Camera techniques In the movie ‘Matilda’ Danny DeVito made Miss Trunchbull look like a mean character and miss Honey a nice character, by in the way the they film it. The camera is always towering over the children when Miss trunchbull is around. This is used to make Miss Trunchbull seem bigger, whereas with Miss Honey she kneels down to talk to the children. At the end when the children come to get revenge on Mrs Trunchbull, she is lying on the ground and the children are shown to be towering over her. The angles of Miss Trunchbull seem to be very close to her like when she was in her house and matilda was outside making her get scared and it zooms into her eyes and you can see that she is scared and that she was sweating a lot. The camera is always zooming into Miss Trunchbull's face is she is really angry. Characterisation …show more content…
Then on the other hand Miss honey is wearing dresses with flowers on it and also the colour of their hair: Miss honey's is light and mrs trunchbull's is dark brown. Miss trunchbull is always wearing black gloves on her hands. Miss honey talks softly to her class and does not shout whereas Miss Trunchbull is always shouting. When Miss Trunchbull is at the school she is always putting on a serious face and not smiling or se will have a grin on her face when she is going to do something bad to the students. Miss Trunchbull will call the kids names like snot balls and she said that she is glad that she was never a kid. The best way to describe Miss Honey is: calm, sweet, caring, king and loving. Then Miss Trunchbull: rude, mean, strict and aggressive basically the opposite to Miss Honey. Miss honey’s classroom is bright and colourful whereas Miss Trunchbull's office is dark and looks
This film captures this class distinction without subduing the atmosphere through the use of a variety of cinematic devices. “A good film is not a bag of cinematic devices but the embodiment, through devices, of a vision, an underlying theme” (Barnett, 274). The audience can see this theme of the realities of the oppression, poverty and despair of this time period through the use of the things mentioned, but also through the character development that is driven by the character’s hopelessness. Each of the characters associated with the lower class is motivated by the conditions, which are viewed through the cinematic devices mentioned above: color, spherical lenses, long shots, and high angle shots. Sources Cited:.
In conclusion the Film ‘Matilda’ depicts Ms Trunchbull as evil, malicious and cruel which is evidently shown in the film by the clever use of film techniques. DeVito cleverly uses film techniques to clearly illustrate her as malicious and cruel. The effect of film techniques is clearly shown at the end of the film when Ms Trunchbull becomes weak and powerless compared to her dominance throughout the film. The film
Braff himself has a warm, easy-to-watch screen presence. He can say nothing during the lull in a conversation, while the camera remains focused on his face, and it feels right. Portman and Sarsgaard are also genuine, each wonderfully relaxed in their roles. Production design is superb: details in every scene are arranged well, and the photography, by Lawrence Sher, is - like the story and the acting – unpretentious, never distracting, tricky or cute. This film never seems to manipulate us; instead it engages us, arouses our curiosity and amusement, bids us gently to care about Andrew and Sam and even Mark, leaving us entertained in the best sense. This movie is as confident, as secure in itself, as comforting, as a well worn pair of house slippers or your favorite reading chair. A splendid film. Grade: A- (09/04)
When Miss Hancock came to teach at the high school, she was filled with eccentricity and liveliness. This enthusiasm quickly turned into disappointment as the students swiftly discounted Miss Hancock. The student's first impression of Miss Hancock was that she was a joke, and they didn't take her very seriously. This rapidly dampened Miss Hancock's spirit "By then, stripped of 15 years of overblown confidence, she offered her material shyly, hesitantly, certain of rejection, of humiliation," (Pg.
In the beginning, she was young, innocent, tomboyish girl who only wanted to play outside with her older brother and shoot her brand new gun that she received for Christmas. She didn’t want to grow up to be a lady, all prim and proper and dressed up. But in the end of the book, she had become more ladylike, albeit only by a little bit. She learned a valuable life lesson from her father, suffered tragic events that she most likely would never forget, and was taught how to truly be a lady to a man in need. One example of this is in the end of the book, she walks Boo Radley home. “I slipped my hand into the crook of his arm. He had to stoop to accommodate me, but if Miss Stephanie Crawford was watching from her upstairs window, she would see Arthur Radley escorting me down the sidewalk, as any gentleman would do,” (Lee, 278). She acts like a lady by walking Boo home the way a proper lady would. Another example of how she changed is when she learns the lesson that the book is titled after. When Mr. Tate leaves, he says that Bob Ewell fell on his knife in order to protect Boo Radley. Afterwards, Atticus asks Scout if she understands. “Finally he raised his head. ‘Scout,’ he said, ‘Mr. Ewell fell on his knife. Can you possibly understand?’... ‘Yes sir, I understand,’ I reassured him. ‘Mr. Tate was right.’ Atticus disengaged himself and looked at me. ‘What do you mean?’ ‘Well, it’d be sort of like shootin’ a mockingbird,
Scout is a tomboy who has a soft side. Even though she is rough and Strong, she is also a coward, like the time she wouldn’t go to the Radely house. She beats up the kids at school for example she beat up the kids for picking on her for liking black people. Scout is smart and trustworthy. Although most of the town is racist she thinks every body is equal.
There is a brilliant use of diagonal dimensions in this scene in the railing behind the hearse, again sending a message of disorganization and anxiety. There is also the use of movement here as a gentle breeze ruffles the hair of the character, almost as a caress, and it is a stark contrast to the underlying sense of danger. The brightly colored almost cartoon-like use of the graffiti hearse and the colorful signs as dominate contrasts suggest that there is bit of hope for the characters in this film. At second 5 the scene changes to a center framed shot with the main character shot at a quarter turn. The subsidiary focus is the characters in the background who also are at a quarter turn. The shot is with a hazy lens to depict their secondary significance to the main character. The lighting used here is both high and low key with the emphasis in high key lighting on the center foreground character to draw the viewer’s eye to him. He also appears taller than the subsidiary characters to reinforce his status as the
The scene utilizes different camera angles, such as from eye-level of the characters, to a more obscure angle with the camera on the ground facing up at them. The shot captures Norman in a sinister and peculiar nature fashion, which is later revealed to be resultant from his madness. There is the use of differing camera shots, from the wide shot of Norman and Marion at the beginning of their conversation, to the close-up of the character’s faces later on. Zooming in on Marion and Norman’s face, for instance, reveals a considerable sharp contrast between the lighting that befalls their faces. The omnidirectional light softly illuminates Marion, while in contrast, it harshly illuminates Norman, forming shadows on his face, alluding to his dual personalities and by extension, to his mentally challenged nature. The taxidermy birds which hang on the walls, are perhaps the most daunting and noticeable mise-en-scene within the parlor scene (Ebert, 1). The birds occupy a dual nature, just as is the case with Norman’s psyche; they seem to watch him intently, as a predator would watch its prey, while concurrently, they appear to linger above him like sinister
In many scenes, the camera is positioned to reveal Bauby’s first person prospective. A confronting scene where this filming technique is present is when Bauby has his eye sewn shut. As the doctor begins sewing Bauby’s eye, the audience can see, through an extreme close up, the needle and thread, pulling the flesh closed. While this scene is extremely confronting, its purpose is to unsettle the audience, displaying the feelings of horror Bauby is experiencing. Through movements that are out of focus, consisting of unusual framing, we also learn just how little vision Bauby has in different environments, allowing the audience to get a stronger understanding of how much Bauby struggles in his daily endeavours. Beginning the film, a low camera angle is used from Bauby’s perspective, with various doctors looking down on him. This low camera angle portrays to the audience the little power Bauby has at this point in the film along with the overwhelming feelings that he is experiencing. As the film proceeds, we notice that the camera angles become frequently more level with Bauby and other characters are shot to an equal scale from a third person perspective, allowing the audience to understand Bauby is of equal significance to those around him. This is evident when Bauby is sitting with his publishing assistant, with a level camera angle which illustrates to the audience Bauby ha accepted his conditions. As the scene proceeds,
What do you think about when watching a film? Do you focus on the characters' good looks or the dialogue? Or do you go behind the scenes and think about what made the film? Maybe, it's even a combination of all three. No matter what comes to mind first, an important part of any good movie will be what you see. A camera and good director or cinematographer is needed to make that possible. Different directors and cinematographers will use different camera techniques to make you focus on what you see. Camera techniques show emphasis in films, because they make you focus more on situations and people. They are especially important in Darren Aronofsky’s Requiem for a Dream.
Children also learn about boundaries from other people's games where boundaries develop. Scout's teacher plays the game of a sympathetic southern school teacher. She appears to be the perfect gentle woman, set in tradition and very sympathetic to the less fortunate, such as the Jews in Germany who suffer persecution. She says, "Persecution comes from those who are prejudiced." (To Kill a Mockingbird, p.245). Miss Gates' part also includes the confidence in her higher stature, though she sensibly plays the part down. Many other towns-women also model themselves after the "concerned" character, such as Miss Caroline, Miss Merriweather, and Mrs. Perkins. The women then become parts for children to model themselves after; they become role- models.
Due to the film’s quality and interest it became an award winning film. The film had excellent sound effects such as the battle scenes. The image quality was also outstanding; it used many different angles to depict the actor to make you feel involved in the scenes. In the action scenes the most common viewpoint used was a close up shot which allows the audience to see and feel the intensity of the scene. The second viewpoint mostly used was a tracking shot due to the actors c...
Her grandmother frequently sees her work as a representation of the outer space. Contrasting with the rest of the film, these oneiric sequences are presented in color and always begin with two mountains placed next to each other with the sky filling the remaining spots of the frame. The inclusion of gracious gestural movements oppose to the affliction of laboring alone, whereas the sight of a newborn evolves to the happiness of having a child in her arms. The power of the mind brings pictorial tranquil landscapes where the water is abundant. In her dreams, she also enjoys the company of a look-alike, who exhibits identical strange birthmarks as she does. This fantastic Malick-ish complexity is exciting, mirroring much of Eleanor’s desires but also the lack of her self-esteem. They are the sad consequence of a lamentable emotional desolation that, persisting for years, is driving her dangerously close to
The director uses composition and a high angle shot to show this theme. The director also uses an over-the-shoulder shot and a close up to show the theme of motherhood and the contrast of relationships between characters. The film language techniques used shows the difference between the biological side of motherhood, between Charlotte and Skeeter and the spiritual side of motherhood, between Constantine and Skeeter.