Analysis of Silver linings playbook

Analysis of Silver linings playbook

As a romantic comedy, the film opens with a serious tone and begins as a character study of Bradley Cooper. The film directed David O. Russell opens with Bradley Cooper within what can be suggested as a Hospital.

Mise en scene

 The Mise en scene used in the film is very important. The showing of the character with his back turned on the screen indicates he is shy, afraid or distracted by something, instead the focus is on the window, and from the room he is in (isolated) the suggestion is he is trapped, and by looking out of the window indicates he wants to be free. This again is said when the character is seen looking throughout his room. He is isolated, alone and afraid. Some of the props used also show this isolation and in need for help. Another key prop would he the use of showing the audience of medicine, which adds all the more reason to sympathize with the character. We understand his character more through spitting out the pill, he is reluctant to get help, yet he is in need of it, indicating he is confused or possibly arrogant. All this gives us a general understand of Bradley Coopers character, he is delusion thus he has some sort of mental health issue (through the use of a hospital surroundings and the use of showing use medicine) . There are also other indications as to his character being unwell through the use of several other props, some of which are the characters clothes, for example, the clothes that the doctors wear all the more make the character stand out and constantly  reminds the audience of the characters situation he is in. With this said, it also represents an environment providing help and support, yet through other uses of mise en scene we understand that Bradly Cooper is reluctant to get help. All this provides in great detail his character, and the purpose of him being within the opening suggests that he is the main character in whom we as an audience are to root for.

Cinematography 

The director uses a variety of techniques when portraying Bradley coopers character as this vulnerable character, one is which are close ups. There is a key shot where the director uses a close up if an important way to show Bradley Copper’s characters confusion. The close up is spun round the characters face, giving a delusion feel for the world around him, thus the audiences response would be one of sympathy for the character due to his lack of focus and situation. This use of camera movement round the character suggests his mind cant be set upon one thing at a time, and therefore it suggests a lack of focus of the character. This is the only time for the first few moments of the film where the camera is moving. When showing the room Bradley is living in the camera is very still and precise, and with the contrast in movement from when the camera is moving it gives and suggests the feel of confusion, so through the use of cinematography it is clear that the character is in some poor health. Towards the finale scene, the camera is looking down upon the character, which in itself makes the character smaller, thus more vulnerable. As seen and read before, the use of mise en scene also makes this character venerable and this vulnerability is carried through the film. Also the character looks up to a women after looking down to the man. The contrast in camera angle shows how far down and lonely and diminishing Bradly Coopers character is.

Light/sound

Sound and lighting are also used to portray a sense of characterization. Despite the character having his back turned away from the camera, there is a clear sunlight lit behind him thus suggesting something of hope for the character, and with the situation the audience already know he is in, the hope of getting well again soon becomes apparent through sunlight. Throughout the scene there is open daylight throughout, showing us again that hope for the well being of the character is carried on through the opening 3 minutes of the film. By no means is this a difficult film to watch, despite the hard matter of mental health, the use of lighting balances out the difficult subject matter and the genre the film is, Rom-com.
Yet, with the music within the background and the frequency so slow, it gives a clear sense of build-up, almost tragic, and with the characterization it builds to sympathy. The ambient sound, or lack thereof also creates a sense of loneliness due to the lack of sound within the background, and like the use of several props that also suggest isolation for the character which then like i previously said, add tot he sympathy for the character in which we have already.  Overall this makes the film have a clear balance of tragedy and hope. 

Crazy Stupid Love analysis

Crazy Stupid love, a critically acclaimed Rom-com stars Ryan Gosling and Steve Carrel.

Cinematography

To begin with, cinematography is used in specific way to show romance and comedy. There are pans from left to right on the floor in what seems to be a restaurant. What is important in this scene is the showing of feet within the scene. This may seem unusual, but it emphasis the couples interaction when each feet are seen stroking and touching one another and the pan is used to give a continuous feel to when each new couple is seen, allowing the film not to break off. This continuous, smooth flowing feel is also shown when the two characters are seen interacting with one another. There is to begin with an overhead shot during a conversation when then leads smoothly to a two-shot. The two shot is used so we see the characters as one, when we understand that they are married, but not only that, it is also used to allow space between them so the titles come up. Never the less, whilst this may seem the characters to be as one, being in a shot together, there is a separation when seen when the titles come up between them, indicating that there is a conflict in relationship between them.  Another seen similar to this is the close up of a photograph that is broken. This leads to the meaning of mise en scene within the scene.

Before the meaning of the broken photograph, an indication of separation is seen within the first few seconds of the shot, The characters clothes, one being casual, the other smart, again like the table, indicating that they are two complete different people thus the relationship being in jeopardy from their personalities.  This separation of characters is also portrayed with a broken picture of the couple together suggesting metaphorically that their relationship is over or broken literally. This is all leads to the audience feeling sympathy to the characters, especially to Steve Carrel’s character as we learn later his wife has asked for a divorce. Also the showing of a young child suggests that she too will be affected. Yet with this said, there are comedic elements making the film an easier watch despite the serious tone. For instance the clothes used, and with the use of cinematography when we see the contrast in characters within the scene and Steve carrel’s character, a positive reaction from the audience should be expected when we see him on in trainers whilst the rest of in proper shoes.

Lighting and sound

Lighting and sound are also used to keep the film a light tone despite the seriousness of what’s happened. There is non-diegetic sound; a music peace that in itself is light hearted which then tones down the seriousness of the film considerably. However whilst the sound which keeps the tone down, there is a use of lighting that changes the nature of the film to something more serious. After the broken picture we see both characters back within their car with darkness outside. The darkness again emphasizes the loss of relationship between the two characters, yet balances out the tone to keep it a watchable film that can be serious and comedic. There is also a contrast in lighting in the restaurant, whilst some scenes in the restaurant  are light, some however are dark, giving a sense of separation within the film. However, this is carried on throughout the film, a contrast in lighting. 

Anaylsis of Red dragon

Red Dragon

The prequel to Silence of the lambs saw the return of Hannibal Lecter in this critically acclaimed  thriller. Directed by Brett ranter, the use of mise en scene, sound, cinematography and editing are all used to create an atmosphere of tension, eeriness and fear whilst focusing on the character Hannibal.



Cinematography
Cinematography is a key element throughout the opening to create this scene of dread throughout. It opens with a master shot of an orchestra suggesting he has class thus making the character from the onset all the more intriguing and interesting, this interest is as we later see one of Hannibal's strongest elements for a great film villain, and the fact he is not the generic villain all the more intrigues us as to what will happen next. The character becomes more apparent through the use of the slow crane zoom onto Hannibal's face. This emphasizes his emotion which itself is frustration, this frustration then hints as to why he choices his victims, a line from silence of he lambs and in this both begin to suggest Hannibal only picks on those he proclaims to be "rude". We begin to understand as to why this anger is present due to the shot which shows a character playing out of tune. The close up of the character playing the flute clearly and without doubt shows us he is playing out of tine, and thus not to Hannibal's liking. The use of the character is carefully placed within the scene to give a sense of status. This is done through his placing and the camera. The camera cuts the bodies of his guests at the dining table, rather focusing on Hannibal himself and the camera following him. This is gives the sense of him being in power and control. 

Mise en scene 
The clothes in which Hannibal is wearing is of key  importance. He has status, class and style, again like the use of cinematography, makes the character all the more interesting and intriguing. The setting and environment again support this point. He, by no means is a generic character. The way that he presents his dinner to his guests suggests he has charm, and again class. He has a way with people. yet the nature of what he is presenting suggests that the character is a schemer, sly almost yet is suttle in what he does. This itself build up the tension for the character and adds a great mystery as to his background. 

Sound
The soul use of an orchestra only adds to what i previously said. This is a character with class. He choice of surroundings, appearance and in this case sound illustrates his charm. The ambient sound  itself is loud, frequency turned up. It dominates the scene, the audience are drawn into the music, the audience are drawn into the character Hannibal Lecter. The dialogue exchanged between characters are also very important. It is Hannibal who dominates the dialogue, which may suggest he is a strong character, but more over he is influentional. He has a way with people, other characters, which his choice of dialogue shows.

Analysis of No country for old men

Another great movie is no country for old men, directed by the famous Coen brothers.
From the onset the use of sound, lighting and wide shots all help portray a scene of loneliness.

To begin with, the scene is shot with a master shot of the open plains of America. The scene looks desolate and isolated. But also looks old and weary through the use of decaying trees and grass and the lack of characters add a sense of mystery to the film. Metaphorically, this represents a decay as said previously which is seen more apparent through out the film. Yet, (without the use of non-diegetic sound) the scene looks peaceful, through the use or lack of camera movement, giving each shot to be similar to a photograph or a painting. It is only though the non-diegetic sound of a voice over that we begin to understand the nature of the film to be violent and similar to the metaphorically meaning of the shots, a sense of decay. The lack of characters in means a lack of expression, and instead the directors want the audience to look deeper into the meaning of the film. It is clear the film will not be the stereotype of a generic Hollywood thriller, instead a slow-paced thought full film which raises the questions of violence, all done through the opening scene.

Soon, the master shots are lost through the use of characters. A handcuffed character enters the shot with supervision of a police officer. This portrays an sense of suspense, the audience become intrigued and begin to question as to why this has happened. This also puts the characters into perspective. One is of authority, and the obvious one being in control, and the other weaker and portrays a lack of control (through the use of handcuffs). This however soon becomes untrue, as a series of events causes a role reversal and in contrast to the landscape there is a similarity to good being lost and evil overtaking good.
The next shot uses a zoom in on the police officers face within an office, however, blurred within the background the handcuffed man rises from the chair and movies towards the officer and strangles him. To begin with the use of a slow zoom in on the police officers face creates an idea of suspense and with the use of the blurred character rising an idea of impending danger closing in on authority is used.

Analysis of Jaws

Jaws is known to be one of Spielberg's greatest films. It won him the admiration of others and studies soon saw the potential in him. It became the first blockbuster.
Yet with this said, the first seen to his opening classic is overlooked. Its dark tone, threatening music and riveting performance from actors all make up a superb opening to a film.

The first thing to point out is its john Williams score. Towards the ending of the scene we have a point of view shot of the shark, thus prompting the music to arrive. An incidental music score that surrounds the the scene through tension and trills. It is done purely to build up tension, it stars with a slow frequency, building up to the final moment, soon its frequency picks up and overshadows the ambient sound of the water to emphasize the arrival of the shark. It is a slow build up of music to sync in to the scene which in itself is a slow build up to the death of the girl by the great white.

Another notable scene is through the shark, or lack of it. The mise en scene use of props is little, the shark is not seen, or very little of it. This is Spielberg's use of contrast to Hitchcock's theme of not seeing adds fear to the audience. For we can not see the shark at the beginning (but we see more throughout) thus adding to the anticipation as to if we will ever see the shark and making that moment all the more spectacular for the audience. However, during interviews from Spielberg himself, we soon learn his intention was to use the shark, but it was fortunate that most times it broke within water, thus prompting him to use a technique of not showing the shark which paid off well to the audience and critics.

Throughout the scene, a constant use of wide shots to show the character in the environment is used. It suggest that Spielberg wants the audience to see the open water and making the audience think as to where the shark is adding this tension and fear to them, but also a slight anticipation as to when the shark will strike. It is only when the shark does strike a use of both point of view shot and low angle shot is used simultaneously. Giving the point of view to the sharks perspective may seem unusual, but makes the victim all the more weaker. The use of a close up is used to emphasize the expression of the victim. This build up of tension from sound and mise en scene all comes together to this moment, and Spielberg increases the speed to all these factors to portray a fast moving end scene in which the audience feel tension throughout. The frequency is increased to emphasize the screams of the victim all the more scaring the audience. The movement of the character suggests a wild struggle indicting tension and drama. Yet Spielberg keeps the camera still, never panning, tracking or zooming.

Analysis of Se7en

Seven

This is the famous opening titles for the film se7en directed by David Fincher.

 

The opening of seven describes the way of life for multiple characters through camera direction, cinematography, sound and lighting.

Shots such as the point of view allow us as the viewer to immerse ourselves into the characters more. This is done also to emphasise that this is the character in which we get to know to be one of the main characters, and that throughout the film he is an important person. The whole first sequences focuses on this character, this only emphasises my point, and he is a character of importance and should be seen throughout. The sequences also show his lifestyle, a man living alone, resulting in possible isolation, but also he is clearly very organized and hinting at his profession.

Cinematography is also used through a low angle shot, right at the end of the sequence. A scene which both characters step foot outside. A low angle shot is used for a dominating presence, and this is what it is used here. Two detectives giving a sense of authority, however whilst this is a similarity, one looks and acts more experiences than the other but yet still have equal dominance.

Carrying on with this scene, the weather itself is raining. This in itself is a clear indication on many things. One it can foreshadow on what’s to come, but also gives a sense of a city without hope. The scene previous (at the beginning) gave a sense of quietness and calmness, through the use sound. However ambient sound is used later to emphasis

a busy, load and through the use of rain, decaying city being washed away.

On to my previous point, the stance of the main character is very isolated, like his personality. He ignores other officers, seeing them primarily as a distraction, and uses his own techniques to solve a murder. This is through is hands in his pockets and replying not face to face by others. Instead he mutters the answer. This in itself can emphasis the characters choice of lifestyle, he is focused on his job, being organized (which is necessary for a detective) and choices to discard others, yet through facial expressions he is yet to appear cold, instead looks calm. To conclude, the opening of seven introduces us to the director’s vision of a cruel, violent world in which men, like detective Somerset have to live and tolerate. It is only through Mills that as we see later throughout the film Somerset has interaction.