1) It is no surprise, Raging Bull and Robert De Niro's performance is hailed as one of the greatest. Interestingly, I never saw this film in the 1980’s when it came out. Martin Scorsese, does an incredible job using cinematography techniques such as, slow motion,point of view shots and black and white high contrast lighting. He also infuses strange sounds during the fight scenes. I loved this movie! Robert Di Niro transforms himself into the character Jake La Motta, while we, the audience, delves into Jake the prize fighter's, psyche. We experience his emotions and life through Jake’s eyes. Di Niro captures the essence of Jake La Motta.The use of black and white cinematography made it appear to period authentic. There was no color TV in the day and many of us remember watching prize fights in black and white. Scorsese's use of slow motion shots, help to convey the emotionality of the scene. This was most notably apparent in the fight scenes and the scenes that portray his jealousy towards Vicki. This use of slow motion helps capture the emotion felt by the …show more content…
In the 1950’s and 60’s there was no color TV and that is how we were accustomed to watching prize fights. Using high contrast lighting Scorsese allows us to focus on what is highlighted and obscure our view of the darkened shaded areas. An example of this is the scene of Vickie in the pool. The light shines on her, showcasing her beautiful face,platinum hair and uses slow motion and zoom to focus in on her sexy legs gently kicking in the water. It draws our attention to her in the same way Jake is staring at her lustily taking in her beauty. Throughout the film I felt Vicki was always portrayed light and brighter giving us the idea she is the one good thing in Jake’s life. In the fight scenes , the high contrast lighting focuses our attention on Jake. The crowd is always shown darker and more
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
Such as in Fig. 5 where we can see a blue backlight that illustrates a lone figure walking down a path and a lit streetlight at the front depicts a mood of isolation and evokes uneasiness in the audience as though the figure is being
Tim Burton, in Edward Scissorhands, uses high key and low key lighting. For example, Peg’s town is flooded with high key lighting in order to make the outside seem joyful and peaceful. The outside may look cheery and bring, but most of the people living there were not the most pleasant people. The women gossip and create rumors; the men are rude and conceited. He used low key lighting in order to make the audience feel anxious about the upcoming events. An example would be when Peg walked up to the top floor of the mansion and noticed that someone was sitting in the corner. Edward’s shadow may have given him a frightening appearance, as he is a ‘man’ with scissors for hands. But Edward was a kind and caring gentleman. In conclusion, he used reverse lighting to add an irreplaceable, distinctive quality to his movies.
It's the first thing people notice, so it has to be done logically to persuade the audience to feel a certain way. In the trailer for Leatherface, color is used to generate a feeling of suspense by shifting back and forth between a warmer, daylight tone to a darker, blue tone. In the beginning of the trailer, a couple is driving in a car laughing and having fun as seen in figure 1. There is a warmer tone created by the use of natural daylight to make the audience feel how the couple is feeling. Following the playful feeling created by the first scene, the color shifts when the protagonist and her child are introduced. The scene, shown in figure 2, is dimly lit by candles with no other light. Switching to darker lighting hints to the audience that the characters involved in the scene could be related to or are the problem presented in the movie. Going back to the natural daylight, figure 3 demonstrates the next shift in color when the sheriff is talking to the protagonist about her children. In this scene, the daylight is used to highlight and create shadows on
The beginning scene was actively engrossed with low-key lighting or "dark look" that gave off an overcast to understand the power Don Corleone possessed over the individuals he was speaking with. According to David Konow (2014) "As Willis recalled in the book Masters of Light,That technique or that approach to the movie visually just came out of a thought process. And the process, in my mind, was based on evil; it was based on the soul of the picture. The wedding outside had a very sunny, almost Kodachromey, 1942 kind of feel to it. Then when we cut inside the house with Brando, it was very down and very ominous…so it was a very simple philosophy. However, the overall look of The Godfather was a kind of forties New York grit." The lighting used in The Godfather helped to implore the nostalgic feel of the movie. Although it was made in the 80 's Willis ' use of his new techniques changed the lighting in movies to come and placed the viewer in the midst of the 1940 's mafia
use of the camera the sound and the mise en scene. I will analyze the
Examples of this would be the scenes where Joy, Sadness and Bing Bong were in the Subconscious the lighting being very low with a greenish tent and caused a horror feeling for the audience. Another Example of this would be when Joy and Bing Bong were trapped in the Memory Dump. The lighting here is shadowy and has a grayish tone causing a sense of hopelessness for the audience. This is further changed into sadness when Bing Bong's character design began to change from its original form to a form with less and less visible parts to the point where Bing Bong is gone and
“Raging Bull” (1980) is not a so much a film about boxing but more of a story about a psychotically jealous, sexually insecure borderline homosexual, caged animal of a man, who encourages pain and suffering in his life as almost a form of reparation. Martin Scorsese’s masterpiece of a film drags you down into the seedy filth stenched world of former middleweight boxing champion Jake “The Bronx Bull” LaMotta. Masterfully he paints the picture of a beast whose sole drive is not boxing but an insatiable obsessive jealously over his wife and his fear of his own underling sexuality. The movie broke new ground with its brutal unadulterated no-holds-bard look at the vicious sport of boxing by bringing the camera into the ring, giving the viewer the most realistic, primal, and brutal boxing scenes ever filmed. With blood and sweat spraying, flashbulbs’ bursting at every blow Scorsese gives the common man an invitation into the square circle where only the hardest trained gladiators dare to venture.
The cinematography enforced the mood, drama, and plot. The use of color in the film was telltale of the mood. The colors were drab, lifeless, mellow colors. These colors were telltale signs of the setting and mood of the play. The setting was in a sorrowful, dirty, suffering country; the mood was sorrowful and suffering as well.
of light being the main focus in this work. Shadow also plays a large part in the
The setting gives the reader a sense that terror awaits. This story shows this by talking about the lighting
Most of the film was shot with 50mm lenses on 35 mm cameras. This technique carefully lets the audience see the film as though watching a ‘live scene’. This has the effect of drawing the audience closer into the action.
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.
...successful collaboration of sound, colour, camera positioning and lighting are instrumental in portraying these themes. The techniques used heighten the suspense, drama and mood of each scene and enhance the film in order to convey to the spectator the intended messages.
In addition, the elements of lighting can be a supplement to a visual story with alluring amount of light and darkness. Firstly, light versus dark is a complex theme in the film. It is looking at terms of the film’s images with use of lighting, day and night, and use of color. Second, is the way the film examines the dark recesses of the human mind and its dimensions of evil. For example, in one scene in the film, Marion Crane gets to know Norman Bates a little too well. Norman states, “Well a boy’s best friend is his mother”. There is an alluring shadow behind Norman Bates, as a shadow is not seen from Crane. It was implied in the film that Bates was deranged and had multiple personal...