The Sapphires Scene Analysis

Although Wong Kar-wai experiments with numerous elements of film in Chungking Express, one of the most notable aspects of the movie relates to sound. Using both diegetic and non-diegetic sound cleverly throughout the film, Wong creates an atmosphere in which his audience is able to form a connection with his four central characters. He commences what could be considered the first act of the film with dramatic instrumentals, introducing Michael Galasso’s “Baroque” as it is juxtaposed with chase scenes enveloped in the night and illuminated only by few vibrant colored signs of shops. The same instrumental song appears several times more, restricted to only the first act of the film and only establishing its presence during similarly action-oriented

Shot 1: 1:53:24-1:53:34 (10 seconds). Image: This shot is a bird’s eye view medium shot and it begins as a continuation of the pan from the previous shot that it faded from. The camera moves from edge of Jane’s bedroom and pans to the right. In the image the audiences see Jane and Ricky lying down together hugging.

Not only is she focusing on creating music, she is also tearing apart already written music and film sequences, recontextualizing them to form new images, sounds, and an overall experience. Her style isn’t commonly heard, especially as casual listening music.

Welcome to cinematic studies, accredited by the national top radio station, 666. I’m your host, Gurki Gill and todays show will be featuring an Australian director, Wayne Blair. Today we’ll be taking about an Australian iconic indigenous film, The Sapphires and its historical context. |What made the film feel like it was real?

The editing is used to show how the humanity was and their habitat before

In this music video, “Scars to Your Beautiful”, Alessia Cara skillfully illuminates her message that everyone is beautiful. Cara uses both ethos and pathos to help get her message out to her audience. Cara wants people who feel put down by society to know that it is okay to be different and love the scars they have. At the start of the music video, Cara is standing in plain white room, in a plain outfit, which can lead you to believe that she is just an ordinary person, in an ordinary place and nothing extremely special.

After viewing Moonlight, which was personally my favorite film of the year, I choose to analyze the scene when Blue takes Chiron to the ocean and teaches him to swim (17:20-19:30). This scene first drew my attention because of Blue’s character. The dynamic of a crack dealer with a heart-of-gold has this duality about it where my heart tells me to love him as a person, but my head tells me that this person is Chiron’s mother’s dealer, and I should despise him for it. Yet, when I watch this scene I can’t help but think of how much I love Blue as a character. He is able to fill in for the role of a father figure, and teach Chiron about life.

An important technique from this scene are the camera shots. The camera shots applied in this scene are simple. These conveyed the raw emotion

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.

In this scene, Johnny grabs Baby hand and escorts her towards the stage while everyone looks shocked even to see him. The individuals on the stage are singing their farewell song, but they immediately stop to let Johnny capture the spotlight. The cinematography used throughout this scene focuses mainly on Johnny and Baby. The lightings utilized in this clip were low-key and three-point lighting.

In this scene, lighting is used where a shot reflects on eves face to the farmer in the car on the farm showing how far they are. The scene continues where the lighting used appears too bright and somehow blinding to show the time of day the scene is taking place and the emptiness of the field and the only part left out is Thornhill thus focus is drawn to him and this launches the audience into the attack where the lighting makes it easy to know that he is alone in the barren land which makes him vulnerable and the scene captivating. The editing is utilized in the film where quick and intense scenes are made to be real fast in pace which creates suspense. Sound is also used where the music in the background moves in sync with scenes of suspense where it turns loud and fast making the audience aware of the impending danger (Pernoud, 2015).

I have always viewed movies as mood boosters. Whenever I watch a movie, I judge how good it is according to how well I understand the story. This is why I never truly understand how critics rate movies. However, upon reading John Berger’s “Ev’ry Time We Say Goodbye”, I start to understand how paying attention to the different components of a film helps in understanding the essence of a story. As Berger once said, “There is no film that does not partake of dream.

Sapphire’s novel, Push, delves into the idea that overcoming difficult circumstances says more about a person than the circumstances themselves by following the journey of a young Precious facing the prejudices of racism, sexual abuse, illiteracy, self-hatred, obesity, teenage pregnancy and AIDS. These topics are addressed in the streets of Harlem by an African American girl named Claireece “Precious” Jones who had a list of things working against her starting with being held back in school and eventually being kicked out for being pregnant with her father's child. Sapphire drew lots of inspiration from the traumas of her own life when creating the story around Precious. The both physically and mentally have to push past their problems, giving

I have chosen the train fighting sequence , as it is an example of a scene in ‘The Matrix’ which uses many different genre tropes and iconography to propel the narrative forward. Looking at the mise-en-scene and cinematography of this fight, elements of both the Western and Kung Fu/Martial Arts genre are shown. Both Agent Smith and Neo are standing centered to each other while the frame is off centered, focused on their hands. The cracking sound of Agent Smith hand is heard, resembling a Bruce Lee Kung Fu movie such as ‘Way of the Dragon’ (1972).The editing cuts back and forth with the music building up like a traditional western until they pull their guns out and shoot at each other. This scene then proceeds to the two fighting in way which resembles old Bruce Lee, Kung Fu action movies.

“The Diamond Lens,” “The Lost Diamonds,” and “The Rajah’s Diamond” all have a common thread running through their plots. All three stories have desire at the center of conflict. Character’s within these stories are never satisfied and always have a constant desire for more. In “The Diamond Lens,” Linley’s curiosity for viewing the world is never satisfied by the telescopes he can acquire. Linley says, “How I cursed those imperfect mediums…How I longed to discover the secret of some perfect lens, whose magnifying power should be limited only by the resolvability of the object” (O’Brien 30).