Category: Uncategorized

For this assignment I chose the scene where our main character is stopped at the train and the antagonist pulls up behind him and starts forcefully ramming his car closer to the train in hopes to cause the protagonist to crash into the moving train. I chose this scene for the chaos and consistent frame changes. This section of the film is made up of primarily empty frames and match on action shots. This scene is highly intense and is a pivotal moment for our main character as he realizes this guy genuinely is out for blood and it’s no longer just dueling leap frog down the road like previously.

When the truck first pulls up behind the protagonist it uses a shot reverse shot to present the scene as if the viewer is right alongside the main character by showing us exactly why his car is being rammed as he figures it out at the same time. This use of shot was a good way for the director to make the audience feel as if they ARE the main character. This helped rope in viewers for the building intensity to come as the scene continues to ramp up.

Next is a series of empty shots showing the gravity of the situation and how dangerous it will be if the truck driver is successful in his attempt to push the car forward. These also help the viewer get a clear image of the surroundings and further build the image in our heads as if we were really there!

There is also many match on action shots of zooming in and out from the character, to the full view of the car, then to the front wind shield, to the full front view of the car, and so on. This framing helps set the scene and build a detailed view of the entire situation from all angles and the viewer is able to better understand the intensity of what’s taking place.

There is so much movement of the angles and frames. it helps build the intensity of this scene by going back and forth between so many different shots of the wheels then the train moving then back to the wheels and BACK to the train moving to inflict a sense of urgency and danger on the viewer. I think that this constant frame change makes the scene seem super quick as if “it all happened to fast” which is a common emotion we feel after being in an intense scenario such as the predicament our protagonist is in.

Thank You.

Continuity is very important and is demonstrated very well in Spielberg’s movie Duel. I am going to use the scene called Road Trouble.

The first scene is a cut-in/ match action with a close of David at the end of the cut-in. It then cuts to a 180-degree shot with David in front to show emotions before the truck driver loses it. A few shots after this are close-ups of David’s face from the perspective of his windshield. Spielberg keeps this angle on David only zooming out a bit to not be over-saturate with the close-up.

The next big close-up is at the gas station and it’s of the truck itself. This more or less shows the difference between David and this truck driver.

The editing of the shots makes the scene seemingly continuous which is if not the best thing to make a space believable. in terms of the narrative the fact that the scenes are made to look like they are in somewhat real-time with very few jump-cuts. There are no empty frames as the audience is supposed to be with David throughout almost of the whole movie. The few cuts were to change angles and locations. The most major cut is when David is pulling into the gas station to show the calm of David’s driving and the shock of the truck driver’s driving.

In Steven Spielberg’s early film ‘Duel’, he masterly utilizes many continuity tricks in quick order to create drama and emotion. During the ending scene, the success of these edits builds the scene to a dramatic climax and conclusion.

The final 4 minutes begin with a ‘Motivated POV’ shot of the protagonist, David, as he sits in his car, staring out. He watches the empty road, waiting for the Peterbilt truck that’s been chasing him to emerge. This second shot, waiting for the truck, is an ‘Empty Frame’. This builds the viewers tension as they wait for the inevitable.

The ‘Motivated POV’ repeats as the truck starts barreling down the road towards him. This is also a ‘Shot Reverse Shot’, as David sees and then reacts to the truck.

There is then a ‘Match on Action’ edit of the truck, zooming in dramatically with a shaking camera. The viewer sees David again from the front, before switching to a shot of him from behind, following the ‘180-degree rule’. These dramatic changes of framing maintain the intense and quick pace of the plot.

Spielberg then uses ‘Parallel action / Crosscut’ edits of David’s car and the truck speeding towards one another from the front, which could be considered a ‘Graphic Match’(?) of the trucks front and the cars.

The shots shown of David’s car as it collides with the truck follow the ’30-degree rule’, changing from the front right to the far back left of the car as it is struck. This allows the viewer to see the collision more clearly, while maintaining a sense of positioning relative to the car.

By using these editing skills throughout the ending, Spielberg builds and maintains the intense and frightening pace and tone that has been built throughout the film. This is necessary for creating a climax and conclusion that can satisfy a viewer who has been made tense alongside David for the entirety of their viewing experience.

The film I chose to analyze as “Kingdom of Heaven” (2005) scenes shown here are very simple shots yet they are dramatized, using slow motion and close-ups.

[Medium Low Angle Close-up]

By using this angle the characters are given their power dynamic of that time one is looking down and one is looking up. it also establishes the reveal of the secondary character.

[Close-up]

This shot establishes the reveal of the secondary character.

[Medium High Angle Close-up]

The shot solidifies the main characters power dynamic.

[Medium Close-up]

The shot establishes that both characters are now with equal power dynamic.

[ Long shot]

This scene establishes the army behind both characters

[ Long Shot Medium]

This scene establish us both armies and their massive size.

[Extreme Long-shot – Wide]

These scenes establishes that both camps leaders are coming to meet.

[Extreme close-up]

This scene establishes another secondary character who is analyzing what’s happening between the two armies.

[Medium longshot]

This scene establishes both leaders coming together.

[Medium Close-up] 

This scene establishes both characters as equals.

[Close-up] 

This scene establishes the main characters involvement with both armies.

[Extreme Long-shot – Wide]

This scene establishes and explains the position of both armies and their leaders and what they are fighting for.

Why did I choose this film?

I chose this film because of its simplistic cinematography yet establishes very dynamic and very dramatic scenes using different types of shots such as slow motion, dramatic close-ups positioning dynamic it makes you curious as to what they are fighting about what are their intentions what are their motives it is the scene that establishes the cause and plot of the movie.

The movie I chose to analyze framing is Transformers (2007). I think there’s some cool scenes that effectively show the difference in scale between the humans and robots.

[Long Shot] ^

To open the scene, you see Optimus (the truck) drive towards the human main characters. You get a good idea of the environment and setting, as well as the time of day.

[Medium Close-up] ^

The humans curiously watch Optimus get closer.

[Medium] ^

Sam is far enough in the frame to be a Medium shot, but you also get to see Optimus get much closer to them.

[Long Shot] ^

The camera cuts back to a long shot, with all 3 characters fully in the frame.

[Medium Shot] ^

As Optimus gets close enough to stop, we obviously get to see how much bigger the truck is than them. Notice how the camera is around waist level instead of their eye level, this makes the robots look a lot taller than they already are.

[Medium Close-Up] ^

The camera is at a low angle as Optimus slowly transforms, and it progressively looks further up and in this frame you can see it with the building perspective.

[Medium Shot] ^

After being in a low angle in the last shot, we’re now in a higher angle shot which can represent Optimus’ point of view. The camera slowly rises too.

[Medium Close Up] ^

As he slowly transforms, it cuts to a high angle of Optimus. The camera descends and orbits around him to showcase all the little truck parts transforming into place. Next picture is a screenshot during this camera orbit, it’s all one shot.

[Long Shot] ^

Once the camera finishes lowering and orbiting around him, we see a long shot of the humans being surrounded by the other transformers, who also start to transform. The camera pans around them to show everything happening, and it’s fitting as the humans are also looking around wondering what’s going on.

[Medium Long Shot] ^

Optimus towers over them in another lower angle camera.

[Medium Close Up] ^

[Close Up] ^

[Close Up] ^

The closeups from both humans looking up help us visualize how tall these alien robots are. There are a lot of shots that show either a high angle view (Optimus’ view) , or a low angle view (Human’s point of view). I think the movie did a good job with these different types of angles to show height and size.

Medium Long Shot: The framing captures the cars from dynamic angles, often low to the ground, emphasizing speed and intensity. The protagonist’s Mustang is framed in a way that shows it in the foreground, dominating the scene. This indicates its importance and sets up a narrative focus on the car chase.

Long Shot: The overhead view changes the dynamic of the chase, offering a strategic overview. This shift contrasts with the close, ground-level shots and gives the audience a broader sense of the environment and the chase’s progression through the city streets. The top-down view allows the audience to see multiple elements at once—both the blue car involved in the chase and other aspects of the environment, such as the city layout and pedestrian activity. This comprehensive view creates a sense of scale and context, situating the chase within a larger urban setting.

Medium close up/close up: The tight shot, focusing on the cop’s face, hand on the steering wheel, and the radio, creates a sense of immediacy and tension. It suggests that the situation is critical, and every moment counts. The slight blur in the background indicates motion, keeping the viewer aware that this is happening during the high-speed chase.

Medium long shot: The rear shot of the Mustang drifting around the corner, as if viewed from the perspective of the cop car, places the audience directly in the chase. This perspective mimics what the pursuing cop would see, enhancing the viewer’s connection to the intensity of the pursuit.

The combination of close-ups, top-down views, and dynamic chase shots builds and sustains tension throughout the sequence. By alternating between the perspectives of the protagonist, the pursuers, and the observer, the film keeps the audience on edge, fully engaged in the unfolding action.

The hospital bombing scene in District 8 illustrates the violent effects of the ongoing war in their area. The scene begins with a hollow mood inside the hospital, where Katniss Everdeen and others are waiting for an attack by the capital. The peace is suddenly broken by the sound of enemy aircraft, leading to a massive explosion that destroys the hospital and causes several injuries and deaths. The camera work in this scene plays a role in showing the chaos and impact of the bombing. Handheld and shaky camera movements made a feeling of nervousness and urgency, allowing the viewers to be connected to the scene (as they are placed in the middle). Close up shots of characters, especially Katniss, show the person’s fear and distress, emphasizing how scared and nervous they were. Wide shots show the extent of the destruction surrounding them, making a broader view of the damage while placing the close-ups that focus on individual reactions. The camera also directs the attention to the aftermath which was smoke, debris, and injured people. This showed the significant impact of the attack on both the people and their surroundings leaving them with a feeling of injustice.

1: MCU – Medium Close Up (Wide)

2: MCU – Medium Close Up (Wide)

3: M – Medium (Wide)

4: Slightly low camera angle with medium shot (Wide)

5: CU – Close Up

6: CU – Close Up

7: CU – Close Up

8: CU – Close Up

9: Medium Close Up

10: Medium Long Shot (Wide)

11: Medium Close Up (Wide)

12: Close Up (Slightly Wide)

Hello, everyone! For this blog post, I will be framing and analyzing the iconic Avengers circle-up scene.

The 2012 Avengers movie is one of the biggest and most iconic superhero movies of all time, and for good reason. The cinemetography, the character interaction, the well-paced writing that kicks off the beginning of an incredible story arc, and the action all makes this a movie that is enjoyable on every single rewatch.

Shots and references: We start with Bruce Banner arriving in the middle of the Battle of New York, establishing all but one of the core Avengers in a wider shot as the conversation begins, before closing in on the heroes to get more details.

Long shot, behind, wide angle

Medium shots, over the shoulder style-ish?

Medium close up shot, frontal

We then cut away to an almost direct perspective shot of Tony Stark, aka Iron Man, as he prepares to bring Bruce a Chitauri Leviathan to fight. We’re then brought back to the grounded heroes, to remind us of the aerial capabilities of this beast as they are all looking up and out off camera to watch it approach.

Close up shot, frontal view

Long shot (to capture the scale of the Leviathan), frontal

Medium shot, zoom, over Bruce’s shoulder

Medium, zoom, frontal shot

Medium close up, zoom, frontal

Long shot, frontal

Medium shot (to help capture the size of the creature, behind

We then get to watch both the heroes and the enemy approach to capture both the scale of the city and feel the intensity of the battle that is about to tip towards the heroes’ scales, with the awakening of the Incredible Hulk.

Medium shot, behind Captain America, wide lens (to include the Leviathan)

Medium close-up, zoom, frontal shot

Medium shot, wide lens (to include the beast), behind Bruce

Close up shot, zoom (focused on Bruce, but you can still see the beast approaching)

Medium shot (watching the Hulk emerge as it grows), zoom, side shot

Long shot, wide lens (helps capture the size of the Leviathan and just how strong the Hulk is), behind Hulk

And with the Leviathan wounded, the Avengers manage to destroy the beast and officially begin the Battle of New York, with wide shots to show the army they still have to fight, as well as unique and never before seen shots in the entire movie.

Long shot, side view, wide lens (to help keep the Hulk in frame)

Extreme long shot, high, wide lens

Medium shot, zoom, frontal shot

Medium shot (chosen thanks to how much of Thor is in the shot, low angle (to help the viewer also feel the power of that explosion), zoom

Long shot? (It’s full body but I didn’t know if it was zoomed in enough to qualify as medium), high angle (to show him hiding behind the car)

Medium close-up shot, wide lens (to include more of the army), zoom to focus on the main grunt in front, frontal shot

Medium shot, wide lens (to include all of the Avengers), frontal shot

The continuity is held up remarkably well, as several of Hulk’s shots are quick cut shots to show the sequence from a different angle, yet they still feel realistic enough to help us see a better picture of what’s happening. And the narrative purpose of the scene, as said, serves as the turning point and the excitement that the entire movie has been building towards up to this point.

-Jeremy Sauter

The scene I decided to deconstruct and examine was the opening scene from the first Pirates of The Caribbean movie. Where the main character, Captain Jack Sparrow, is first introduced on screen.

I’ll first post all shots with a description of what they are then delve into the structure of them.

Here are the shots in order:

The entire opening scene of the movie is a great introduction to the character we will follow throughout the course of the movie and franchise. Without a single word, we understand this character well simply due to the way it is shot and carried out.

Starting with a slow reveal from behind, a low-angled long shot that slowly transitions into a medium close-up shot from behind. Showing us what he sees or what his goal is in the distance.

After that, the same shots are almost repeated, a long/medium shot, this time from the front to a more medium close up shot to show the face of our hero. Here it then quickly cuts to another low angle medium shot of him carrying out a sudden action and into a close-up of him bucketing water out of his boat. This then cuts to a wide shot to show his entire ship, which is rather small, and his frantic actions to keep the water out.

It then abrublty slows down in action to a somber shot of him reacting to some hung pirates, a medium close up shot to show his reaction to this. From here, it carries onto an iconic scene of him once again the top of the mast in an extremely long shot to show this boat is now sinking entirely. Slowly zooming further out to a wider shot to capture the environment he is in and exactly what he will be walking into.

The scene ends up a close-up, not of his face, however. Instead, it is a low-angle close-up of his first steps onto the dock from his now-sunken ship.

LS (establishing size)

Medium close up, wide angle

Medium (waist up)

Close Up

Extreme Long Shot Wide angle

Wide angle

Close Up Wide angle

The scene is held together by the use of many wide shots intermittent with close ups to show the audience the massive size difference between Godzilla and the people that are on the boat. Whenever the shots are on Godzilla throughout this scene the camera is often shaky to also give this illusion of power and urgency. When it is focusing on the people it is a steady camera that focuses on never really showing the subjects in full to make them appear smaller, until we are given the last shot of the main character, were he is sharing more screen with Godzilla. This is used to show that the main character has built up the courage to face off with something that is significantly larger then him giving a semblance of equality.

Name: Ammaar Akhtar
Date: 8-30-24
Class: DTC 208

One of my favorite scenes from any movie or show is from the final episode of The Mandalorian season 2. Among the many great parts of this episode, is a scene where the protagonist, the Mandalorian, has boarded the antagonists’s ship to rescue a captured individual. It is here he meets the antagonist himself, Moff Gideon, who is holding the captured individual in the brig. When they meet, they both begin to conversate, the antagonist calmly and methodically explains why he has done what he has in a clear attempt to gain any from of sympathy from the Mandalorian. In this process, the shots continue to zoom in further and further each time they switch between the faces of the antagonist and the protagonist. The music also changes from the fast-paced track that was playing as the protagonist was searching the ship to a more relaxing and simple sound as the conversation goes further. By the end of the conversation, the antagonist promises the protagonist that he can take back the captured individual so long as they both leave and never come back. The shots at this point are almost all medium close-up shots and the music has nearly completely faded out. The protagonist cautiously agrees, and as he walks to un-cuff the captured individual. As he does this, the antagonist withdraws a sword and begins attacking the protagonist. The music immediately picks up and returns to being fast-paced and at its original volume, along with this, the shots change to being medium close-ups, to being long and even extreme long shots as the fight begins. As they continue to duel, the scenes seem to alternate more and more from different ends of the focal range between shots. As in, one second there is an extreme long shot, the next it is a medium close-up. This rapid changing of shot types, I believe, helps emphasize the fight more so than if they were all the same shot type. One thing to note is that as soon as the trap is sprung by the antagonist and the fight begins, a lot of the camera scenes not only alternate in focal lengths rapidly, but also incorporate some level of movement; at times even quite complicated movements. In between shots 11 and 12, the camera does this sweeping motion going from a near close-up to a long shot as they fight pauses long enough for the Mandalorian to grab his metal spear. Other parts of the scene also make use of movement in the shots, such as shot 14 where the character’s sword and spear have locked against one another while being pressed against the wall. As this happens, they both begin to move horizontally along the wall since there is nowhere else to move, leaving fiery tears in the ship’s hallway as they move.

1. Medium Close-Up

2. Medium

3. Medium Long Shot

4. Medium

5. Long Shot

6. Medium Long Shot

7. Medium Close-Up

8. Medium Close-Up

9. Medium Close-Up

10. Medium Long Shot

11. Extreme Long Shot

12. Long Shot

13. Medium Close-Up

14. Medium Close-Up

15. Extreme Long Shot

16. Medium Close-Up

17. Medium

Chungking Express, directed by Wong Kar-wai, is a fantastic movie with a fascinating visual style. Upon first watch, Kar-wai’s fast-paced, handheld cinematography may seem chaotic. But if we take a closer look we’ll see that there is a method to Kar-wai’s madness and that the chaos of certain sequences is clearly controlled.
Before reading any further, I highly suggest watching this scene several times. (And if you have the time, maybe even the whole movie). https://www.youtube.com/watch?v=2FrNkCk9niU&t=2s

We begin with a jarring shot that introduces our main character and sense of urgency. The camera (handheld) glides quickly past several faces before finding the woman in the glasses. How do we know this is the main character? Well one, she is the only woman in the scene so far and is conspicuously dressed. But more on the topic of framing the camera actually begins to follow her instead of just gliding past like it does the extras.

Next, we get a series of shots that indicate her POV as she navigates the crowd. Framing-wise, Kar-wai keeps the camera handheld and at eye level to tell us we are looking through someone else’s eyes. We also get characters looking directly into the camera and making eye contact with the audience, which helps cue the audience to understand that these are POV shots. These shots are also all medium shots, shot with focal lengths similar to the human eye (maybe a little longer). These POV shots are interjected with cutaways to our main character. Kar-wai chooses to keep the camera handheld and at eye level when tracking our main character. Why does he do this? I think, for a few reasons. He’s trying to create a claustrophobic and fast-paced scene and doesn’t want to break up the rhythm. More importantly, he wants to establish her character as nervous and always looking over her shoulder(which she literally does a few times). What better to put the audience on edge than to make them feel like someone is following our main character? By putting the camera at eye level Kar-wai cleverly achieves that effect.

Our character seems to get where she’s going the camera stops tracking her and is cut off but a curtain, ending the scene. Then we get a break from the action in the form of a title screen and some establishing shots. These simply get us acquainted with our setting. These establishing long shots also allow Kar-wai to transition into another sequence that is very similar to the last without confusing the audience. I would have liked to cover the second part of this intro but for the sake of the length of this blog post, I’ll end my ramblings here.

Thanks for reading!

-Luca Wagner

Medium eye-level shot following her

Medium shot of her getting in the elevator. Helps pass time and takes us to a new area.

Part of a series of Medium and Medium closeup shots of passersby making eye contact with us/camera/main character. Well call this shot A

Shot B

Shot C

Shot D

Shot E

Back to the tracking shots of our main character (Medium). Still at eye level and still handheld. This keeps the rhythm and tension of the scene going.

A Medium Closeup from behind.

She turn around… are we following her, or is someone else?

Medium of her walking away.

Medium of her entering a room. This time the camera stops tracking and that is how we know she’s reached her destination.

The curtain draws, the scene ends.

Titles.

Long Shots of the city establish the setting further and gives us a break from the action.

I chose this film because it is one of my all time favorites and provides various kinds of shots.

Full clip: https://youtu.be/31N_HM2f9Ks?si=7SuX8FHwMkCSlmHk

Extreme long shot

Medium long shot

Medium close up

Medium close up

Medium close up

Medium close up

Medium long shot

Medium long shot

Medium long shot

Medium long shot

Medium long shot

Medium long shot

Medium

Close up

Close up

Extreme long shot

These are many of the shots because the director was trying to provoke emotion and enhance how the characters were truly feeling in the moment. This part in particular is one of the films more heart felt scenes which explains the many close up shots. Overall, the director makes it a priority to focus on the emotion being conveyed to the audience so that the emotion can be felt at a more powerful level.

The following is the final scene in Greta Gerwig’s 2017 film, Lady Bird:

Medium shot

Medium close-up

Extreme close-up

Medium shot

Medium (reverse) shot

Medium close-up

Medium (reverse) close-up

Medium close-up

Long shot

Long shot

Long shot

Long shot

Long shot

Extreme long shot

Pan

Long shot

Close-up

Medium long shot

Extreme long shot (over the shoulder)

Medium close-up

Medium long shot

Extreme long shot (landscape)

Extreme long shot (landscape)

Medium shot

Medium close up

Long shot (landscape)

Extreme long shot (landscape)

Medium close-up

Medium shot

One of my favorite aspects of Gerwig’s Lady Bird is how it breathes; that is, how the camera moves in and out, around its subject, never losing sight of it, never staying in one place, but remaining natural throughout.

This final scene is a perfect example. We begin with medium shot that frames the title character as she wakes in a hospital. Then, the camera shifts inward toward her face, cutting away briefly to show us the wristband bearing her given name (not chosen name) in extreme close up, and then back to Lady Bird.

Gerwig then shows us the scene across from Lady Bird, a mother comforting her injured child. I love the framing in this short scene — its shot as if Lady Bird and the child are conversing (shot reverse shot), and yet there is no dialogue — only expression from the actors’ faces.

We shift then to Lady Bird’s long walk across the city, which is presented with a series of identically framed shots, cut to show us the passage of space and time.

Finally, Lady Bird enters a church, and we see the only frame that doesn’t contain her; a quick pan up to the building she’s entering. We see her walk up the stairs, and then a similar, wordless conversation with the choir that sings inside the church.

Finally, as she walks outside and calls her mother, Gerwig alternates between views of Lady Bird and her hometown (a central theme throughout the film), first showing us the landscape, and then Lady Bird herself in the landscape (presumably in memory), finally settling on an unremarkable medium shot, before a cut to black.

I love Gerwig’s focus on Lady Bird throughout this entire scene; even though she occassionally cuts away to something different, or varies the length and framing of her shots, it never feels performative or distracting. It gives us all the information we need without drawing attention to itself, and centers the subject within the larger frame of the scene, and ultimately, the entire film, by juxtaposing her against the major story elements that have concerned her throughout — her mother, her name, and her hometown.