MISE-EN-SCENE Inside Llewyn Davis

The first shot of the sequence  takes place on a subway. A 35 mm film was used for this particular scene (and the entire film). A single-camera set up was used and this shot is a medium shot. The point-of-view is from the passenger sitting on the other side of the aisle looking at Llewyn.  The composition in this scene is very still with little movement going on in the background. The only thing we see moving are the poles, which shift slightly up and down from the movement of the subway, but the camera is still. The bench is empty and the scene has a lonely, empty, depressing mood to it. Llweyn and the cat are the only characters that exist in this shot. The low or dim lighting creates a very sad emotion. Sound wise we here the noise from the subway traveling and nothing else.

This second shot is a medium shot reflecting a reaction shot from Llewyn's point-of-view.  Again it is filmed in 35 mm film using a single-camera set up. The composition includes a passenger sitting on the train looking or staring at Llewyn. The passenger is the only one sitting on the wide open bench. It feel like the only two people that exist on the subway are Llewyn and the passenger. It feels empty and lonely. The passenger is dressed in a 1960's style jacket, hat, and glasses. The passenger is looking at Llewyn because we assume he is carrying a cat with him. The lighting is still dim and the mood is still depressed. There is a little more light above then the previous shot but the continuity is still there between shots. The sound is the same with only the noise of the subway.

The third shot is a medium close up shot of Llewyn. The framing has Llewyn to the left and we see the doors of the subway to the right. We barely see the cats head although we see Llewyn's hand on the cats head petting it. Llewyn's face is intense. He has an expression of "don't mess with me" that he is projecting that to the other passenger. The composition focuses mainly on his facial expression and the tension within him. It seems the cat is the only thing that consoles him. The lighting continues to be dark and depressing and the only noise we here is the subway moving. 

This fourth shot is a medium close up shot in the elevator. The lighting is dim and there is pure silence. The composition uses Llewyn holding the cat and looking down. The frame of Llewyn is to the right. The mood feels lonely and quiet.

Moonrise Kingdom Scene Shot

I chose this screen shot to analyze because it represented where Sam and Suzy are up until now. I also found it humorous watching the cat pops its head out of the basket as the record is playing something about every kind of bird imaginable whirling around. It not only establishes the next scene where Sam and Suzy stake their claim to the land; a  slice of paradise for Sam and Suzy, as well as the cat.

The composition in this scene is picture-perfect. We are looking at this scene through the point-of-view of both Sam and Suzy. This shot is an establishing shot of them claiming their land. There are no actors present in this shot other than the cat. The setting takes place on a sandy beach with tranquil water resting gently on the sand. Placed in a cove, there are rocky hills with some greenery on the left and right side. These hills insulate and protect the kids' privacy. Lying on the sand, we see mostly Suzy and some of Sam's belongings (a stereotype of a woman who packs more than a man). These items are arranged in such a way where the tall items are placed to the right and left with an opening in the middle creating this beautiful view into the horizon. The position of the camera is low and uses a deep-focus shot. It focuses on Sam and Suzy's possessions organized on the sand while capturing the environment around and in front of them. The objects lying on the sand are important to Suzy, such as her record player, her cat in the basket, her book, suitcase, purse, and other miscellaneous bags tucked away. 

This scene is bright and cheerful; continuity of color is maintained throughout much of the film. The coloring goes hand in hand with summertime. The only sound you hear is the record playing a tune about "every kind of bird imaginable whirling around," as the cat pops its head out of the basket and looks around. This shot is well balanced and captures the essence of what is happening visually. 

O Brother Where Art Thou Class Assignment

Presentation question: Answer two of the three questions.


1. How is James Joyce related to O Brother where art thou?

James Joyce wrote the modern day adaptation of The Odyssey with his Ulysses. He is paralleled with the character of Vernon T. Waltrip, who is a supporter of Homer Stokes. Homer, of course, wrote the Odyssey. The point is further made clear by the physical similarities between Vernon T. Waltrip and James Joyce.

3. How did the Coen manage to represent the cyclops?

John Goodman portrayed the Cyclops as a one-eyed Bible salesman who wore an eye patch. Use of the low camera angles in his scenes portrayed him as a large character echoing the giant from the Odyssey.

Video Analysis questions: answer two of the following

2. How is cross-cutting important during the river scene?

It gave it a sense of motion like the river around them and the men were being pulled under by the sirens, as if they were a strong current. The expressions and being cross-cut gave it a great sense of comedy and drama. It was entertaining as the men were getting sucked down.

4. What is the oddity in the point of view after the fade to black in the river scene?

The oddity is that it is a return point-of-view shot; we don't see what Delmar is looking at, we see Delmar looking.

The Piano

            The Piano shares a love triangle story that evolves in an unexpected way. The protagonist, Ada, moves to New Zealand to meet her husband through an arranged marriage by her father. She is immediately upset with her new husband, Stewart, for leaving her piano at the beach. Stewart's friend Baines sympathizes with Ada and helps take her to the beach so she can play her piano. As Baines watches her play, Flora is dancing on the beach, and we see that Baines understands just how important the piano is to Ada.

Shortly thereafter, Baines asks Stewart if he can have the piano in trade of something else. Stewart agrees that Baines can have the piano despite Ada's feelings. So, Baines retrieves the piano and then decides he wants to take music lessons from Ada. From this moment on, Baines and Ada's relationship grows from one out of manipulation and power to one of passion.

Unwilling, Ada helps Baines in what she believes to be piano lessons. Quickly she discovers Baines wants Ada to buy back the piano key by key if she submits to whatever Baines wants in return. She surrenders to the scheme, and little by little, they seduce one another. Simple acts of sexual submission build into more erotic and intense acts. Finally, Baines decides they can't continue on. He has fallen in love with her and continuing on with her submitting to him makes her a "whore" and he "wretched."

Ada leaves Baines home, but realizes she has feelings for Baines. When go back to Baines, it is on her terms. No schemes, only pure passion.

The definition of rape according to Merriam-Webster dictionary means to force (someone) to have sex with you by using violence or the threat of violence. The archaic meaning is to seize and take away by force. I do not think Baines raped Ada in the way we think of criminal rape. However, I believe he was using the piano as a weapon to control her and get what he wanted. In the end, it turned into a more loving scenario.

Spoorloos (The Vanishing) directed by George Sluizer

The Vanishing [1988], directed by George Sluizer (originally entitled Spoorloos), was a Dutch-French film adaption based on the novel The Golden Egg by Tim Krabbé. After its release, it was well received and achieved critical acclaim. In 1990, the film reached American shores only as an art house release (tcm.com). Becoming more popular in America, The Washington Post said in a review that it was "refreshingly free of manipulative scenes involving running bath water, jagged-edge cutlery and bunnies in the saucepan" (Howe). Thrilled by its success, Hollywood decided to remake the film in an English version. The Vanishing was remade and released in 1993, directed again by George Sluizer and starring Jeff Bridges, Kiefer Sutherland, Sandra Bullock, and Nancy Travis hit theatres nationwide. Unfortunately it did not receive the same accolades as the original.

After watching both films, The Vanishing (1988) version completely captivated me and was more enjoyable to watch due to the actors and the story being more authentic and refreshing then the 1993 version. I felt the actor and actress playing Rex and Saskia interpreted their emotions and terror more genuinely. The original film allowed the audience to draw conclusions through imagery and symbolism as opposed to the cliché American horror films that rely on music and words to guide the viewers. Watching the 1993 version, it felt as if the actors and actresses emotions were robotic and nonetheless I felt it was poor casting overall.

The two scenes I analyzed were chosen because I felt they were the most influential scenes capturing my sentiments about the 1988 version and comparing and contrasting the 1993 version. The first scene is where the audience is being introduced to Rex and Saskia or Jeff and Diane. The second scene is at the end where Rex dies and Jeff is saved.

In the introduction of Rex and Saskia, you could feel the love and passion between them.. The opening scene, where Rex and Saskia are driving down the road and talking to one another, being playful, helped the audience understand their relationship. When Saskia shares her dream with Rex about the golden egg, the audience comprehends how vulnerable she is and how intimate that moment is for them. It is something that brings them closer together.

After the conversation, a truck heads towards them and the headlights get brighter. After panicking because the truck just missed them, Rex insists Saskia gets out fo the car to be safer. Saskia is crying and is trying to convince Rex to wait while she looks for a flashlight. Rex abandons Saskia to get gas. The audiences witnesses how scared Saskia is by her screaming don't leave me. The audience is upset because we don't understand why after their playful and intimate moment, why Rex is walking away. The viewers feel a little disgust when Rex leaves her. Finally, Rex comes back with gas and discovers Saskia is not in the car. He is nervous and curious what has happened to her. He feels guilty that he left her and now she is gone. He drives the car out of the dark tunnel and Saskia appears in the bright light. A foreshadowing of what is about to come, a light at the end of the tunnel—symbolic of death. This scene was darker and relied very little on music, and more so on feelings, to set the mood.

Now comparing it to the 1993 version. In this version, the audience gets less time getting to know Jeff and Diane. We see Jeff and Diane interacting very briefly before they reach the tunnel. During this time, their dialogue is filled with Diane being anxious and Jeff feeling frustrated.

Now they enter the tunnel, and the car immediately starts making noises and stalls. Now Diane starts really getting upset and starts yells at Jeff. In return, Jeff is upset that Diane is yelling at him. Jeff tells Diane not to calm down and not get so upset.  Next the truck appears and Diane is really scared. Thankfully the truck whips around their car and misses them. Diane starts to panic again and looks for a flashlight. Jeff tells her they need to get out. She tells him to leave while she continues to look for the flashlight. After he walks away (because she tells him too) and he is at the end of the tunnel, she then yells for him not to leave her. It is difficult for the audience to feel much of anything when they start their introduction with bickering, and then it carries through the tunnel scene. The audience wasn't given enough time to develop feelings for the situation. Up until now, the only dynamic you see between the two of them is one of frustration. I found it difficult to connect with them compared to Rex and Saskia.

Finally, Jeff comes back with gas. Diane is not in the car and Jeff screams out her name. Jeff drives out of the tunnel looking for her. The sky is brighter and there is music in the background that lets the audience know he is concerned. Jeff drives for a short bit and then sees Diane sitting on the side of the road on a rock. He pulls over and open the door for her to get in. She gets into the car sulking and nothing is said.

The difference with this version is the lack of symbolism. There were no discussion of dreams or fears that occur between Jeff and Diane. Also, I have never viewed either Kiefer Sutherland or Sandra Bullock as romantic characters. It is part of why I thought the casting was poorly chosen. At this point, it was hard for me to move on and feel pain for Jeff when Diane comes up missing. It never felt that deep to begin with. It also made it hard for me to understand why Jeff became so obsessed with Diane when what little emotion they had with one another and how little time they had together.

The second scene I compared and analyzed was the ending of The Vanishing. In the 1988 version, Rex was buried alive. He is able to finally join Saskia just like her dream predicted.

The scene begins in terrifying fashion because we see Rex in a dark box, a flicker from the flame of his lighter, his hands and face, and we hear him screaming. As time passes, we see Rex fade into the tunnel where there is light at the end of it and Saskia waiting. We hear Rex call out Saskia name and then Saskia appears differently with a light illuminated around her smiling by the tree. The film ends with Raymond sitting at a table at his country home watching his family do yard work. You see a newspaper in the back of Raymonds car with the headlines of Saskia and Rex both missing and their picture. The ending is more terrifying to me because it continues to show what a sociopath Raymond is and it is hard to fathom how anybody could be that cold and heartless and yet appear so normal.

The ending of The Vanishing (1993) version was far more cliché American horror, typical ending of back and forth fighting to save a life, and good overrides evil, predictable and disappointing.

The ending is far longer in the 1993 version. We see Jeff in the dark box struggling to get out. We see a little bit of light flickering from his lighter. The audience hears Jeff breathing louder and it is more panicked sounding.

This part of the scene is long and it is where it mimics the typical American cliché ending in horror film. Rita and Barney go back and forth chasing one another through the woods, its dark, raining, and nobody knows where the other person is. The suspense of where somebody might pop up is evident. Eventually, Rita sees the shovel and dirt that Barney used to burry Jeff. In order to understand what happened to Jeff, Rita decides to turn the table on Barney and use his daughter to her advantage. Rita understands Barneys weakness and tells him he will have to go through everything she did to find out where his daughter is. So, Barney drinks the coffee that has chloroform in it and falls asleep.

After Barney falls asleep, Rita grabs the shovel and runs outside to find where Jeff has been buried. She digs Jeff up and opens up the box to find him laying there not knowing if he is dead or alive. Barney comes up behind her and they struggle in a fight again. Jeff starts waking up and then punches Barney to protect Rita. Jeff takes the shovel and kills Barney. Rita and Jeff hug as they realize their nightmare is over.The next scene Jeff and Rita are at dinner at a restaurant with a publisher (who is trying to get them to write a book). Coffee is placed down on the table and Jeff and Rita both say to the waiter that they don't drink coffee anymore, and the look at each other and giggle. Happy ending.

That is why the second version received such poor reviews. The audience fell in love with the original version because it didn't follow all of the typical clichés. It used feelings, emotions, and symbolism to tell the story. It was far more terrifying then using clichés and music like the 1993 version did.

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The Vanishing Short Scene Analysis

1. What is the cinematographic significance of the ending? (the burial)

At the end of the film, the audience views a scene where Rex is buried alive. The scene is pitch black and we don't see much other than the flicker of light from a lighter and a bit of Rex's hands and face. This particular scene would be challenging for filmmakers to create. In order to create a scene that dark, it would require removing lights and technical personnel, in order to capture the essence of horror in the audience discovering Rex was buried alive.

3. In the scene where Raymond is practicing, what angles and camera movements are used?

The camera used a tilt and high angle shot to capture part of the car and main character. Using this tilt and high angle shot, the viewers can see Raymond walking around the car and practicing his abduction techniques. It captures Raymond moving around the car from one side to another without having to pan the camera left or right.

Short Scene Analysis

3. What is the purpose of the subtitle/audio disconnect on video #3?

The purpose of using subtitle/audio disconnect is to illustrate to the audience what a real conversation looks like between two people who are attracted to one another. Allen uses subtitles to effectively demonstrate what Alvy and Annie are thinking in their mind at the same time while they are talking and saying something different, more politically correct, to one another.

4. What is Woody making fun of in video #4? With what purpose?

Woody Allen is making fun about how ignorance seems to be what brings couples true happiness versus being well educated, neurotic, and over analyzing every detail.