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. 

 

Annie Hall

In the film Annie Hall, Woody Allen uses various experimental film styles to connect with his audience and make a story feel more real or personal as opposed to other traditional comedic films.

Allen's comedic film methods are accessible to the audience and therefore tend to make situations funnier. For example, Allen talks directly to his viewers while narrating his neurotic point of view on love and relationships. This adds a unique comedic twist. Another approach that adds another layer of panache, includes using subtitles to convey what the characters are actually thinking while conversing with one another. Other styles that added laughter entailed using animation and split screen shots to make, what could be considered an intense moment, whimsical and light-hearted. 

An example of Allen's comedy film style can be shown in the scene where Alvy and Annie visit her family in Chippewa Falls, Wisconsin for Easter dinner. It is an excellent example of how Allen uses the split screen shot to demonstrate the dichotomy between these two character's families. In using the split screen, the audiences compares the Hall family, which is relaxed, eating dinner in a beautiful home, everyone has a designated space at the table, and we notice Alvy sitting next to Annie's grandmother feeling uncomfortable because she dislikes Jewish people. We then see Alvy transform into an Orthodox Jew, and then back to himself sitting at the Hall dinner table. Next the scene goes into split screen shot and we see Alvy's family eating dinner. It exposes Alvy's family home, which is located under a roller coaster, the lighting is dimmer, crowded table, everyone is talking over each other, and in general more chaotic. This scene absolutely captures a clear and comedic film style that vividly shows two extremes between these two families. The split screen shot makes it real to audiences and therefore we can relate and laugh about this situation. As we have all had a moment where we are comparing our family to somebody else's family, and in particular when we are dating someone.

Daisies

Out of all the films we have watched in our class so far, I thoroughly enjoyed Daisies most of all! Not only for obvious reasons—since I am a female—but the way Chytilova used satire and visuals to express her controversial views during the late 60's regarding "male behavior". 

The first scene where the girls have dinner with the older man and they are getting ready to get rid of him, the film uses different cuts showing the girls in different positions while changing colors from orange, purple, red, green, and so on. The scene cuts to the train station and these scenes are filmed in black and white, mimicking the cinematic cliches' about women being heartbroken when they  departed from one another. I am not sure why Chytilova used different colors in the scene before the train station, however it made it fun to watch and exposed the artsy and creative side of film. 

The phallic use of food throughout the movie adds humor to the cliche' sexual symbolism. The girls use a pickle, banana, and sausage and cut and destroying them with sharp and large utensils. Another shot shows a hard boiled egg and one of the girl's destroying it. I suppose the egg represents the female reproductive process regarding releasing an egg each moth for possible fertilization. 

Overall, I really enjoyed the film for all of the different cuts, color, locations, and overall quality.

Soundtrack of Vertigo

Bernard Hermann composed the soundtrack for the film Vertigo. Over the years, the soundtrack has been regarded as one of Hermann's best scores. Hermann's ominous scores in Vertigo help guide our emotions throughout the film.

The Rooftop chase scene melody cues the audience that chaos is about to embark. The violins create a sense of action while the detectives and cops run across the rooftops chasing a thief. When Scottie is dangling off the building, the strumming of harps gives the audience a dizzy feeling of vertigo. 

Another cue includes Madeleine's theme song—which is used whenever she is present. The first time Scottie see's Madeleine is when he watches her from the bar. The theme song plays as the camera moves towards her.  The music is romantic and lets the audience know that Scottie is falling in love with her.

The tower cue is the same song as the Rooftop melody.  Scottie chases after Madeleine to try and save her from committing suicide, but is incapable due to his vertigo and acrophobia. The score again cues the audience of feelings of chaos and dizziness. 

Another cue from the music includes the scene where Scottie is driving and following Madeleine around the city. The horn represents this passing of time; time ticking away. The music allows the audience to feel calm and patient in waiting to see what happens next. 

The music in Vertigo plays a powerful role in achieving the emotions Hitchcock wanted his audience to feel. The soundtrack is powerful and intense with moments of romantic melodies.

Detour

Detour is considered film noir because of its masterful distortion of the audience's perception. This sleight-of-hand is, surprisingly, dealt by protagonist Al Roberts (played by Tom Neal). This is no hard-boiled tough guy. He's a soft-boiled misanthrope. That's what makes the dawning realization that this whining sycophant is likely a deadly psychopath all the more delicious.

Roberts, narrating the tale, claims he is guilty only of being at the wrong place at the wrong time. He illustrates his woe-is-me blues early in the film, especially when a $10 tip brings him no joy. That's equivalent to $132 today. Later he says, "Fate can put the finger of misfortune on you for no reason."

At first, I thought the plot, as told by Roberts, was sloppy B-movie writing. As it progressed I started to think this "sap," as Vera calls him, was not truly the victim in a disorienting web of circumstances. The narration is actually Roberts telling his story to a jury – or perhaps himself – to explain how he was innocent of any wrongdoing. He becomes an antihero by duping the audience into feelings of sympathy, if not affinity.

The "detours" are not the bad luck Roberts laments. No, this refers to Robert's lies when he edits reality to fit his victim narrative. I don't buy what he's selling. Roberts seeks to be the anti-hero, but he's not. Not unless the jury was comprised of suckers.

My top ten movies:

Star Wars--Episodes IV, V, VI

Wizard of Oz

Out of Africa

The River Runs Through It

Jaws

Fiddler on the Roof

My Fair Lady

The Grand Budapest Hotel

An Affair to Remember

Schindler's List

Defend Equality

The film Freaks by Todd Browning is a film that I feel defends equality. At the beginning of the film, a special message is shared with the audience like this: “In ancient times anything that deviated from the normal was considered an omen of ill luck or representative of evil." It goes on to say that during these times, malformed children were placed to die. If by chance they survived, society shunned them due to their deformity.  At the end of the message it states: "The majority of freaks, themselves, endowed with normal thoughts and emotion. Their lot is truly a heartbreaking one."

The film suggests beauty and goodness are not mutually exclusive. Browning creates a film where the "freaks" are the beautiful people and the "beautiful" people like Cleopatra are the freak. Browning also uses freakery to allow the audience to focus on the abnormal human bodies to further validate ones normalcy, even if by pity. Browning allows the audience to see the freaks outward sincerity, loyalty and love and compare it to Cleopatra's dark sinister inside. 

After viewing this film, I feel that Todd Browning allows audiences to take a step back and recognize the equality in us all. I feel strongly after viewing this film, one will walk away having more compassion for individuals with physical differences.

Sherlock Jr.

Buster Keaton used physical—or slapstick—comedy in his role in Sherlock Jr., In addition to slapstick comedy, Buster Keaton was also known for his stoned-face expressions; which garnered him fame and why audiences fell in love with him.  As Gunning shared " Keaton became less an expressive character than a master of physical comedy, a ricocheting, impassive body within a larger comic scheme."  

Comparing Buster Keaton to more contemporary comedies would include National Lampoon's Vacation, European Vacation, and Christmas Vacation, along with Monty Python and the Holy Grail, Tommy Boy, and many others. Comedic actors, like Chevy Chase, use physical, slapstick, comedy to make audiences laugh. Including the variety of facial expressions—although not stone-faced—Chevy Chase uses to create comedy. Also, in all three National Lampoon Vacation movies, physical and sometimes violent stunts are preformed that make audiences cringe, yet they are humorous and that is what they are intended for. 

Introduction

Melissa Tinker
Senior
Organizational Leadership

I have enjoyed movies ever since I was a little girl. Growing up, my parents enjoyed watching movies from different genres with us. It often served as our entertainment for the weekends. Now as an adult, I married someone who loves watching movies as much as I do. Maybe even more!

The picture I included has me on the right, my mother in the middle, and my daughter on the left in Washington DC. I chose this picture because it just so happens that my daughter Hanna is in this class too. Hanna and I have a great mother/daughter relationship, and I love the fact that she is not too embarrassed to sit next to me in class!

I am taking this class to fulfill a requirement, but also because I thought it would be interesting to learn more about cinema. My engagement to cinema tends to be a weekend occurrence, and sometimes during the week before bed. 

Cheers~