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.