The Primary Editing Motifs In Shaun Of The Dead

In John Updike’s poem, “Ex-Basketball Player”, he uses the narrative poetry genre to effectively demonstrate his purpose: to convince readers that specializing in one specific area may not offer a reliable career, so it is important to consider additional options. Narrative poetry genre is effective because it allows Updike to convey his story through narrative elements such as characterization and setting in an elevated way through poetic elements such as rhyme and figurative language. Two narrative elements that assist in portraying Updike’s purpose are characterization and setting. Characterization of the main character, Flick Webb, effectively displays Updike’s purpose.

From Edward Scissorhands to Charlie and the Chocolate Factory, director Tim Burton has been captivating audiences with his unique style for over 30 years. One can agree that Burton has a rare and uncommon gift in the directing world, which allows him to twist the audience emotions, and create feelings that wouldn’t normally be there. In many of his films, Tim Burton uses framing and angles, music and sound, and lighting to control the mood of the scene. To begin, director Tim Burton manipulates lighting to create a feeling of fear and suspense in the audience. One way that Burton does this is when he uses low key lighting, mixed with side lighting, in Corpse Bride.

Camera movement and angles are what captivate the audience to keep their attention throughout the entirety of the whole film. Sometimes a simple camera movement can make all the difference in the

In this paper I hypothesize that A Voyage to the Moon was most innovative in cinematography and editing. Although mise en-scene was the main focus of the film, I hypothesize that mise en scene wasn’t as innovative as the other two. As mentioned earlier, mise en scene made A Voyage to the Moon easy to understand and follow along. In the first scene of the film, this power

Shaun of the Dead, a unique film among its horror siblings Zombies, a genre that has taken the over the world, it’s difficult to turn around the corner and not hear someone or something reference it. While the vast amount of gore present may turn a lot of people off, there are alternatives available. Among them is the 2004 British romantic zombie comedy movie Shaun of the Dead, directed by Edgar Wright. It tells the story of Shaun, a man attempting to obtain a handle on his life, get back with the love of his life Liz, deal with his unemployed, incompetent friend Ed and his parents; all of this in the middle of a zombie uprising. The flick on itself makes for a good time for long-time zombie fans with its homages to George Romero’s Dawn of the Dead while attracting newbies onto the genre with its comedic elements

Unbroken Movie and Book Comparison “A moment of pain is worth a lifetime of glory.” Pete Zamperini told his younger brother Louie Zamperini when Louie was leaving for the Olympics. Recently, I have read and watched Unbroken by Laura Hillenbrand. Upon doing so, I discovered that the book was better than the movie version of this best-selling novel. In the book, Louie started running because of eugenics.

Tim Burton is a famous director who puts a lot of originality into his work. Burton uses editing techniques, music and sound, as well as shots and framing and camera movements to determine the mood of the scene. Editing is one of the techniques Burton uses to create emotion and suspense in the audience. One way Burton does this is by using fade in Big Fish, Edward crosses paths with Karl who was waiting for him on the longer road.

This essay will discuss the uses, strategies and the meanings that are generated by editing in cinema. The films that this essay will be focusing on are Psycho and Singin’ in the Rain. Both of these films are very different to each other and therefore use editing in varying ways in order to give the audience a different perception of the characters as well as the setting that these characters are involved in. Psycho focuses on building suspense for the audience throughout the film using editing, camera work and sound. This essay will be primarily focusing on editing with the discussion of camerawork where relevant.

Body 2.1 Seven Figure 1 Seven Title Sequence Seven is a psychological Thriller/Drama film directed by David Fincher, and released on the 22 September 1995 in the United States of America. The Seven title sequence has a succession of moving pictures which shows a combination of modern and traditional techniques of creating title sequence.

Parallel editing was present in the film wherein it was edited in a way that two scenes were alternating to make it appear that they were happening simultaneously (Lorber, 2010). High and low angled shots were also present, and panoramic shots as well. The editing that I liked the most was in the scene when The Machine Man was made to look like Maria. The surge of electricity in this particular scene and the orbits going up and down The Machine Man was what amazed me. It is shocking that in order for this to happen, the people responsible for editing had to film this frame by frame so imagine the hours, days, weeks or even months that were put into this particular scene.

The short-length feature Gerald McBoing-Boing, which tells the story of a boy who only speaks in sound effects, has been regarded as an exceptional example of what could be described as the cartoon style of heavily design-oriented and abstract-based 1950’s animation. It was one of the first cartoon shorts to gain widespread attention for its usage of limited animation. In comparison to the features of Walt Disney, which were recognized for their concrete simulations of reality and exquisite, frame-by-frame details, shorts like Gerald McBoing-Boing utilized symbolism, abstract art, and simplicity to create their own interpretations of real-life situations. This particular style of animation depended heavily on the animators’ abilities to emulate

Throughout his life in making films, Tim Burton has shown his unique talent and vision. He proceeds taking advantage of the cinematic techniques; lighting, sound, and camera movements creating a certain mood/tone. These three techniques are used numerous of times for the duration of each film. Although, many various emotions are constructed, there are feelings that anyone may connect to. Tim Burton is a successful filmmaker and has inspired many with the use of his cinematic techniques.

One of the best usage of sound design as a tool of storytelling has to be in the first sequence of The Exorcist. As a horror movie, which as a genre builds itself on the vicarious experience it provides, uses more complex patterns of sound design templates to enhance the adventure of watching the movie. Throughout the first scene, Ken Nagle lays what the audience will be the experiencing through the duration of the movie with sound design; the duel between good and evil. The Exorcist’s first sequence, the audience can hear the digging sound of the workers, which resembles the heart pounding.

The utilization shot/reverse shot between Henry and the helicopter efficiently place us in Henry’s head of solely being preoccupied with the helicopter at the moment. The application of jump cuts in the sequential scene, where Henry realizes he may rear end a stopped car, flawlessly captures his startlement and brings audience along for the ride as well. Multiple jump cuts of Henry slamming on the brakes and the change of music amplify the sensation of surprise and bewilderment. This type of cinematography and editing speaks volumes to Henry’s sense of intense paranoia and derangement, but more importantly, it gives audiences the means to empathize with a character through a unique

Baz Luhrmann’s films are known their ability to make a watcher feel as if they are part of the show. Between his use of camera angles, shots and the use of a narrator, it’s no wonder he is able to keep viewers on the edge of their seat. But how does Baz Luhrmann pull off this spectacular feat of his? This is probably explained best by referring to Baz Luhrmann’s films and how he himself has evolved as a director.