The clip belongs to the movie The Hustler (Rossen, 1961) an adult story about life and love, greed, and self-destruction of isolated characters but also a story about conscience and redemption. The entire clip reproduces the first meeting about Eddie (Paul Newman) and Sarah (Piper Laurie), anticipating the romantic relationship of the film. The director uses widescreen and black and white creating a realistic atmosphere (….) and highlighting the isolation of the characters even in their relationship. This essay analyzes how those devices are used in three different moments anticipating the dénouement of the plot.
In the whole movie, the use of the widescreen in addition to the performance of the actors emphasizes the isolation of the characters
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At the station bar the scene is shot in a bright light, furthermore, the use of a wide range of scale from black and white depicts the characters: while Sarah is shown in light colors, seeming to be an innocent woman (….), Eddie uses dark dresses, and thought the audience already knows him, now, in addition, he shows different layers of clothing, from darker to lighter, which could mean that he has a good depth. In the tavern scene the light is different and projecting shadows from the characters. Eddie says ‘you look different’ and he is right, Sarah is shown under a different light and as a result, especially after confessing that she drinks, the contrast between them is not so wide, since she is shown darker than in the preceding scene. Furthermore, Eddie is enlightened with a back lighting increasing his charming. The use of that kind of light with the widescreen emphasizes the isolation of the characters. A low angle puts the audience in an omniscience position to see their reactions, and the beginning of a relationship that leads them to a third moment in front of Sarah´s apartment, in this scene the light is from the front, increasing the range of dark greys and the shadows over the characters. After she has rejected him, the faces are dark with shadows, especially Sarah´s one. Thus, this is the beginning of an ambiguous
Where we’re from, who we know, and how our mental makeup is, is very important in our lives. It can be the deciding factor between life in prison and a life dedicated to giving back to others. In The Other Wes Moore, The lives of two young men are examined through three distinct lenses, how the role our environment, social capital (How we get ahead by helping each other) and how our mindset can dictate who we become later on in life. Both of these young men grew up in roughly the same environment, the ghettos of Baltimore, Maryland and the Bronx, New York, respectively.
Jeremy Fink has a big fear of change. This shows that he doesn’t really like to try new things and he is not really a risk taker. Jeremy, a 12 year old, has been living without his father for five years now and that has been tough on him. That is one of the reasons he doesn’t like change, because the biggest change he can remember is living without his father. Another example is Jeremy’s food choice.
Throughout the movie, the setting is littered with the contrast of light and dark colors in the backgrounds, costumes, and lighting to portray and produce certain
Lost In Yonkers by Neil Simon is a charming play primarily revolving around two boys and their relationships with their extended family, while their father is traveling the country selling scrap metal. As any other play would, it has strong characters and weak characters, strong storylines and weak storylines, effective playwriting, and wasted chances. Unlike most other plays, though, this play’s greatest strength is also its greatest weakness. The numerous characters and storylines allow for a storyline or a character that everyone will relate with, but also multiple that they will not connect with at all. Lost In Yonkers, although enjoyable at times, certainly has some obvious weaknesses.
The quote “Life isn’t about waiting for the storm to pass it’s about learning how to dance in the rain” means that we should learn how to our lives even at struggling times of our lives. There are times when we are feeling down or going through tough times. Weather it’s bad grades or a tragic event. I can make a text to text connection from this quote. In the book “We Beat The Street” by George W Jenkins, Rameck Hunt, and Sampson Davis, is about a how three african americans from Newark, New Jersey became successful doctors.
In the novel The Running Man by Michael Gerard Bauer, the author captures the experiences of a marginalised character, Tom Leyton. The use of the silkworm metaphor invites the audience to uncover the dark secrets of Tom Leyton 's mysterious past. The introduction of the character Joseph Davidson provides the author with a catalyst to open the metaphor of the silkworm and take the reader on a journey to understand the life experiences of Tom Leyton. Joseph Davidson, who is portrayed as someone with poor self esteem is also described as an outsider. The running man is used by the author to reveal the experiences of Joseph Davidson and demonstrate his growth of becoming less marginalised throughout the novel.
In Sunset Boulevard (Wilder 1950), the space of mise-en-scene is used to ‘guide the audience 's attention across the screen, shaping the sense of the space that is represented and emphasising certain parts of it ' (Bordwell 2001, p.176). For instance, when Joe Gillis is escaping the repo men at the beginning of the clip, the main focus is the speeding cars coming from the background to the foreground of the shot. Another notable scene is when Norma Desmond 's character lifts the rug and the chimpanzee 's arm flings out and swings back and forth, it instantly captures the audience 's attention. This is done because ‘moving items draw the audience 's attention more quickly than a static item does ' (Bordwell 2001, p.176). This method of presenting action corresponds with the structure of classical Hollywood as it was ‘designed for on-screen events to
Similarly, the cinematography of Casablanca also strives to shape the viewer’s attention to the time and space of the story. The film employs a handheld movement of the camera in certain instances, to display the mise-en-scene in a genuine manner that emphasizes the setting and time of the movie. For example, evaluate the scene in the film when the camera sought to illustrate the workings of Rick’s establishment. The handheld movement of the camera explores the club in a manner that brings the viewer’s attention to the viewpoint camera. The point of view of the camera, at this point of the movie, demonstrating a human experience of observation, and fixates on investigating war uniforms of characters and their actions.
To represent this low key lighting is used in Charlie’s home to show that the reality of his life is there living in poverty. This pattern continues in the cult classic Edward Scissorhands. The town that Edward is welcomed into is in high lighting to signify that it is the life that he never had. He wants to be accepted and loved and this is the place that his wish comes true. Unfortunately we know that his fantasy is unrealistic and there is no way he can live normally.
Where the Wild Things are by Maurice Sendak is an interesting children’s picture book. The main character is a little boy named Max, who has a wild imagination. He uses all five senses as well as thought and his actions to express his personality as well as how he reacts and interacts with his surroundings. Max’s id, ego and super-ego are greatly shown in this book through the way that the author has portrayed him. Not only is this book a children’s story, but it can also be perceived as a life lesson.
This creates a connection between the viewer and the characters in the film. In Lost in Translation, this technique is used to show the growth of these characters emotionally as they interact throughout the film. This is seen when the two characters just looked at each other as they sat in the hallway without talking to each other. In such a way, it shows the emptiness and loneliness in their
Tim Burton 's use of this helps show the contrast of the insider and outsider world. When the viewer is watching they get a sense of suspense and start to second guess whether or not they should trust the outsider. In Edward Scissorhands Burton uses a high-key low-key light contrast when Peg is in her car and sees Edward 's house in her side mirror. When the viewers are watching they get a frightened sense and wonder whether or not Edward or whomever is in the house will
Close ups and extreme close ups are used to emphasize the characters emotions and even highlight a major part of the plot that the characters may mention during the film. ”(media fort, 2013) They also cause for the viewer to become emotionally engaged in that specific scene and pay close attention to detail. Many of these camera angles were used during the scenes between Jake Sully and Neyriti to portray a level of intimacy. Tracking shots also play a major part in sci-fi films as the camera follows a particular character.
The first camera angle that plays a significant role in the film is the low-angle shot. A low-angle shot is captured when on the vertical axis, the camera is low, looking up at the characters. According to Tarantino, “the significance of a low-angle shot facing up at the characters proves that the character themselves are superior” (Paris & Simrill 2013). The first examples of low angle shot occurs when Jules and Vincent approach Brett while he is eating breakfast in his home.
Stephanie Plum, Morelli, and Ranger are three main characters in the book, One for the Money, by Janet Evanovich. Stephanie is a young woman struggling to get by in the city of Trenton, New Jersey. After losing her job, she goes against her family’s request and gets the dangerous job of a bounty hunter. She gets assigned Joe Morelli, who was accused of murder and who happened to be a childhood enemy. Stephanie is very inexperienced and receives help from a professional bounty hunter, Ranger.