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Blog Post 9/10

jgallaher24

I find this scene super entertaining in the way it’s shot and edited. The use of short frames and zoomed in frames focusing on each issue is very well done. For example, they show the milk being empty and needing to replenish it by adding water but there’s a full bottle of vodka in the fridge showing that there is certainly an issue with priorities as far as keeping the fridge stocked with anything aside from alcohol.

They also zoom on the power box being passed around as young kids put money in the pot to pay the electricity bill leading the viewer to believe that this family struggles financially. Adding to this is the comment about the phone minutes and the way Fiona jimmy-rigged the washer so it would work.

As far as what this scene explains visually, it is a compilation of short clips to create a sense of urgency and intensity. There’s such a subtle panic that is almost palpable, this scene encapsulates the chaos that comes with the Gallagher family as a whole.

I’d say the visual anchors are the milk scene, the urgency each character is expressing, the shared phone with limited minutes and the power bill issue. Each of these scenes add to the poverty theme and give us an idea of the family structure and the usual functionality of the family as a unit.

Continuity- Blog Analyzation

eencinas24

Hello everyone I’ll be analyzing the first fight scence in rush hour with Jackie chan.

We start with a character focus shot introducing Jackie’s innocence and ignorance. The first continuity shot is when the bartender grabs Jackie and changes to a medium shot, then to a close-up of Jackie’s surprise to emphasize it. The continuity continues as Jackie uses a bar tool to hit the bartender. It came medium shots but continues as Jackie is thrown over a pool table, another close-up to emphasize Jackie’s intention at the moment the next shot continues the continuity as Jackie defends himself with a pool ball; the scene changes shot at a fast phase to express the intensity of the scene the next shot I love as its more of Jackie’s style of directing where it a character-focused shot. However, the duration is longer to express the scene’s comedy, and we then shift focus to the bad guys as one of them is slammed into the light fixture. Although I have to note that this director uses much continuity by changing shots for every hit, this is not Jackie’s directing style. He uses a long-duration shot that emphasizes the impact of the fight scene rather than focusing on its intensity.

Continuity Edits Blog — Jeremy Sauter

jsauter24

Hello, class! Today I will be analyzing this scene from Duel, which we watched last week in class:

 

Steven Spielberg managed to create an extremely intense chase throughout the movie, but this scene in particular used continuity edits extremely well to raise the tension even further.

As the scene begins, continuous, longer shots are used to create a hightened tense of uncertainty, while using the 180 degree rule several times to face the driver from the side, so that he’s facing left from our perspective, to get his thoughts and expressions. As the scene approaches a refueling station, the camera uses a reverse shot as our main character talks with the gas attendant. It then turns into a panning shot to turn around and see the gas truck parked and supposedly anticipating something.

As more and more of the gas stop is revealed, as our protagonist walks around the venue, you can faintly hear the attendant fiddling with his car as he makes his way to the telephone booth, which is done in one longer take to help get a sense of the distance between his car and the booth.

As our main character talks on the phone, we get match cuts between him and the gas truck, letting us “keep our eye” on both sides of the situation and further increase the tension. And as the truck begins to turn around and approach, wide shots are match cut with the booth as he frantically tries to get the police to help. The shot right before the gas truck gets ready to ram the booth, continuity is held thanks to the constantly growing louder engine of the truck, and it comes into frame from the left, which was established where the truck was at compared to the booth in previous shots.

Finally, high and low angled, yet wide shots help capture the scale and danger of the truck as it destroys the stop, the noises of the crashes and the truck engine pushing you to the edge of your seat. It truly becomes one of the more tense and pulse-rising scenes in the movie.

-Jeremy Sauter

Continuity in Duel (1971)

Joel

Duel (1971) Railroad Crossing

In the railroad crossing scene from Duel (1972), several editing techniques work together to create tension and keep the action easy to follow. The 180-degree rule keeps the viewer oriented by maintaining the positions of David Mann’s car and the truck on either side of the scene. To avoid jarring transitions, the camera moves at least 30 degrees between shots, such as when it cuts from a wide shot of the crossing to a close-up of Mann’s face or hands. These shifts keep the action smooth and focused on his anxiety. We also see the scene from Mann’s point of view, which helps us feel his fear as the truck and train approach.

As the camera cuts back and forth between Mann and the truck, it emphasizes the tension between them. The train blocks the vehicles at points, leaving the frame empty for a moment, which adds suspense. The editing also crosscuts between Mann and the oncoming train, building urgency. Tight close-ups of his face and hands show his desperation, focusing the viewer on his reactions. The sound of the train gets louder as it nears, adding to the tension, while the silence after it passes highlights the close call. By controlling what we see and hear, the editing keeps us engaged and builds the danger as the scene unfolds.