Double Indemnity Clip Analysis The purpose of this paper is to explain and describe the stylistic choices of the selected clip from the movie Double Indemnity (1944.) Consisting of five shots, the features of the clip serve to cast feelings of uncertainty and intrigue upon the viewer. The introductory shot of the clip starts as two men enter an elevator. Extra-diegetic music plays for the total duration of the clip, adding a sense of suspense, while the whole clip is shot and shown in black and white. What starts as a medium long shot quickly transitions into a medium shot as the two men walk towards the camera. Low key backlighting is present for the duration of the shot. This two shot has a closed frame, leaving the viewer with no information as of far of the world …show more content…
The low-key lighting leaves the background in darkness while the desk lamp illuminates the man and the clutter upon the desk. As he sits down, he loosens his tie, the spotlight reveals a sweat-covered face. He lights a cigarette, both actions carried out with only one hand, (opposite than the arm he was clutching before) revealing an injury. As he single-handedly slides himself over to the old-fashioned recording machine and sets it up, the camera follows in a tracking shot before the shot ends. His sweating face is emphasized in this close-up static shot, the low-key spotlight focusing upon the man’s face. He starts the recording device, hinting at a confession as the clip ends as the extra-diegetic music fades, leaving the viewer with even more questions. These shots and their components work together to follow the man's journey to his aforementioned confession place, each revealing more about the man and contributing to the level of urgency and secrecy that he exudes. The clip itself casts mystique upon both the man and the
The score “Mrs. Robinson” starts to change in loudness, as the long frontal tracking shot of Benjamin’s (Dustin Hoffman) car running out of gas, the music stays in rhythm with the car choking and stopping. Next, the car and music just stops and Benjamin (Dustin Hoffman) jumps out of the car and starts running up the road in a side tracking shot. Then the scene transitions and merges into extreme long shot. The music begins again as Benjamin arrives at the church with long shot.
“The screen is a magic medium. It has such power that it can convey emotions and moods that no other art form can hope to tackle.” The written word and the moving image have always had their entwining roots deeply entrenched in similar narrative codes, both functioning at the level of implication, connotation and referentiality. But ever since the advent of cinema, they have been pitted against each other over formal and cultural peculiarities – hence engaging in a relationship deemed “overtly compatible, secretly hostile” (Bluestone 2).
The non-diegetic music continues to play at a subtle volume, until Christopher can no longer take it and the camera focuses on a chandelier and at the same time, the music’s volume increase and changes the tone from subtle to dramatic, suggesting Christopher hanging
In this paper I hypothesize that A Voyage to the Moon was most innovative in cinematography and editing. Although mise en-scene was the main focus of the film, I hypothesize that mise en scene wasn’t as innovative as the other two. As mentioned earlier, mise en scene made A Voyage to the Moon easy to understand and follow along. In the first scene of the film, this power
This is my second time watching Double Indemnity and something that I noticed this time around was the change in the color of Phyllis Dietrichson’s outfits as the movie progressed. The book mentions that the femme fatale is typically shown in white (149), which when we first spot Phyllis Dietrichson she’s wrapped in the white towel and then the white dress. However, as the movie progresses her outfits seem to only get darker; for example when Phyllis purposes the idea of taking out the insurance in her husband’s name she is seen in a white shirt with dark flowers on it (19:11) and then once they obtain the signature she’s wearing a dark colored dress (33:01). I originally thought this was an intentional move by Billy Wilder’s to juxtapose
This scene occurs when Osama Bin Laden crashed two planes into the twin towers, the scene starts as the news reporters and George W. Bush are preparing to present the news of the crash. Moore has used this to represent how they all felt having to present this terrible news to the world, then switching to the sound of what happened I feel shows thats the reporters telling the world, the way Moore uses cutaways from each reporter and bush shows the tension building within them, how they are all being made picture ‘perfect’ tells us that these people are important and have something big to say, I also feel the way Moore used the cut aways going from the reporters to Bush shows how insignificant he was/felt, he is just in the same boat as one of them, being told what to do and say by someone else and not really knowing what the think about the situation. As this is going on Moore also uses music in the background of the cutaways. I feel the music gives an affectif being uncomfortable and knowing that something is about to happen but not knowing what it is, it puts the audience on each giving a ‘hold your breath’ moment. The use of music then leads up to the next part of the scene where the actual plane crash happens.
The shot magnifies the otherworldly feelings that run throughout the scene and it becomes consistent throughout
As the sequence starts the audience hears again a non-diegetic score as well as an establishing shot, used to establish a specific place or time in a film, giving the audience Alex’s location as well as placing a setting on the sequence. From this establishing shot the camera cuts to a low-angle right to left pan showing Alex walking along a fallen trees through the vast wilderness that now surrounds him. The camera then cuts to a catipllier crawling on a branch and through the use of a rack focus the views see Alex walking along the forest floor. Through shifting the focus from one plane to the other in this case the catipllier to Alex, nature is a key focus in this sequence. As the sequence goes on the audience is given both a non-diegetic sound as well as the diegetic sound of the forest, including birds, water running, and the ground crunching as Alex walks.
For example, on slide no. 13, the voiceover is a critical and supposed humorous commentary, whereby the narrator asks the audience what is the result of “2 + 2”. This allusion to the novel 1984, is expressed with a sardonic tone, clutching the audience, as it subliminally detracts them from the content of the slide, increasing their attentiveness. Furthermore, the fact that metaphoric images have been selected on slides no. “8 & 5”, to demonstrate the values each composer holds, remarkably contributes to one’s understanding, substituting the typical lengthy analyses, to imaginative visual dissections. In this way, these visual images, including the elephant and butterfly hybrid, and the mechanical human, comprehensively reinforce one’s understanding of the significance of context, purpose and audience, in an interactive and unique
Analysis of the technical aspects of the title sequences 1. Introduction In this essay I will discuss the technical aspects of the title sequences such as the shots, the look and texture, colour, sound, music, texts, motion and aesthetics, among others. We will look at Seven film (1995) by David Fincher and Catch Me if You Can released in 2002, directed by Steven Spielberg as my chosen title sequences. 2.
In “Aesthetic of Astonishment” essay, Gunning argues how people first saw cinema, and how they are amazed with the moving picture for the first time, and were not only amazed by the technological aspect, but also the experience of how the introduction of movies have changed the way people perceive the reality in a completely different way. Gunning states that “The astonishment derives from a magical metamorphosis rather than a seamless reproduction of reality”(118). He uses the myth of how the sacred audience run out the theater in terror when they first saw the Lumiere Brother Arrival of the train. However, Gunning does not really care how hysterical their reaction is, even saying that he have doubts on what actually happened that day, as for him it the significance lied on the incidence--that is, the triggering of the audience’s reaction and its subsequence results, and not the actual reactions and their extent. It is this incident, due to the confusion of the audience’s cognition caused by new technology, that serves as a significant milestone in film history which triggered in the industry and the fascination with film, which to this day allows cinema to manipulate and
The Magnificent Seven is one of the most famous films from the American western genre, it was shot in 1960 and directed by John Sturges. The film tells the tale of seven gunslingers who are enlisted by a village on the border of the United States and Mexico to protect the villagers from a group of bandits who keep stealing from and causing pandemonium amongst the villagers. Although there are many scenes throughout the film that are worthy of an in depth analysis the particular scene being analyzed in this paper is the village shootout scene from The Magnificent Seven. The village shootout is a very key scene in The Magnificent Seven.
“I believe whatever doesn’t kill you simply makes you stranger” (The Dark Knight, 2008), this is the stand out sentence that the main antagonist, The Joker (Heath Ledger) speaks in the opening scene of the movie. Not only does this line set up the suspense for the rest of the movie but it also sets up the suspense for the opening scene of the movie. ‘The Dark Knight’ is a film directed by Christopher Nolan that builds suspense and intrigue throughout the movie, the director uses mise-en-scene, mise-en-shot and editing to put a seed of meaning for the viewer to draw from. This essay will analyse the opening scene of ‘The Dark Knight” mainly focusing on mise-en-scene, mise-en-shot and editing, where meaning can be taken away from the movie. This can definitely be seen in the opening scene of the movie, it has all the components to make it the perfect scene and the viewer will be able
In the short intervals between the murders, an insidious guitar player gives some intricate solos that actually intensify the violence. Miike initiates the bloodbath from the beginning of this film
Shutter Island, a psychological thriller, directed by Martin Scorsese incorporates techniques throughout to reveal the truth in Shutter Island. The film, based on a missing patient investigation, turns out as a cover up psychological experiment designed to bring Edward (Teddy) Daniels back to sanity concludes to be the truth. This essay discusses that by analysing certain scenes, including the opening scene, Teddy and Chuck addresses Dr Cawley, and whislt Teddy and Chuck interview the patients. These three scenes assist to expose Shutter Island through film techniques such as camera angle and mise en scene.