Uptown Girls Breakdown Notes Context Uptown Girls takes place in the early 2000s and it follows Molly Gunn, a carefree young woman who relies on the money left by her deceased parents. She was left homeless and broke once her father’s accountant embezzled the money. Her friend helps her find a job and she becomes a nanny for a serious eight-year-old named Lorraine "Ray" Schleine. Ray’s mother is negligent and her father is in a coma, resulting in Ray’s subdued emotions. At this point in the story, Ray runs away from home after her father dies and Molly has a good idea of where to find her. The lack of dialogue focuses on the characters’ body language and facial expressions. Additionally, this scene highlights a changing point in Ray and Molly’s …show more content…
She places her full attention on the action, not sparing Molly a glance. Shot 10: Molly frowns at the camera as she spins the cup. Her facial expression shows that she is desperately trying to get Ray’s attention, boring holes into her downturned head. Shot 11 Ray continued to focus on spinning the teacup with a pained expression on her face. The music overpowers the background music as Ray moves her head up, making eye contact with the camera. The close-up of Ray’s movement and the use of overpowering music signifies a pivotal moment in the scene. Shot 12 The blurry spinning background and the tight composition on Molly’s face place focus on Molly’s exasperated expression as she stares into the camera. Shot 13 The wide shot of both characters establishes that they are still frantically spinning the cup. Shot 14 The scene cuts to Ray throwing up after the ride, with Molly quietly supporting her by placing a hand on her back. The abrupt change in tone is emphasized by the cut-off of the music and the static …show more content…
Molly puts her foot down by stopping Ray, giving her an authoritative role in this scenario, contrasting with her childish character. Ray, on the other hand, slaps Molly with her free hand. Ray’s emotional outburst and frayed appearance continue to contrast with her uptight/neat character. Shot 17: Ray looms over Molly, retracting Molly’s authoritative role in the previous shot. This power shift quickly returns when Molly stands up and returns a slap. The camera moving upwards, following Molly, further emphasizes her power in the shot. Shot 18 + 20 After a moment of shock that Molly would slap her, Ray pummels into Molly’s stomach. This shot reveals the peak of Ray’s emotional outburst, with her panting as she puts all her strength into her punches. Ray continues to punch Molly in shot 20. Shot 19 + 21 Molly remains still, looking down at Ray with a pained expression as she slightly recoils from the impact. Molly rarely breaks eye contact with Ray throughout the scene, showing how adamant she is to connect with Ray. Molly continues to look down at Ray in pain in shot
The film director uses sound as a film technique to show the sadness she feels under the great amount of makeup that covers
During the late 1800’s, there was a time of great change. This was near the end of the industrial revolution in America. Some of the greatest inventions were invented during this time. We still use most of the inventions today, they are just modified to fit the needs of America today. 3 of the major inventions and innovations that came out of this time were the telephone, typewriter, and the incandescent light bulb.
This purposeful interruption shows how the director's main focus was on laying the foundation for the later upturn. The director also plays around with the camera when he wants to show a difference. When the mood needs to change, or the audience's point of view needs to be re-addressed, he changes the camera angles. For the less intense scenes wider camera shots are used and for the extreme scenes, close-ups are used. Sound is too utilized to its full potential.
Moorhouse has portrayed the character’s facial expressions efficiently throughout the film with the use of effective camera angles that engages the audience. The atmosphere of the film entirely changes from contented to gloomy due to sudden Teddy’s sudden death. A close up shot was used to capture the sadness and heartbreak on Tilly’s face as she held teddy’s hand while cleaned his body for his funeral. The use of slow instrumental music featuring violin and piano enhanced the facial expressions of the character and helped the audience to empathize with her. Moorhouse uses a medium close up shot that framed the teacher and Marigold Pettyman in a scene when Marigold discovers the truth about Tilly being the reason behind her son’s death “You think your little boy fell of the tree? Wrong…” The shot helps the audience to evidently comprehend the pain and sorrow on her face after finding the shocking truth about her son’s death. Emphasise on the theme of grief and loss was prolonged when Molly collapses on the road due to suffering from a stroke. A high angle shot is used as Molly laid on the floor in the doctor’s office to demonstrate the pain she was suffering through. The scene effectively portrays Tilly’s love for her mother as she tightly held her hand and kissed her forehead while soft piano music played in the background serenading the audience to strongly stay connected to the characters. The following scene used a close up shot to focus on Tilly’s facial expressions to determine the audience of the fear she felt of losing her mother after being apart from her for so many
You fired a shot not meant to hit anything. And your wife came running-that's what you wanted. Just pity and sympathy, pal. Nothing else.” Eileen’s first reaction is to assist and defend her husband from these allegations when she says, “That's enough!
This pleasant outlook is often in stark contrast to what is being said. What I did next is to watch the scene several times without sound, to try and pick up the visual points in the scene. The first shot struck me as an ominous one; it is of the camera pointing. directly into the cutting blades of a large cutting machine, which is. moving towards the camera.
While the radio is playing in the background, the editor adds a sound effect of a tire “thumping”, which the audience can already predict that Carlos’s tire is flat. Carlos swerves his car and stops his car, the camera then shoots to the flat tire. Szifron and Barbieri use sound, emotion, and image to fully illustrate the situation to the audience. They use music to let the audience know that the event is about to change, it also allows the frames to
10. Next the shot changes to a full shot of Devlin and Alicia where she continues to stand. The camera follows them up as they now both fully rise, thus revealing more than just there faces in over 9 shots. Alicia states that they should go outside, while Devlin has a drink in hand. She then asks if Devlin is going to finish his drink. Devlin says that he is and takes down the rest of the drink leaving only a few drops, as Alicia gazes into his eyes.
He does not have to force her to leave and she does not act nearly as crazy. The production code causes the movie to lack punch because it takes away the precise characterization that Chandler used to describe the women and the situations. The scene is so watered down that it loses the impact that it needs to make the proper impression on those who are watching
The close up shot of the sheriff overlooking the people on the beach with the look of concern and distress, opposed to the family in the background, smiling and enjoying the nice sunny day. This shot of him explains his perturb feeling that he knows what awaits in the water, unlike everyone else. The long shot of the person floating in the middle of the sea exposed makes the audience feel relaxed but also cautious. Over the shoulder shot shows the attention is not on the man talking to the sheriff but on the woman in the sea, which was a false alarm, of the woman screaming, but also keeps the audience alert. Another long shot is shown when the children get up to go to sea, makes the audience anxious for danger that is about to happen.
Ray takes advantage of the use of cinematic staging to enhance the emotions of both the characters and viewer. During Jim’s argument with his parents about going to the police, the use of back shots and full frontal shots mirror his inner conflict. While Jim and Judy speak privately in the mansion, their faces crowd the frame in a close up shot reflecting the vulnerability and intimacy of the
The scene starts with a medium close-up of Richie, who is positioned in the center of the fame and looks directly into the camera –which also doubles as the bathroom window- while wearing his signature headband and sunglasses. The medium close-up leads the viewer to focus on Richie’s face during the actions that are to fallow, but it also allows for a sense of place to be established. The scene starts off poorly lit and with a s...
... to find a place for herself at home, at school, and in Spectacular. In the spring, Ellie travels to New York City for a surprise visit with her mother. Secretly, Ellie hopes this journey will reunite the Dingmans but instead, Ellie finds that her mother has both physically and emotionally distanced herself from the family. Realizing that she no longer fits into her mother's life, Ellie reinvents the meaning of “family” and “normal.” Although their marriage has dissolved, Ellie grows closer to her father, brother, and sister.
... the wallpaper no longer oppresses her. As time goes on, she gains confidence and control over both and ultimately dominates them.
Spielberg opens this scene with an establishing shot of the beach. This shot is used help identify the setting which in turn allows the audience to determine where they are so that they can engage with the movie. The camera tracks a boy, reason being that he will be the victim, going up to his mother asking if he can get his raft and go back in the water and continues to track him until he walks off scene which the camera then goes in on a close up shot of the Chief of Police. These types of shots help the audience to understand the characters’ emotions, which in this case is concerned, and that makes this shot so effective due to the fact that the characters in the background depict a different emotion of happiness and delight. The shot then cuts to an extreme long shot of the sea shot where we can see that someone is floating which can be recognized as Chief Brody’s point of view. Spielberg then does an amazing camera edit here with the use people walking past the camera to cut from one shot to another. We see the Chief in a medium wide shot that cuts to a medium shot when a character walks past him, then to a close up when another passes by. Next, the camera returns back to the person floating in the ocean as if we are looking from the Chief’s point of view again. This shot is from a high angle which allows us to see how small the person is compared