With reference to “Strangers On A Train” analyse the mise-en-scene. In this essay I am going to write about the film “Strangers On A Train” and look at how mise en scene and narrative structure are used to establish the film’s themes. Strangers On A Train is about two men‚ Guy Haines and Bruno Anthony‚ who meet on a train by accidentally knocking shoes. Guy is a professional tennis player and Bruno recognises him and starts talking to him. Bruno knows from the papers that Guy wishes to marry
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(Anthony Perkins). Hitchcock explores the nightmarish themes of madness‚ duality of characters‚ personal traps and voyeurism through employment of devices like mise-en-scene and motifs. Through the use of mise-en-scene in the parlor‚ Hitchcock masters the visual arrangements that help engage the audience with the characters in the film. The scene commences with what
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Mid-term Paper 10/18/2012 Alfred Hitchcock’s 1954 production Rear Window is indeed a film primarily concerned with masculinity‚ or better yet emasculation‚ and the male gaze. The central character L.B. Jefferies‚ or Jeff‚ is a newspaper photographer who recently broke his leg snapping pictures at an auto race. He is now confined to a wheelchair and spends all of his time observing his neighbors from his Greenwich Village Apartment window. When he sees what he believes to be a murder‚ he takes it
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I will be analyzing a 10 minute clip off the film called Juno that was released in 2007 directed by Jason Reitman. This analysis will cover mise-en-scene‚ colouring‚ costume and performance. The film begins with a long-shot of Juno standing outside of a house with a chair in front of her introducing the surroundings to the viewers. It then showed us a wide angle shot focusing Juno and a chair. The beginning part makes the audience confused to why a chair was outside and why she was focus with the
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Do You See What I See? : An analysis of theme in Rear Window’s “Meet the Neighbors” scene Rear Window‚ directed by Alfred Hitchcock‚ introduces a plot about the voyeur-esque lifestyle that has overcome L.B. “Jeff” Jeffries while being temporarily immobile in his New York apartment. The viewer is given a visual introduction to the neighbors that live in the same area as Jeff‚ as the camera pans left and right by the different windows across the courtyard. The panning of the camera imitates the moving
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disbelief an absolute breeze for anyone that views Wizard of Oz. Uniquely‚ for a production of the time period‚ Wizard of Oz begins in black and white and‚ through an exquisitely executed tornado scene‚ throws its viewers right into the middle of Munchkin Land with Dorothy. However‚ the black and white scenes can still hold their own in
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The timing is reflected in the scene where the professor’s assistant and Will are alone and the assistant tells Will how lucky he is to have someone believe in him as much as the professor does. As if on cue‚ the professor walks in just as his assistant finishes talking and gets up to leave. The cinematography in the movie is good. The viewer is immediately given some insight into Will’s social status. The viewer is shown that he obviously lives in one of the poorer sections of Boston; you see that
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Cecilie Skogheim FS 101 Term Paper VERTIGO Vertigo (Alfred Hitchcock‚ 1958) is an American film noir psychological thriller. Hitchcock made Vertigo during a very creative period (1958-1960) of his life. In that time period he released three historic films‚ Vertigo (1958)‚ North by Northwest (1959)‚ and Psycho (1960). Each film took a radically characteristic approach to the genre suspense thriller‚ and Hitchcock made a massive change to the thriller genre. His films were not black and white anymore
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[DOCUMENT TITLE] Karinne Saraiva da Silva – N01147112 Introduction Mise-en-Scene Shot The element distance of diachronic shots is well explored throughout the famous music Let It Go showing the contrast between the scared Elsa and herself after the transformation. At the beginning‚ Elsa is terrified after running away from Arandelle‚ the extreme long shot of the mountain leaves the character invisible‚ then the camera starts to approximate‚ but the shot only changes to a long shot only 12 seconds
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The scene begins when Lisa comes to Jeff’s apartment with dinner. After the waiter leaves the dinner‚ Lisa and Jeff have a drink next to the window discussing Lisa’s day and Jeff’s future plans. Lisa is sitting on the right side of the window and Jeff is on the left side. In the middle of the window‚ there is a beam that splits the window into two halves. People in the background can clearly be seen in the opposing side of the apartment complex. Alfred Hitchcock uses this scene to get the movie watcher
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