they made The Lady From Shanghai the classic film that it is today.
Then the question is posed to Mr. Lockwood, "How did it all begin?" The answering of this question is what my paper will explain. I will attempt to break down the opening scene and show how it all started. By using tools of film such as sound, editing, mise en scene, and cinematography, this paper will show how the scene was made as well. Mise en scene played an important role in this movie as with any other movie.
1. The scene begins by fading in on the back of the silent man’s head (Cary Grant) in Alicia’s bungalow. Then the camera zooms out while sweeping right to give the first full shot and view of both of the main characters. They are shown seated at a table, with many empty bottles of liquor and glasses.
The movie begins with the shot of a young teenage girl, Janie, through a video-camera. She's talking about how she wants her father dead, that he's a pervert who's in love with all of her little friends, stating that he's not a role model. She's portrayed somewhat goth, evil, unaffectionate and pretty emotionless. In the next scene it becomes clear that it is Lester speaking through the over head, and that he is already dead. This is very interesting because it implies that the following scenes have already taken place, and leads the viewers to believe that it is Janie who kills him. But by the end of the film it is shown that this image is not at all what it appears to be.
The movie start in a baseball game when Gary saw Brooke for the first time and try to get her attention buying her a hot dog and asking her random questions to make her laugh. This scene shows the first stage or the
In the opening scene, Alice desires something beyond orthodox. This is showed by her lack of interest in her studies and longing for a world in which everything would be “nonsense.” She is a curious child. Deborah Ross argues that Alice expresses the usual idealistic desires: “to escape boredom (with lessons), to satisfy curiosity (about the white rabbit), and above all, to exert power” (Ross 57). However Alice does not know exerting power is difficult when the world is consumed of “nonsense”. Thus she has different qualities that contributes to her vague identity. She believes life would be different in her world. Also Disney strives to reveal Alice’s incentive of Wonderland by introducing pictorial wonders such as singing flowers and surrealistic insect, making it seem as a dream. The movie progresses in the same route as Lewis Carroll’s book by focusing on her immature thinking of Wonderland.