Online Film Analysis Assignment

Clip A

This clip features a scene from Ocean’s 11. It is introduced with a long shot. This allows the viewer to see each character while still letting them pay attention to the dark setting. At around ten seconds into the clip the camera cuts to an interesting angle where the viewer seems to be seated at the table. This is an example of a straight-on angle because the camera is placed at eye level with the other subjects. The camera appears to be handheld because of the shakiness of the movement. The slightly jerky movement adds an almost documentary-like touch. The sound is mainly diegetic which fits the scene. As in many informal gambling situations, the room is filled with laughter and jokes, with soft pulsing music in the background. Around 1:19 the camera cuts to an eyeline match where the viewer is able to see what Brad Pitt was originally looking at; a set of red cards. Later, when the camera cuts to the poker scene with George Clooney, the witty banter dies down and lowers to a more formal, quieter conversation level. Towards the end of the clip, the use of shot/reverse shot is evident between Pitt and Clooney. The views from each other’s shoulders help to enforce the feeling of tense competition.

Clip D

This clip features a wet boy being rushed though various hallways which appear to be part of some kind of hospital-like building. The camera movement seems to be in tracking/dolly motion because the camera is not changing positions. Instead it seems to be moving smoothly in front of the three characters as they are walking through the hallway. It then follows the man as he walks down a separate corridor and opens various doors. The sound is very interesting too. In the first twenty seconds, an energetic, bouncy nondiegetic soundtrack contrasts with the steady downpour outside. As the man and the African-American woman move through the hallways, a subtle stream of diegetic dialogue cushions the harsh walking pace. There is a collage of soft side conversations and mutterings from the man himself which add to the chaos. When the boy and the woman are in the elevator the medium shot helps the viewer focus on the boy’s soaking appearance and the woman’s expressions. The film uses graphic relations to cut from one visual to the next. These graphic relations take the form of people. For example, in the last twenty seconds of the scene the image of the boy and the woman disappear as the camera turns to follow an elderly woman that had just walked past them.

Clip E

This clip features an older man trying to get another man to recognize his work. The former appears to believe that the latter has heard his work, but this isn’t the case. The medium shots of each character are often shown from shot/reverse shot. In some images you see the character’s torso and face from behind the shoulder of the other character. This occurs at around 15 seconds into the clip, for example. It also helps to convey their conversation. The diegetic piano notes that the man plays towards the beginning of the clip have an especially significant contrast from the monotone dialogue that was previously the main source of diegetic sound. Later, he starts to conduct an imaginary opera. The clapping and orchestral arrangement of the opera is heard to the man at the piano, but not to the other man. This might mean that there is both diegetic and nondiegetic sound happening. Perhaps to the man “conducting” the sound is diegetic because he is hearing it clearly in his head, but to the other man it is nondiegetic because he is unable to hear it. The lighting is soft backlighting; it is diffused and appears behind the subjects from windows. This helps to keep the scene calm and peaceful, which provides a sharp contrast from the older man’s churning mind.

Clip F

This clip features a variety of situations, perhaps the most remarkable being a shed ablaze with fire. The sound in this clip is very powerful. It is mainly diegetic and comes from a barking dog, roaring flames and a bottle that falls to the wooden floor with a hard clunk. This adds to the harsh world that the boy appears to live in. The man’s calls toward the middle of the film also creates a bit of diegetic mystery. Why is he calling the boy? Why does he sound so urgent? The costume and makeup in this clip are all very authentic and match the setting. The boy’s clothing matches the rustic home and pioneer-ish location. There is a long shot that shows the boys looking out the window. This provides less emotional intimacy but also shows the bleak surroundings. The camera also seems to pan through the rooms; never really moving but horizontally scanning the space and the boy as he walks through the house and as the fire eats the shed in the yard. It stops in front of the fire and provides a nice long shot that shows two people watching the flames. This is also a good example of the rule of thirds, framing the two people and burning shed in each section.