AICE Media Studies

  To begin with this short film of the interpretation of a book of war hold a lot of camera angles movements and shots. Namely tracking shots are the most apparent camera movements inserted into this film. These shots follow the character's movements and allow for a continuous shot which builds suspense in thriller films and the reality of the moment. For example, the two main protagonists in the film were being followed by three men and a tracking shot captured the three men gaining on the two protagonists.   Furthermore, many of the shots were at mid-close-up to close-up shots which captured the character's emotions and acting during the film.   The characters in this film were tired, in love, scared and defeated.  There was an addition of a Dutch shot and all the shots were at eye level to allow for balance and a complete view of things. The Dutch angle added a suspense factor signaling danger in the three men following the two protagonists. Throughout the short film it was

The movie contains a lot of hand-held shots along with two-shots. For instance, there was a scenario where the protagonist was having a realization that something was off with a women's husband.     It documented the manner the man was looking around cautiously and worried.     These specific shots can be used to show the audience what is happening in the action as it is happening and to simply illustrate the movements of the characters. The utilization of cutaway shots was also common. For instance, the protagonist woke up and the shots cut from him to a man making breakfast demonstrating his alertness. Cutaway shots are used to create tension and suspense. These shots are quick glimpses of something that is not immediately relevant to the main action of the scene, but that adds to the overall feeling of unease and uncertainty. By showing brief glimpses of something that is not immediately explained, the director creates a sense of anticipation and uncertainty. This can make the a

  There are numerous tracking shots in the film. For instance, there was a scene in which the protagonist was attempting to conceal himself in a front yard while observing a house. It captured all of the various techniques he used to stay hidden and move cautiously with a gun, ranging from running to attempting to hide next to a van. Those certain shots can be employed to simply demonstrate characters' movements and serve to show the audience what is occurring in the scene as it takes place. Over-the-shoulder shots were also frequently used. For example, the protagonist witnessed a girl being abducted by a van following an unsuccessful suicide attempt. Such over-the-shoulder shots are employed to reveal to the viewer something hidden the character is doing or it is showing the point of view of the character. Moreover, there were countless shots of close-ups. One of the characters, for instance, was shown, as can be inferred, contemplating whether or not he should do something to sa

Regarding the camera angles, movements and shots, this short film has plenty of them. For instance, it includes a three-shot, showing the family members in the car, to make the audience familiar with them and somewhat get attached. Moreover, it also contains a wide shot, showing the famil y’s environment to show the audience where it takes place, and to enhance the fact that there is no one else besides them and the officers. Additionally, the tracking shot of the dad getting into the car is being used to highlight his emotions. Finally, it includes a low angle of the officer that makes him seem superior and overpowerin g.   When it comes to sound, this short film uses dialogue to build a conflict between the family and the officers, which helps reach the climax. Another type of sound is incidental, which strongly enhances suspense and drama to make the audience feel on the edge of their seats. Additionally, the ambient sounds present play a huge role when it comes to the fighting

I found this video very resourceful since he provided a lot of tips based on different sections of a filmmaking process. I am certain this will help me in the future since I felt like I could relate to a lot of his tips. Some useful information I retained from it is important to keep my budget in mind and your resources to be realistic and know what I am working with. Moreover, another relevant tip that he mentioned that I had never thought of before, is that my first instinct is what my audience is expecting, so I should go the other way. On the same topic, he highlighted the importance of letting theme and tone guide my story, as they will shape it and help me build i t if I respect them in accordance with movement, angles, mise- en - scene, and prop s. Another piece of information that really opened my eyes was his insight into sound. According to him, sound is a priority: he insists on getting the rig ht gear if there is dialogue in the film. If sound gear is not

Part 1: “Le Jetée ” (1962) by Chris Marker is a short film that was remodeled by Terry Gilliam in 1995 to make a full-length movie called “ 12 Monkeys ”. Marker described his own dystopian-fable film as a photo novel instead of a film . The movie is a series of still images with voice and sound . It includes a dispassionate narrator that seems detached from the present action and gives a more distant feel to a story about obsessions with the past . Similarly, 12 M onkeys is a conscious, reverent, remodeling of M arker’s original storyline, themes, and ideas; i t ’ s made by people who are devotees of La Jetée . Told in these snapshots, L a Jetée is an intriguing lo-fi , sci-fi , time-travel tale in which a Parisian survivor of World War 3 is sent back before the planet was destroyed and radioactive to save humanity . This editing was extraordinary with its high-concept, action-oriented aspect. The unnamed man in 12 Moneys is selected because he clings hard to a