The analysed sequence is from 2001 A Space Odyssey (USA 1968; Stanley Kubrick).
The computer HAL is malfunctioning and tries to get rid of the crewmembers. The only survivor is Dave Bowmen, who decides to disconnect HAL, and heads toward the Logic Memory Centre Room.
Middle Shot: The camera is above Dave as he begins to remove HAL’s memory blocks. The room is extremely narrow and it is lighted by an aggressive red light, the preponderant colours are black and red. The mise-en.scene guides the audience’s response to an oppressed, stressed and extremely dangerous situation. The red lighting of the room also has another function; throughout the film HAL is represented by this red eye, this red room symbolises that Dave is now inside HAL.
The repeated patterns of the wired netting combined with the imposing geometrical design of the Logic Memory Centre Room amplify the digital nature of HAL. The wired motif reminds us of a jail cell, emphasising the pressure on both the character and the spectators. The sound track used in the sequence is minimal; we only hear the oxygen running in Dave’s Helmet and his respiration, thus adding to the anxious atmosphere.Dave seems trapped in a cage, a deadly one. He starts to remove the crystals that are HAL's memory blocks, they are clear crystals that glow a brilliant white, which reminds the audience of the cold logic of HAL's (crystal clear) mind.
Close middle shot of Dave’s profile: the front of the frame is occupied by HAL’s eye, which is represented by a clever combination of two symbolic geometric shapes, the rectangle and the circle (the running geometrical forms which run throughout the entire movie), organic and inorganic, built artefact and biological intelligence; two bin...
... middle of paper ...
...to hear a song his “father” taught him.
‘Yes, I’d like to hear it HAL’ says Dave, with a very confused and almost sad voice, as if he were holding the hand of a dying man. It starts singing a childish song called Daisy. For the audience, Dave does not disconnect a computer, rather, he is killing an “innocent child.”
The camera jumps into the eye of HAL, we now have a frontal medium close up of Dave, the red tone applied by the eye filter combined with the heavy shadows, makes Dave look evil, from HAL’s point of view, and furthermore, for the audience. It keeps on singing, soon its voice resembles a plaintive deaths rattle, he dies. This particular framing crystallises the emotion of the scene; we are now shown that, throughout the whole sequence, HAL could not see what Dave was doing. He really “felt it.” The futuristic Ulysses has finally defeated the Cyclops.
Though complex and brilliantly written for its time, the plot of Alfred Hitchcock’s film, Vertigo, is only half of the genius behind it. Alfred Hitchcock’s unique presence as an auteur is truly what sets his films apart. There is symmetry to his shots that give the film an artistic feel, as if each frame were a painting. Many times, within this symmetry, Hitchcock places the characters in the center of the frame; or if not centered, then balanced by whatever else is adding density to the shot. For example, as Madeline sits and looks at the painting in the museum, there is a balance within the frame. To counter-act her position to the right of the painting, Hitchcock puts a chair and another painting on the left side, which is visually pleasing to the eye of the audience. The use of red and green not only adds a visual effect as well, but later serves as a clue that Madeline is not actually dead, when the women who looks like her is wearing a green dress.
In the first 20 minutes of 2001: A Space Odyssey you see a group of monkeys going through evolution. The first change you see is that of a leader. In the beginning, each monkey did their own thing, and was not bound to any organization whatsoever. The monkeys did what they want when they wanted. Then the change begins. A single monkey, by himself, rises to the top of a cliff. He stands and screams. The other monkeys notice him screaming and began dancing and rejoicing. They scream and jump around, in what appears to be reverence for their new leader. Stanley Kubrick shows the change very simply, yet its message is still very clear. The monkeys had never shouted as loud or danced as much as they had previously in the film. Their actions confirm that something in fact had changed.
Throughout the rugged and cruel terrain of the Italian race, Dave moves his way up through the crowd of racers to meet up with the Cinzanos. Once Dave meets up with the Cinzanos during the race, his dreams are fulfill making him immensely happy which is seen on his, gigantic crescent shaped smile. The Cinzanos seem as a pleasant and friendly group allowing Dave to go ahead of them, until they catch back up to him only to shift the gears of his bike. Showing that the Cinzanos do not want another member of their group, but Dave just thinks they are giving him a hard time until they force him of the terrain. The look in Dave’s eyes after the forceful and rude act of running him off the terrain shows that he has a clearer view of life. After the horrendous incident during the Italian race, Dave changes. He stops acting Italian and starts acting like a cutter. He does this because he learns that everything isn’t what it appears to be and realizes that he should be proud to be a cutter, and that is why he tells Katie who he actually is even though he knows it will end
mission he has no choice but to kill the crewmembers. Because Hal was programmed to be perfect and incapable of error, Hal thought he could do a better job taking care of the
...s when it cuts Richie’s forearm skin. The use of diegetic sound allows the viewer to feel as if this montage is going through Richie’s head as he cuts himself. As Richie is standing in front of the mirror we see things from his point of view and we understand his reality at the moment. The rapidly edited montage of memories is analogous to the immediacy of his actions.
The lighting is portrayed effectively, making the storyline more believable. Music was used as needed in the film, creating emotion, or allowing what was happening to make more sense to the viewer. In one scene, distinctly, the camera’s angle was perfected. This shot creates a famous scene from the movie, being used or quoted in other films from then on. When Bender walks out of the school, he throws his fist in the air. There is a low angle, and it produces a feel of power. John Bender is on top of the
What grabbed your attention first:Well, I think that the part that really griped me is when Dr.Rolf van der Berg had discovered that a Monolith (a huge black rectangle made of an unknown material) had just appeared on Europa (one of the moons of Jupiter).Summary:Dr.Heywood Floyd was sitting in the space station Pasture when he saw Haley's comet and decided to actually land on the surface (by convincing T'sung Corporation that it would be good advertising). So off go Dr.Floyd, Dr.Chant, Clifford Greenberg and the Universe's crew to haley's comet.Dr.Rolf van der Berg was called to his office at 5:00 in the morning to find that on Europa There was a new mountain three times the size of Everest had appeared and that a thousand kilometres away from the mountain a monolith about five hundred kilometres wide and a thousand two hundred kilometres long.When Universe landed The passengers were allowed on to the surface but only if they had some body with them so that if something went wrong they could help each other out. Floyd found some caves and decided to investigate it but came back empty handed. After The universe dropped the passengers back off at the moon base the universe was assigned to go pick up a ship that had crash landed on Europa.
There is a misty cloud of dauber, grey in color over the room. The camera zooms in on Theo in an extreme close up with his face displaying worry over the current situation. Then it makes a cut to the a hallway with the mist covering peoples faces and also because it is darkly lit. The third cut in the scene is made back to Theo and Kee soon after the fourth cut is made. The camera angled at a different position as well and zoomed in on a women siting on the floor with her hand out, the camera highlights her hand as it reaches out toward Kee in disappear and joy as they see the baby in shock. As the scene progress and Theo and Kee walk down this hallway and stairs several cuts are made and the camera moves behind them, on the side of them and in front of them. The entire scene is shot mostly in medium long and medium close up seeing the reaction of each person as they see the new baby. The scene is very sound effect heavy with mood setting music playing in the background, a smooth opera like voice. There is also gun sound effects heavy military machine raffles and military tanks rolling. The scene ends as it begins with an explosion in the background as Theo and Kee make there way out of the war
This camera angle is combined with a panning camera movement, which links directly to the soundtrack of which a rock, mexican standoff music is playing and that is used during the shot. The mid-shot displays the key idea of corruption and its effects that it brings along with it. Corruption influences all characters in the film because of its natural ability to manipulate one's mind. Corruption has a stronger effect than purity for the reason that it is much more easier for a character's mind to be engaged and corrupted. The mid-shot represents the corruption Tybalt’s men are dragging along with them. The use of the panning movement shows us that Tybalt's men are the centre of attention because of the camera being locked onto them as the camera were our eyes and that we would not take our sights of them, following their every movement, this effect combines with the soundtrack portraying the idea of corruption because of the rock, mexican standoff theme. This shot was a significant part of the scene because it shows us the key idea of
The sound used in this scene are all diegetic, the sounds of gunfire and explosions show that the characters in this scene are in very real danger of being shot or blown up, this helps the viewer grow a more personal connection with the characters since the scene is towards the end of the film, the viewer has developed a personal connection with the characters and do not want them to die. The diegetic sounds of military personnel can be heard, this is used to show the urgency that the military personnel have to get The Sapphires and Dave out of the dangerous situation.
ending where he decides to leave his house when everyone is asleep. Dave is also mad how everyone is treating him, and how all he ever gets do is work all the time and has never been given anything in his life. Dave is even mad at his family, especially his mother for ratting him out. He did not want to sell the gun and give the money to Mr. Hawkins as his father instructed him to do. He wanted to keep the gun because he wanted to ow...
Therefore, it is possible to notice how the cinematography, the mise-en-scene and the editing are used to resemble the peculiarities of the space in which the actions are taking place. For instance, the first part is characterized by long pan or tilt shots, the camera is steady but still manages to follow the characters actions. The editing points to the linear occurring of the events. Also, the characters and the objects are usually methodically placed in the scene. All of the elements are used to convey the rigid organization, efficiency and control typical of the military environment. On the other hand, in the second part, there are usually shorter shots and steadicam shots. The camera is free to investigate the space of action. Here, the editing is used to create a dynamic perception of the events. In this way Kubrick is able to bring in the spectators’ minds the chaotic reality of the war. Moreover, colors become another tool to communicate to the audience this sort of split within the film. In fact, after Pyle’s death the viewer can notice how those metallic and cold colors, that are present at the beginning of the film, shift into wormer colors. It is actually through Pyle’s suicide that the the spectator gets this switch. In that scene the dark red blood stains, and ideologically violates, the cold white tiles of the bathroom. This film is also different on
Now we are into the body of the film. Chuck wakes up in the life raft. He checks his beeper and his watch. He begins to realize that he is alone but still attempts to communicate. He hollers, “Hello, anybody?” He writes H-E-L-P in the sand and later with tree limbs. Now that he has survived the crash and washed up on an island, complications occur; new problems arise.
...never able to understand that the Machine was man-made and was therefore imperfect like humans. Kuno and Vashti talk and kiss each other and Kuno explains that even though they are going to die they have never been so alive.
The film starts out with orchestral music, and shows James Dean's character, Jim, drunk on the ground of a sidewalk. The sound of a police siren is heard and used as a transition into the next scene that takes place, understandably, in a police station. While in the police station, Jim is yelling along with the sound of the siren, and humming loudly to give the impression that he is drunk. At one point in the scene he is brought into another room with an officer, and begins to punch a desk. The sound effects are loud, and the he pauses, and music begins again when he begins to hurt. Again, a siren is played at the transition to the next scene. However, for the most part, score music is played during all transitions.