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.

For a little context, this scene takes place at the end of the movie. A serial killer these detectives have been tracking has turned himself in and led them to a remote location. At that remote location a package is delivered (a box). One detective separates from the other (who is watching the killer) to open the box. At this point the viewer likely already has theories of what might be in the box before it is opened.

Find the entire clip here:

Medium (waist up). I also think this shot is using the rule of thirds. He is holding a knife to cut the box open.

Medium close up (on the box + his hands)

Close up (face), you can see him concentrating on cutting the box open.

Close up (top of box + his hands), he gets the box cut open

Close up (face), Cuts to the other detective (who is watching from afar) and the killer. Also maybe using the rule of thirds.

Extreme long shot. As it has just cut from the other detective watching, it implies this is what he sees.

Close up (top of box again), this time the detective opens it. The close up allows you to see the blood on the cardboard better.

Close up (face) a quick shot to get his immediate reaction (shock)

Medium close up on the now open box

Close up (face). The detective is now standing up, notice the slightly low angle so we know he is looking down at the box.

Close up on the open box

Close up (face) again

Close up (face), a cut to another character in a helicopter, watching the detectives to ensure their safety. I didn’t screenshot the part where he had binoculars on, but even without that since he is above them you can assume he saw what was in the box as well.

Close up (face), now the detective is looking over his shoulder.

Extreme long shot, showing us the detective was looking over his shoulder at the other detective.

Close up (face), he is looking at the contents of the box again.

Close up (box)

Close up (face)

Before the box is even opened the viewer has theories of what could be in it. The blood on the top of the box, as well as the detectives reaction (looking back at the other detective) really hints that whatever is in the box has something to do with a person close to the other detective. In my opinion the back and fourth between the detective and the box does a good job showing he is unsure how to handle the situation next.

In ‘Scott Pilgrim vs. the World’, unique camera and framing tricks are used to highlight drama in the story, allowing for emotions the characters are feeling to be expressed without words in a very quick and effective manner. In this scene, many of the shots are medium close-up (MCU) of a certain character, but often include other characters in dynamic ways.

https://youtu.be/R-aJ-2y5ICo?si=yxFdUZORi_018pxq

In this scene, we see Scott at a his band’s show, which he has invited Ramona Flowers (his crush) to. As she arrives, she meets his band and friends, including his current girlfriend, Knives. As Scott deals with his mistake, the viewer sees the tense game of emotions being tossed from person to person.

In the first shot, we see Ramona at close-up (CU) between Scott and Knives, who have just kissed and are at extreme close-up (ECU). This begins the loop of tension moving throughout the characters.

The screen then shifts to CU of Scott, who looks from left to right in one shot. Even though the viewer can’t see what he’s looking at, the preceding and following shots, as well as the emotion, help tell the audience who he looks to and from (Ramona to Knives).

As Scott looks at Knives, the shot changes to a CU of her. Included is a MCU of Wallace (Scott’s roommate), which helps establish where everyone is within the shot.

The shot then zooms out, becoming a MCU of Knives and a CU of Ramona, showing Knives’ tension towards her.

It then switches to a CU of Scott’s sister, showing an CU/ECU of Knives in front of her, looking the same direction.

When the shot zooms out, we see that they are both looking at Scott, who is now CU. This exemplifies their anger at him.

Then the shot changes to a CU of Wallace-

–who is looking towards Scott’s sister’s boyfriend, setting up tension on the side as well, as Wallace is attracted to him. The boyfriend looks away uncomfortably.

It then switches to the final CU of Scott, the instigator of the entire problem.

The audience then sees a medium shot (M) of everyone looking at Scott, showing the bulk of people who are upset with him after focusing on each of them one by one. This passes the tension from character to character, shot to shot, quite smoothly.

Finally, the camera then shows the final CU of Scott again, before he runs away from his problems, as is common for the character. The camera stays in place as he escapes, showing the ECU back angles of Ramona and Knives as Scott goes from CU to long shot (LS).

Overall, this playful and dynamic use of framing and zooming out allows the viewer to digest a large amount of information rather quickly and easily. It keeps the viewer more engaged than if each character explained who they were upset with and why. Additionally, the repetitive nature of the shots zooming out adds to the tension of the narrative, as the viewer isn’t sure who is going to be seen next or how deep each character’s emotions actually run.

For this post, I decided to do the first Lord of the Rings movie and it was tough choosing what sequence I should do because almost all of this movie is pure gold for shots and framing. I went with the council of Elrond because I feel that it has a great variety of framing throughout the entire sequence.

extreme long shot (landscape and architecture)

close up (face)

high longshot

medium longshot

extreme closeup(Frodo’s hand and the One Ring)

medium(Waist up Frodo and Gandalf)

extreme close up (The One Ring and the reflection of the Council of Elrond)

medium (waist up of Bormir probably the perceptive of the Hobbits)

pov and/or extreme close up (Borimir reaching for the One Ring)

low long shoot(Gandalf talking in the black speech of Mordor)

another close up of the One Ring

longshot(full body of the council)

close up(Aragorn’s face)

Longshot(fullish body)

Medium waist up(also a great shot to show the scale of hobbits)

Close up (one does not simply do framing for Lord of the rings)

extreme close up( the one ring and the council arguing)

Longshot full body( another great scale of the hobbits)

medium (from the pov of Frodo)

medium close up(Frodo Merry and Pippin)

Medium( of the entire fellowship).

There are many medium shots because Peter Jackson(the director) was probably aiming to show the scale of the hobbits in regards to the rest of middle-earth. The close ups of the Ring was done since the ring itself is basically a character all of its own. Through the editing and framing we can see how each race(elf, dwarf, man, and hobbit) interact with each other and how the ring corrupts people. The close ups were fairly important important to convey how each character was feeling without having to explain too much.

For this assignment, I decided to use the series finale of Better Call Saul. When reading about this assignment, I knew I wanted to choose Better Call Saul, but deciding on which scene to use was very difficult because of the many brilliantly filmed scenes in the series. In the end, I chose the final scene because it not only wrapped up this masterpiece of a series but also left me very content. If this series is known for anything, it’s the amazing storytelling and cinematography.

This final scene might not seem like much, but there is a bit to it. With Jimmy now in prison, he and Kim share one last quiet moment. This final scene is really carried by the way it is filmed, as there isn’t much dialogue between Jimmy and Kim. For example, the long shot (full body) frame is such a great shot because of how reminiscent it is of their early days as pro bono lawyers sharing a cigarette.

The last frame I picked (medium, waist up) was also a really good callback. In Season 5, Episode 10, Jimmy and Kim are talking about ruining Howard’s career as a lawyer. During this conversation, it almost seems like Jimmy is trying to discourage Kim from criminal behavior, but at this point in the series, Kim seems very serious about going through with these actions. The scene ends with Jimmy asking if she’s serious, and Kim answers with the finger guns.

The thing about Better Call Saul that I love so much is these very simple things that one might disregard but then end up being very significant. In this case, Kim’s finger guns signify her entry into criminal activity, while Jimmy’s use signifies his exit.

  Medium (waist up)

Long shot (full body)

Long shot (full body)

Medium long (knees up)

Low shot/ Zoom Medium close (chest up)

Extreme long shot

Extreme long shot/ High

Medium (waist up)

I started my clips around 2:20 because the framing was varied a lot after that time stamp.

My all time favorite movie is Fantastic Mr Fox made by Wes Anderson. Not only is this movie an entertaining watch for the characters and plot but also Wes Andersons unique style of filming centers around one thing; framing. Anderson is known for his framing, color palette and consistent symmetry in every scene, its actually quite fascinating.

medium closeup

Very long shot

long shot

long shot

long shot

medium closeup

long shot

closeup and very long

closeup

mid shot

Long shot

long shot

closeup & mid shot

mid shot

A lot of these shots are two layered, that’s why I enjoy Wes Andersons film style so much, it’s all so stacked and every frame compliments the other. There was 7 different frames from this 20 second clip and I think they fit each scene so well.

I love the framing of the last 5 shots, the camera stays stationary but the moving of characters changes the framing which is so interesting. Long shots are most common for this clip and I feel as if the framing fits the scenario of this part of the movie so much, it shines light on how small the characters really are and shows how vast the Boggis farm is as well as how heavily armed it is which wouldn’t be conveyed as well in anything smaller than a mid shot.

You’ll also notice that characters will share the same frame one after each other without moving the angle or position of the camera or changing to a new scene.