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Narrative Essay about the cinema
Narrative Essay about the cinema
Narrative Essay about the cinema
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Chunking Express basically uses a handheld camera to make each scene dynamic and lively, which conveys that the lives in the film are hectic and scattered. The ending scene of Chunking Express is pretty calmed down compared to the other scenes. The reason is because the ending mainly deals with shots and reversed shots of two people, Faye and Cop 633, which is regarded as parallel to their first encounter of them.
The scene shows dialogues between Faye and Cop 633 at the same place that they had their first meeting, but many things have changed. As the time has gone by, Faye has become a stewardess with longer hair and Cop is running the café after retirement. However, there are also commonalities between the times, which create a parallel and remind the audiences of the past issues of characters.
First, even though the person of wearing uniform changed, there is still one who works in a uniform. Compared to the owner of the café, the stewardess and a Cop are constantly traveling, however, they still have to follow many rules. Working at the café seems more static, but actually it is much more flexible because owners are able to make their own rules. The change of the person in uniform consequently leads to the change of the person who visited and the other who greeted.
In addition, the act of Faye becoming a stewardess reveals another commonality since the cop 633’s ex-girl friend is also a stewardess. The cop falls in love with Faye, who the cop thought to be a totally different kind of person, but it reminds viewers that love is actually something repetitive and similar to another. Though each love seems superficially different and original, the way people meet, love and break is essentially alike. The end shows how human li...
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... long shot, the camera crosses the 180-degree axis to show all the shots and reversed shots during the last dialogues. Breaking the rule of axis helps to change the atmosphere of the scene and implies the real ending shot is coming. As the atmosphere changes, the Cop also becomes more active. When the Cop brings the map of California that Faye previously gave him, the camera shows a close up of the map. This close up reveals that the Cop has kept the map thinking about Faye, which makes Faye feel touched and respond to him. The camera takes high angles at the Cop’s perspective and then low angles at Faye’s stand. These shots make audiences view Faye to be shy and cute and focus on Cop’s gaze toward Faye with love. The scene ends with a close up of the audio, which played the theme song, California dreaming, at their first encounter, implying their new relationships.
This scene is attempting to insinuate to the audience his failure of being a detective. This presents discontinuity due to the fact that the the film is changing space rapidly with no indication of time. This has graphic discontinuity edit because the scene is trying to create dissimilar environments but present the same visual principle. Rhythmic relation in this also contributes to the discontinuity by montage. As each scene is changing within the scene, the musical background has sudden interruption to follow with the intensity. Therefore, as there is no logic connecting the shots, this is to underline and present bewilderment to the audience due to the rapid change in
...ot where the camera follows a subject within a frame and motion of the subject or its surroundings is involved. In this movie Lee uses the double dolly shot which includes the camera dolly and the actor mounted on a second dolly so the actor is moving along with the camera. The double dolly shot signature move is one of Lee’s favorites and also plays into his technical competence for the movie. This shot stars Detective Keith Frazier and happens just seconds after a hostage is “allegedly” killed by the bank robbers. In this scene the camera tends to shake and Denzel facial expressions display feelings of sadness and anger. In addition, a small cameo of Sal’s Pizzeria pizza boxes are seen when the head bank robbers makes a deal with the officers to get food for the hostages. Lee has lots of these connections within his movies relating back to Do The Right Thing.
... officer was a “white hat,” in the book they referred to them as newjack. Most of the guards were turnkey; they had little contact with inmates. Lastly, one guard told Ted Conover to live at work the problem at work and not bring it home with him. In class we talked about how officer go home with the problems of the job, which is not healthy for them and their family.
Sarah is pulled over by a cop who catches her running the stop sign. The officer in uniform represents material culture because the uniform has a symbolic meaning in society. The common color for
The last extreme long shot shows the rural desert which contrasts with their bright costumes, letting the audience feel their accomplishment of climbing King Canyon in full drag. The music in the background is a soft slow song that gets more dramatic the longer it plays finally getting at its climax when they reach the top. This music can mean that their journey was slow at the beginning but got a lot more interesting the longer they drove.
...haracter's movement through the scene should look totally natural. As a scene shows us the basic setting and characters, it generally moves from a wide shot to a medium shot, and then to close-ups of the characters. This use of the space is then conserved by using a set of rules. The first rule is the 180-degree rule, or "not crossing the line." Meaning that the viewer is presented to a shot in which one person is on the right and a second person is on the left, the camera should not rotate beyond 180 degrees, because that would invert the relative positions of each person. The continuity style gave classical Hollywood films their rhythmic power. The spell that style enables the audience the wonder of being able to lose yourself in the world of the film depends on a how the director shows and gives you this new world, most notably done during Hollywood's Golden Age.
The police and car owner follow close behind him, trying to get the husband to pull over. The use of the single frame displays the husband’s dark silhouette as the camera focuses on the rearview mirror where the police can be seen gaining on him. It allows the viewer to take in both storylines simultaneously. The husband is still racing home to help his wife, but the police in the mirror also show the duality of his worries as they literally and figuratively hang over his shoulder. Meanwhile, in the mirror, the police are seen trying to grasp the husband in order to get him to stop. The two spaces for the characters gives the chance for the film to focus on the overall plot progression versus the time cut between the husband and the police separately. It decreases the amount of time that audiences spend on one character and their storyline instead it forces them to understand the dynamics of every storyline and how they interact with one
In this movie, much emphasis is placed on simplicity, spontaneity and directness, so we can focus on the true story without being distracted from the normal every day routines these characters have. A degree of realism is achieved in this movie, because the fact remains that Ben is an alcoholic, although he does drink in extremes where the normal human being would be unconscious, and Sera is a prostitute, so the intense situations and decisions in this movie are reasonably depicted. One of the first scenes is an extreme long shot of the city of Las Vegas, because this sinful city was very carefully chosen as the setting of the story to preserve realism. Full shots are often used to show the protagonists on their daily routine, such as when Ben goes shopping at the supermarket for liquor. Figgis mainly used multiple shots to emphasize the two protagonist’s interactions with each other. The two shot and the over-the-shoulder shot were used often to build a sit...
At the beginning of the scene when Jim is brought into the police station, there is jazzy string and clarinet music. This jazzy music changes to a soft flute melody when Officer Ray talks to her. After Judy is done talking with Ray, the audience hears a police siren off camera, with which Jim starts mimicking and the camera moves to focus on him. As the camera moves backward, away from Jim, we see hear and see Plato’s house keeper talking to him. To the left of Plato, behind the glass and wood wall, we can see Judy. The mise-en-scène is perfectly constructed in this scene so that the audience can see these future friends interacting with each other as
This segregation leads to many psychological effects, which research shows can create negative personality traits. For example, psychological research shows the wearing of a uniform will tend to make any person de-humanize people who are without a uniform. Just wearing a badge or a gun can cause people to act more aggressively. These are changes that could happen to anyone wearing a uniform, badge and gun, thus these factors are expected to operate in some way on the police officer. Many officers suggest there is a "role," or "mask," which they put on along with their uniform.
His unending love being blocked by her inaccessibility shreds the last bit of his retained faith and leads him to his demise. Through Oscar’s rose-tinted glasses, he fails to see Ybón as anything other than his one true love, and the beginning of his ‘real life.’ Following her around town, leaving letters and voicemails detailing his deep affections that while she claims to reciprocate, she cannot because of her boyfriend, the police captain. Ignoring her pleas and warnings for him to let her go for his own safety, Oscar “meeting Ybón physically marks Oscar, in part because of the beatings he receives for courting her, but also because he decides to diet and lost ‘all the weight’(Díaz 312)” (Sáez). Not Lola, not Yunior, not even Oscar himself could get him to shape up and put himself together. After meeting Ybón, Oscar immediately starts putting in the work to look good for her, showing just how much he believed that she truly was his last chance at happiness. This continued until the police tracked Oscar down and kill him. Beyond a simple shooting, Oscar’s death showcases that he truly believed that Ybón was his last true chance for love, as if he believed he had another chance with someone else, he would have fought (in signature Wao style) to love another day. Yet, even in the words of Dr Manhattan, “In the end? Nothing ends, Adrian. Nothing ever ends” (Díaz 331). Oscar’s death went beyond himself: pushing Lola to pull herself together and get
The idea of Unlikely Allies in T.V. shows and books is used to create many different kinds of relationships between objects and people, and this essay will explore 3 examples of Unlikely Allies. It is fascinating when two very different people feel the same but don’t even know each other yet. It’s like you’re the same people in different bodies or even a different gender. Even though there are tons of unlikely allies, three probably stand out too many they are Alex Stowe and Sky from “Unwanteds”, Kimberly Drummond and Willis Jackson from “Diff’rent Strokes”, and A.C. Slater and Zack Morris from “Saved By the Bell”.
One might think gaining appreciation for the complexity of human relationships means to love or appreciate pushing the limits to test the relationship, knowing that the relationship can fall apart. The Boy in the Striped Pajamas film show and test the relationship between Bruno and Shmuel. Carl E Pickhardt says in his article/post Confronting the Complexity of Young Love – “I think relationships tend to grow more complicated the more caring they become.” Carl E Pickhardt explains that a relationship of love is a mix of three factors: Rewards, Responsibilities, and Risks, explaining all three factors.
wants his soul mate, Diana, to fall passionately in love with him. Alan is told about a love
This film then turns out to be a story of his life where we are shown with the camera angel going around him in a 360 view. The screen shot pauses completely and is frozen as the camera rotates around Rocket. You then realize this entire film will revolve around this one character and what he is about to set out to do and how he will achieve his goals. The camera uses a close up to Rocket to emphasis his expression witch shows some sort of displacement with his neighborhood. The camera angles and movement show this character in a complete different way than what the director showed in the other people of this town. When we are introduced to the town’s people, the gang, and head of the gang, life seems harsh and intense but when the camera moves to rocket the audience is able to feel a sense of relief. That maybe this characters world does not revolve around violence, in fact it revolves around what could be the complete opposite, art. The calm camera movement shows this character as a deep breath of relaxation after a chaotic run in the slums. The different camera angles of this scene emphasize to the audience who is in power, For instance, there is a shot that is behind the gang leader, over his back you see everyone is behind him and that in reality this specific character is gang leader, he is in complete power, even over the