Like most examples of real suspense, we in the audience know more than the characters on the screen. This clip lasts from 1: There are 21 shots over the 66 seconds so it is an average of just three seconds per shot. A few shots are about two seconds and just two shots are longer: That shot, after all the shorter shots, lasts an excruciating 22 seconds—seven times longer that almost any other shot in the sequence.
The clip begins with a long shot that establishes Lila Crane as just outside the Bates Motel: This shot is also done at eye level, and as she reaches the end of the porch she seems to look back at us in the audience and wonder if it is safe to go on. A low, ominous score under girds the entire clip. It has a somewhat slow tempo, almost like the footsteps that lead her toward the house.
There is a cut on the movement and the next shot is also a long shot that establishes that she has come around the back of the motel and is now looking up at the Bates house. There has been a marked shift in angle from the previous shot; here we have a high angle looking down on her. It seems odd after the eye-level shot that preceded it, but we do know that there is an old woman sometimes up in the window of the house. Perhaps, this angle signals, it is her looking down.
The third shot is a point-of-view shot of the house from Lila. This puts us in her shoes, a place we will inhabit every other shot now for the remainder of the scene, and, because of where she stands, it is also a low angle shot: The fourth shot is the same camera set up as the second shot in this clip but in this shot, as Lila moves, the camera moves with her.
Almost all the remaining shots of this clip will have movement. This second shot is like a POV from the house. Lila is the even-numbered shots; the house is the odd-numbered shots. By the fifth shot in the sequence Hitchcock also tightens the framing with each shot. Yes we get a little closer to Lila and a little closer to the house, but the camera also frames each one more tightly. All of this adds to the tension and suspense. By the twelfth shot of the sequence we have moved from a long shot that began the clip, to medium shots of Lila, to finally a close up.
In shot 14, a shot of Lila, the camera begins in motion but comes to a stop. The cut to shot 15 gives us the other still image in this sequence, a still POV of the house. These still shots are also her last chance to turn around. Of course she goes forward. The camera movement and shot alternation pick up again with shot 16 and continues until the end.
When we first meet Lance, the star quarterback, the camera is at a low angle again. He steps out of his house into the light of the sun while trumpets are sounding, all in slow motion. Later in the movie it is said that Kilmer, the coach, has made Lance a god and the sound, along with the camera work in this moment, accentuates this statement.
When we have finally met all of the characters, we move to the school and find out just how obsessed the town is with the football team, the Coyotes. In the pep rally scene, you get an almost Naziesque feeling.
Everyone is wearing blue, and going crazy for these players, and the coach. There is chaos until a hand enters the shot and it cuts to Kilmer at a podium standing like Hitler looking out over his followers. Throughout the film Kilmer is depicted like this; from low angles, which make him very menacing and evil.
Before the first game we see how the different players prepare by following Mox around the locker room with a steady cam. When we get to Kilmer's office it cuts to the inside, and the shot is from behind Lance's leg, as a needle goes into it, looking out at Mox so that we can focus on his reaction. Then it cuts to Kilmer closing the door in Mox's face with an echoed slam and the only thing you see on the door is the word "Courage.
After the first football game, we go to a BBQ, where we see the pressure that Mox is under from his father, while, at the same time, trying not to ruin a friendship with Lance. The two fathers, fighting over which son is better, cause a contest in which Lance and Mox have to hit beer cans off of their fathers' heads with a football. As Mox is trying to put it off we see a montage in which we have low, oblique angles of the two fathers, Mox's mom, and Lance's brother, taunting Mox with the words echoing.
These effects make it more taunting, and you can feel the tension building inside of him. During the next game, Lance gets injured.
During this scene the camera has many jump cuts, which makes it very chaotic, along with slow motion, which makes it more agonizing. The only sounds you hear are the announcers, music, and Lance screaming in pain. These effects make you feel like the world is ending for everyone in this town. A god has fallen. After the game we see Mox wandering around the town and finally ending up at his girlfriend, Jules', house.
It interjects with Mox's speech; when he stops talking you hear the words "have I got a long way to run. You can tell that he feels lost and he doesn't know what to do with this newfound "fame. If you plan to do a written scene analysis, these detailed notes will help you write an organized and well-supported essay. You can also rewind if you feel like you need to rewatch a small piece of the scene. Take note of every decision the director made to create the scene. Every little detail counts.
Start by taking note of which characters are present in the scene. How does this scene contribute to their overall development? Pay close attention to what the characters are wearing. Perhaps their dark clothing mirrors their sinister deeds.
Decide why the director cast certain actors for different roles. Directors generally choose to cast a particular actor because their characteristics match those of the character the director wants to put on screen. Consider how the setting affects the scene.
Where the director choose to have the scene play out matters. If the scene is taking place in a car, for example, the characters might be looking ahead instead of at each other. If the scene is in a graveyard, the viewer might automatically feel like something bad is about to happen. Notice the way each shot is framed. Pause the scene on a single shot. Is the light bright or shadowy? Is it a closeup shot? How does the framing affect the full scene? This term encompasses all of the visual components of the film.
Take note of the effects of various camera angles or shots. Camera work is a huge part of filmmaking. Consider whose point of view the camera represents and how the camera is set up.
A close-up, in which the subject fills the frame. A medium shot, in which the subject can be seen either from waist up or in their entirety. A long shot, in which the subject is small in comparison to their surroundings.
A wide shot that displays the setting and establishes where the film takes place. A low angle, which places the camera below the subject to make them appear large and important. A high angle, which places the camera above the subject to make them appear small and insignificant. Watch how the camera moves. In addition to choosing particular shots and angles, directors also make decisions about which movements to use to make their camera capture the scene.
Some common camera movements include: A pan, which involves moving the camera from left to right on a fixed tripod. A pedestal, which involves moving the whole camera up or down. A dolly, which involves moving the whole camera not just the zooming the lens towards or away from a subject. A truck, which involves following a subject from left to right on a moving track rather than a fixed tripod. Listen for music, a narrator, or other sound effects.
Replay the scene once more, this time keeping your eyes closed. Focus on the music the director chose. Ask yourself how it adds to the scene. Then, pay attention to any other effects, like a voiceover, off-screen noises, or even deafening silence. Triumphant music, for example, can communicate to the viewer that something positive is about to happen -- maybe even a happy ending!
Do outside research to understand the historical and cultural context. Find out in which year the film was made. Go online or use your local library to see what was happening in the world in or around that year. How I Learned to Stop Worrying and Love the Bomb is a satirical anti-war film that tells the story of a nuclear holocaust that occurs by mistake.
This dark humor makes much more sense if you know about the intense nuclear standoff between the United States and Russia that happened in October
- Analysis of Act 2 Scene 2 of Macbeth Act 2, scene 2, in the play of Macbeth, is a fairly significant scene, in which to mark the changes of the two characters, Macbeth and Lady Macbeth. Their minds and feelings are portrayed in this scene.
Scene 1 of ‘Romeo and Juliet’ written by William Shakespeare outlines significant aspects within the play, such as the fate or destiny of Romeo and the deaths of Tybalt and Mercutio. I will explore such themes of this momentous scene. The scene describes Benvolio and Mercutio wanting to retire due to the immense heat of [ ].
Writing a scene analysis requires a thorough understanding of not only the scene you choose to dissect but also the overall film or play. Scenes need to move the story forward and reveal information about the characters. When you break down a scene, you uncover the writer's intention as well as how the work resonates. Analysis of Act 2 Scene 2 of Macbeth Act 2, scene 2, in the play of Macbeth, is a fairly significant scene, in which to mark the changes of the two characters, Macbeth and Lady Macbeth. Their minds and feelings are portrayed in this scene.
Read this essay on Scene Analysis Paper. Come browse our large digital warehouse of free sample essays. Get the knowledge you need in order to pass your classes and more. Only at territorios-luchas.tk". The scene analysis paper should be about to words long, roughly four or five pages. Aside from the goals of clarity, coherent organization and so forth that apply to every paper, this paper asks you to describe a scene from a film in a way that a) demonstrates a facility with analyzing film as film, including descriptions of film-specific .