In Time Cinematography

774 Words2 Pages
bulb-icon

Recommended: The influence of society on the behavior of the individual

The film “In Time”, directed by Andrew Niccol expresses the capitalistic society through the movie by setting money a currency. In this scene, the timekeeper Raymond Leon arrests Will Salas and takes back all of his time that he received from Henry Hamilton for a gift. After losing his time, just left with two hours, he ran away with a hostage which is Sylvia Weiss. In this interrogation scene, the power of a system and ignorant society was shown with cinematography, mise-en-scene, sound and lightings.

In the interrogation scene, where Will asks Raymond about why is he investigating a murder in Ghetto, Niccol uses cinematography as well as the costume to show that the power of the system is more powerful than justice. Niccol uses high angle shot and low angle shot to contrast the value and the power of Will and Raymond. Before Will loses all of his time, Raymond and Will was at the same angle which shows that they are equal, but when the timekeeper confiscates Will’s time, Niccol uses high angle shot to show that Will, who values justice is now weak and powerless while the low angle shot of Raymond who values the system is more powerful and controllable. This also means that the power of the system is much powerful than justice. The dialogue used by Raymond to Will, “That time is in the wrong hands” shows that Raymond has the stereotype that poor can never be in New Greenwich and they can never have eternal time. The white costume of Will and black costume of Raymond also shows that they are different. …show more content…

Overall, throughout the interrogation scene in In Time, Niccol uses combinations of cinematography and mise-en-scene to show the value of characters and the combination of cinematography, sound, and lightings to link that ignorance of the society is equal to the system. This is the way people live and survive in the capitalistic

Show More
Related

  • The Film "O brother, where art thou?"

    1035 Words  | 3 Pages

    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:.

    Read More

  • Analysis Of The Movie Even The Rain

    751 Words  | 2 Pages

    This is a movie in another movie that has a story from the past that is repeated nowadays: the same conflicts between exploited and exploiters, enslavement, injustice, protection of the public against those who put a price, and also the story of how the union of many sometimes gets what seemed

    Read More

  • Gillo Pontecorvo's The Battle of Algiers

    967 Words  | 2 Pages

    This analysis will explore these cinematic techniques employed by Pontecorvo within a short sequence and examine their effects on our understanding of the issues and themes raised within the film.

    Read More

  • The Capricious Camera

    2721 Words  | 6 Pages

    In the years between 1933 and 1945, Germany was engulfed by the rise of a powerful new regime and the eventual spoils of war. During this period, Hitler's quest for racial purification turned Germany not only at odds with itself, but with the rest of the world. Photography as an art and as a business became a regulated and potent force in the fight for Aryan domination, Nazi influence, and anti-Semitism. Whether such images were used to promote Nazi ideology, document the Holocaust, or scare Germany's citizens into accepting their own changing country, the effect of this photography provides enormous insight into the true stories and lives of the people most affected by Hitler's racism. In fact, this photography has become so widespread in our understanding and teaching of the Holocaust that often other factors involved in the Nazi's racial policy have been undervalued in our history textbooks-especially the attempt by Nazi Germany to establish the Nordic Aryans as a master race through the Lebensborn experiment, a breeding and adoption program designed to eliminate racial imperfections.

    Read More

  • Analysis of Three Scenes in Raging Bull

    1770 Words  | 4 Pages

    use of the camera the sound and the mise en scene. I will analyze the

    Read More

  • Nicholas Roeg's Don't Look Now

    1166 Words  | 3 Pages

    During the opening six minutes of Nicholas Roeg’s film Don’t Look Now, the viewer experiences a dynamic mixture of film techniques that form the first part of the narrative. Using metaphor and imagery, Roeg constructs a vivid and unique portrayal of his parallel storyline. The opening six minutes help set up a distinct stylistic premise. In contrast to a novel or play, the sequence in Don’t Look Now is only accessible through cinema because it allows the viewer to interact with the medium and follow along with the different camera angles. The cinematography and music also guide the viewer along, and help project the characters’ emotions onto the audience because they change frequently. The film techniques and choppy editing style used in Don’t Look Now convey a sense of control of the director over the audience and put us entirely at his mercy, because we have to experience time and space as he wants us to as opposed to in an entirely serial manner.

    Read More

  • Character Exposition Through Mise-en-Scène in Eternal Sunshine of the Spotless Mind

    1417 Words  | 3 Pages

    Mise-e-scène is one of the most recognizable conventions in filmmaking. It translates literally from the French to “staging” or “to put in the scene” in English. When applied to film studies, mise-en-scène refers to all the visual elements within a particular shot or sequence. Mise-en-scène consists of 5 distinct categories which assist in the development of a film’s visual narrative: Setting and Design, Costume and Make-up, Lighting, Acting and Movement, and Framing. These elements together and separately help to inform the viewer by giving them visual cues as to the nuances of meaning within a film’s structural form. Mise-en-scène may gives the viewer insight into the nature of a film’s characters and their subsequent state of mind, the time and place in which events are occurring, the mood and meaning intended by a particular scene, and also help the viewer to form expectations based upon the filmmaker’s interpretive point of view. In the film, The Eternal Sunshine of the Spotless Mind, Director Michael Gondry utilizes mise-en-scène to denote the complex temporal relationships between his characters, their circumstances, and a fragmented plot structure which progresses through elliptical patterns between memory and reality. In fact, the use of mise-en-scène in Spotless Mind is central to understanding the inner construct of Joel (Jim Carey) and Clementine’s (Kate Winslet) personalities and personal motives, as well as the antagonistic mechanism at play in their relationship.

    Read More

  • Citizen Kane Mise En Scene Analysis

    711 Words  | 2 Pages

    The mise-en-scene that is first seen in the sequence is Welles 's use of lighting. Throughout the film

    Read More

  • Singing in the Rain

    1883 Words  | 4 Pages

    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.

    Read More

  • The Creative Process in Film

    1505 Words  | 4 Pages

    With this short but very interesting and informative class I have just scratched the surface of the what it takes to make a full fleged film. It takes much more than I had presumed to make a movie in Hollywood. The number of people that it takes to make a minute of a movie let alone the entire movie was astonishing to me. There are many things that it takes to start making a movie but without an idea of some sort there is no movie to be made.

    Read More

  • Analysis Of A New Refutation Of Time

    1600 Words  | 4 Pages

    Jorge Luis Borges (1899-1986) was an Argentine short-story writer and essayist best known for his fiction that focused on the interconnected themes of labyrinths, dreams, religion, and time. Specifically, the idea that time can bifurcate, and that all time is occurring simultaneously are pivotal to a large portion of his writing. This essay will focus on this ideas, along with other temporal themes, providing an in-depth analysis of time throughout the body of his works, with a specific focus on The Garden of Forking Paths. Further, this essay will endeavor to answer the question of whether or not Yu Tsen’s and Stephen Albert’s views on time are in accordance with the conclusions pertaining to Borges’ time.

    Read More

  • Film Analysis Of Full Metal Jacket, By Stanley Kubrick

    1038 Words  | 3 Pages

    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

    Read More

  • Cinematography In The Matrix

    1067 Words  | 3 Pages

    The Matrix is a sci-fi action film about a computer hacker named Neo that has been brought into another world deemed “the matrix.” The Matrix is a prime example of cinematography. The film uses many different types of cinematography such as mise-en-scene, special effects, and camera shots to make it interesting and entertaining to the audience guiding their attention to the important aspects of the film.

    Read More

  • What is an Auteur?

    1433 Words  | 3 Pages

    ...and framing, Hitchcock expresses the horror of wrongful imprisonment through visual devices. Hitchcock allows Hannay to escape the snare of the police into the open world, as Hannay finds himself outside in a parade. Hannay, now free from the confines of the sheriff’s office and walking amidst the people, is now vindicated, living momentarily in the comfort of anonymity. But Hitchcock re-plays his fears, so of course Hannay will soon be back in the binding spotlight in the next sequence. Yet it is more than the fear of police and confinement that is a mark of the Hitchcock film - it is the visual expression of these psychological states that are examples of the artistry of Hitchcock as an auteur. And as seen through the first shot of the chosen sequence in which the sheriff’s laugh is merged with the crofter’s wife’s screams, Hitchcock went beyond the German Expressionists that he admired, manipulating sound to express ideas in their purest, most subtle forms.

    Read More

  • Postmodern Film

    2291 Words  | 5 Pages

    The postmodern cinema emerged in the 80s and 90s as a powerfully creative force in Hollywood film-making, helping to form the historic convergence of technology, media culture and consumerism. Departing from the modernist cultural tradition grounded in the faith in historical progress, the norms of industrial society and the Enlightenment, the postmodern film is defined by its disjointed narratives, images of chaos, random violence, a dark view of the human state, death of the hero and the emphasis on technique over content. The postmodernist film accomplishes that by acquiring forms and styles from the traditional methods and mixing them together or decorating them. Thus, the postmodern film challenges the “modern” and the modernist cinema along with its inclinations. It also attempts to transform the mainstream conventions of characterization, narrative and suppresses the audience suspension of disbelief. The postmodern cinema often rejects modernist conventions by manipulating and maneuvering with conventions such as space, time and story-telling. Furthermore, it rejects the traditional “grand-narratives” and totalizing forms such as war, history, love and utopian visions of reality. Instead, it is heavily aimed to create constructed fictions and subjective idealisms.

    Read More

More about In Time Cinematography

Open Document