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**Venerable_Wolf** · 11-13-2024, 10:10 PM

Nicholas Wolf:

Reference Sheet:

Nicholas Wolf

In the Mood for Love

Act I:

1.

Shot size, angle, framing: The shot size is a medium shot at a high angle. The framing was a two-shot to show that both Mr. Chow and Mrs. Chan are imprisoned in their relationships and are not in a position to leave their spouses despite their infidelity. Both characters are framed facing the camera despite conversing with one another, breaking the 180 rule but still having an excellent conversation nonetheless.

Shot composition, direction, motion: The shot features Mr. Chow as unfocused in the back of the shot while Mrs. Chan is focused in the shot. This was done as Mr. Chow is acting as the Angel on her shoulder convincing her that her Husband is definitely cheating on her and that she should fully understand the implications. The camera stays still in the shot to highlight Mrs. Chan’s facial expressions shifting and her body language showing that she is seriously considering all of the things that Mr. Chow is saying and considering them with all the head tilts and contemplative expressions she does in the scene.

Lenses and other camera settings: The lens in the shot would likely be a 55mm lens and the camera does not seem to be warped in any way as the shot is not a crazy one but a shot of reflection. The f-stop is around a 6 as Mr. Chow is blurry in the shot to maintain focus on Mrs. Chan’s contemplation and her slowly becoming convinced.

Mise en scène (set, lighting, costume, makeup, sound, etc.): The lighting of the scene helps highlight Mrs. Chan’s facial expressions and Mr. Chow in the scene to bring attention to both characters and to black out the background from the scene as it’s less important than the character drama.

Other relevant information, (e.g., shapes within frame, frame within frame, relevant movement): The shape in frame being the iron bars to show that both Mr. Chow and Mrs. Chan are stuck in their relationships and cannot possibly drop everything and divorce their spouses because it would look bad on them if they then got together immediately after they divorce their spouse for adultery; or even in the future as it would look too coincidental.

Act II :

2.

Shot size, angle, framing: This shot is a medium shot done at a high angle. This was done to show Mr. Chow is in a rough situation with no real way out of the relationship. This caused him to have to think of a way to cope with the situation healthily, leading him to start brainstorming. The framing of the shot is an over-the-shoulder shot so the viewer could not see Mr. Chow’s expression, which makes him seem like he is brainstorming from all the thinking he is doing due to his cigarette giving off the smoke.

Shot composition, direction, motion: Even though Mr. Chow’s face cannot be seen in the frame, the focus of the shot is undoubtedly him and the silence, which in turn makes the viewer have to think and contemplate what is going on inside his mind at the moment. The camera does not move to better allow the audience to immerse themselves in the scene and in the character rather than go on a joyride or make camera choices that would disorientate the audience. Mr. Chow in the scene barely moves, only moving to scratch his head and the like, making it clear that he is deep in thought with the audience not needing to see his face or be directly told what is happening.

Lenses and other camera settings: The lens of the camera seems to be at 50 mm as the shot wants to focus on Mr. Chow, while also showing the office space to tell the message of him being in his own little world and that the rest of the office does not matter. It is only that which is lit that matters to Mr. Chow. This is further shown through the f-stop which sits at a 6 to show off Mr. Chow and his workspace, but not the rest of the office which is obscured in darkness as it is not important to the scene.

Mise en scène (set, lighting, costume, makeup, sound, etc.): The lighting of the scene illuminated Mr. Chow perfectly in the scene lighting him up just enough to be the main focus of the scene with his white office clothes further differentiating him from the dark drab office space.

Other relevant information, (e.g., shapes within frame, frame within frame, relevant movement): The cubic and square-like walls and furniture of the office space make it clear that Mr. Chow is confined in his office and that he wants to break free, which is why he decides to begin brainstorming and writing what he should do next.

3.

Shot size, angle, framing: This is a medium-full shot done at a high angle to show that even when Mr. Chow and Mrs. Chan’s relationship has developed, Mrs. Chan is still imprisoned by her relationship with her cheating husband and not able to leave that relationship. This is highlighted by the framing being a singular clean shot to highlight that even when she has Mr. Chow for company, Mrs. Chan is still alone in the end in her apartment.

Shot composition, direction, motion: The shot is focused mainly on her with Mrs. Chan being in the rule of thirds right line to add attention to her character. The camera does an odd handheld slight shaking which could be a reflection of Mrs. Chan’s mental state starting to waver as she begins to develop feelings for Mr. Chow. Mrs. Chan’s motions in the scene from her rapidly blinking to fight off tears to her longly staring in the direction of what I assume to be Mr. Chow’s room paints the picture of a trapped maiden in need of rescuing.

Lenses and other camera settings: The lens of the camera seems to be at 50mm to portray a woman trapped in a situation that she cannot easily break free from which further goes to make her a sympathetic character in the eyes of the viewer. The F-stop of 6 helps to focus on Mrs. Chan while blurring the rest of the scene so that the viewer can better focus on Mrs. Chan and her actor's performance in making her seem pitiful. It allows the audience to realize that Mr. Chow and Mrs. Chan are both victims in this situation and that they are both trying to make the best of a bad situation while at the same time actively trying to avoid becoming like their adulterating spouses.

Mise en scène (set, lighting, costume, makeup, sound, etc.): The light shining in the scene helps illuminate Mrs. Chan and brings focus to her in the scene with her dress making her look like a dignified royalty that has been trapped in a terrible situation.

Other relevant information, (e.g., shapes within frame, frame within frame, relevant movement): The window frames in the scene act as a shape within a frame to indicate that Mrs. Chan, even in her own home, is a prisoner and that her home no longer feels like a home to her but rather a prison that she is forced to be locked in.

4.

Shot size, angle, framing: This is a medium shot done at a low angle to show that little by little Mr. Chow is recovering from his wife's betrayal and has decided to go about it healthily, even if he is framed in the scene as being two-faced. The framing is a single dirty shot with Mr. Chow is shown twice as he is living a double life as both an aspiring martial artist writer and at the same time a newspaper editor whose wife is cheating on him.

Shot composition, direction, motion: The composition sets the shot up as being a single dirty shot to frame both sides of Mr. Chow in the frame using the rule of thirds. The camera moves through the room to show both Mr. Chow and Mrs. Chan shows both of them have double lives that have developed as a consequence of their spouses infidelity. The characters though not talking to each other in the scene both seem to really enjoy the company of one another as shown by their closeness. And by the fact that them being in the same room as one another is enough for them to get through this tough situation.

Lenses and other camera settings: The lens of the camera seems to be at 50mm with the f-stop being at 5 but the focus of the camera being on the mirrored image rather than on Mr. Chow’s actual body. This was done to represent how Mr. Chow’s life is a cover from what he really wants to be, which is why the mirrored image helps convey that that life, is the life Mr. Chow wants to live with Mrs. Chan.

Mise en scène (set, lighting, costume, makeup, sound, etc.): The lighting of the scene seems to be darker than the two characters normal apartments, yet because of the bond that the two characters have created, the furniture and setting is warm, showing that both characters are loving every moment that they spend together, even if it is in the oddest of places.

Other relevant information, (e.g., shapes within a frame, frame within a frame, relevant movement): The window creates a reflection of the character with focus added to make the implication that the mirrored image is the real personality of the characters and that both Mr. Chow and Mrs. Chan are both now living fake lives and that their interactions with one another have led them to seek a place where they can be their true selves, which is what is depicted.

5.

Shot size, angle, framing: This shot was done with a close-up shot at a high angle to show the deepening bonds that the two have made together and that they are willing to go one step further than either of them had expected to go when they started this relationship. The framing is a two-shot representing that both of them are now willing to become one as opposed to when they were distinctly avoiding close contact.

Shot composition, direction, motion: The shot composition puts both of them in the center of the shot with the idea of them finally deciding to get together after a lot of deliberation. The camera becomes a handheld shot as the camera is rocked by the cab creating a realistic shot, along with being a metaphor for their relationship, a rocky start, but despite that, they continued to move forward and succeeded. The actors in the scene do not move much as they seem to be enjoying the time they are spending together and just taking in the warmth of the other in comfort as the night is still young for them.

Lenses and other camera settings: The lens of the camera seems to be at 50mm due to the relative size of the car and how it is likely that they simply filmed inside of a car rather than use special effects to achieve the same thing. The F-stop is likely to be a 5 to focus on Mrs. Chan and Mr. Chow’s faces and nothing else to show that the two are in their own little world and that to them nothing else matters at that moment.

Mise en scène (set, lighting, costume, makeup, sound, etc.): The soft lighting along with the classy looks of the two actors allows the piece to look timeless and with a theme that can realistically be applied to any era in human history with different cultures. The dim lighting also helps create a more romantic scene between the two characters as the implication of what happens that night being clear to see from the mood created.

Other relevant information, (e.g., shapes within frame, frame within frame, relevant movement): Because there is no framing of bars in the scene this was done by the director to show that when both Mr. Chow and Mrs. Chan have no barriers with one another and are free to be themselves and have finally decided to bear their feelings to one another rather than build walls to protect themselves.

Act III:

6.

Shot size, angle, framing: This is a close-up shot done at a high angle to show that even though in the end she was able to separate from her cheating husband, Mrs. Chan and Mr. Chow never ended up together for the sake of their child. It was a doomed romance that nobody except the viewer will ever know of and for them, this was the best and most realistic way it could have ended for them. Though the frame is a single dirty shot, Mrs. Chan is the main focus of the scene with her thoughts and expressions being on full display.

Shot composition, direction, motion: The composition of the shot utilizes the rule of thirds to frame Mrs. Chan in the center, allowing the audience to take in all of her body language and rapid eye blinking as she reminisces about her and Mr. Chow's relationship that could never be. The camera again becomes a handheld shot as the camera rocks, alluding to Mrs. Chan’s internal emotions getting the better of her after being reminded of what could have been. Mrs. Chan’s actor also makes great use of body language to show that while she ultimately decided to not get together with Mr. Chow, she never did or and never will ultimately know whether the choice she made was the right one.

Lenses and other camera settings: The lens of the camera seems to be at 50mm as Mrs. Chan is framed in the scene as she is reflecting and the camera needs to capture all of her expressions as she reflects on the decisions that led her to here. The F-stop being at a close 5 helps frame Mrs. Chan clearly while blurring out the rest of the scene as she was the focus of the scene even when she was not the one talking.

Mise en scène (set, lighting, costume, makeup, sound, etc.): The actor playing Mrs. Chan put on a great performance as she displays expressions of clear grief which were highlighted by the soft lighting that is not too weak but also not too strong compliments the mood of a victory but at a heavy cost to both Mrs. Chan and Mr. Chow.

Other relevant information, (e.g., shapes within a frame, frame within a frame, relevant movement): The Bars that once imprisoned Mrs. Chan now are open and Mrs. Chan after divorcing Mr. Chan is now free from being depicted through bar-like imagery. Though it came at the cost of her relationship with Mr. Chow and her potential life together with him, Mrs. Chan is now free to do as she wishes and not be trapped in an awful relationship with her cheating husband.

7.

Shot size, angle, framing: This is a medium-full shot done at a low angled shot to show that while Mr. Chow may have lost the battle he ultimately won the war while he and Mrs. Chan never ended up getting together. He has reconciled with the fact that it would be best if he stayed away from Mrs. Chan as he would not want rumors to start about her or his illegitimate child. The framing of this scene is a clean single shot also shows that not only was he willing to stay in Mrs. Chan and his son’s life, but that he was fully willing to bury that secret and take it to his grave is an admirable feat.

Shot composition, direction, motion: The shot composition makes use of the negative space and the rule of thirds to heavily emphasize Mr. Chow in the shot with the temple in the background representing his past which he has now metaphorically buried and walking toward an uncertain future, though one where he can live for the love that was not meant to be. The camera stays still in a static shot to further emphasize Mr. Chow and his transition and moving on from the past and the regrets he may have had at the time. Mr. Chow moves toward the camera away from the temple to represent a shift as he has buried any regrets he had in the past, and now he walks forward toward an uncertain future.

Lenses and other camera settings: The lens of the camera seems to be at 50mm to show Mr. Chow’s silhouette is best with the f-stop of 6 making his silhouette clear as day while making the background blurry. This was done to represent Mr. Chow moving on and leaving the past in the past regardless of his feelings on the matter.

Mise en scène (set, lighting, costume, makeup, sound, etc.): The dim lighting and only Mr. Chow’s silhouette being shown creates valuable negative space which obscures Mr. Chow's face and body, making it hard to determine what his expression is and what is on his mind at the moment. This makes for a bittersweet ending to the movie as both the audience and Mr. Chow know that the relationship that they had could never have worked.

Other relevant information, (e.g., shapes within frame, frame within frame, relevant movement): The door frame creates a wonderful shape within the frame which illustrates Mr. Chow leaving the past in the past and moving forward despite the difficulties that Mr. Chow and Mrs.Chan suffered in their relationship. This is further pushed by the fact that he decided to choose Angkor Wat, an ancient temple to keep his secret. This further pushes the idea that the past should stay in the past and that Mr. Chow should move into the future no matter how uncertain it would be.

**B.Rocha** · 11-14-2024, 05:41 PM

B. Rocha

1.

Shot Size, Frame, Angle: Medium size, dirty single framing, eye level angle

Shot Direction/Motion: standard L to R frame read, use of Y axis by positioning the character centered on the vertical direction

Camera Settings: focal length 25-45mm, depth of field is in shallow focus as background is out of focus.

Frame Composition Elements: color is blue/green and cool toned, giving industrial/corporate atmosphere. Motivated lighting is coming from the overhead lamps, this is a nighttime shot. Costume used is formal business wear. Utilizes frame within a frame as we are looking in on the character through the shop window and zooming in.

Meaning: This shot was meant to reveal more about characters professional life as we see him at his workplace. The lack of warm tones in the shot reveals that his workspace is a formal and serious space. The lack of warm tones from sunlight, too, show that he is working late at night and reflects that his job requires him to work long hours. Characters concentrated disposition and distance from his coworker also reveals that he prefers to focus on his work rather than mingle. This shot was also meant to reflect the industrialization occurring during this era as Chow is also framed in several machinery elements in the foreground and background, accenting how machines became more dominant in the workplace for men and women at this time.

2.

Shot Size, Frame, Angle: Medium Close Up size, dirty single framing, high angle

Shot Direction/Motion: Use of standard L to R screen reading, z axis emphasis

Camera Settings: focal length 25-45mm, depth of field in shallow focus as background is blurred

Frame Composition Elements: color is a mix of green and yellows. Motivated lighting coming from street lights. Costume shows both characters with matching tones of reds, blues, and browns in their outfits, representing confusion/confliction of their emotions. Costume is also kept formal and business attire styled. Utilizes the rule of thirds and shapes within a frame, focusing on linear shape with the use of the gate bars.

Meaning: This shot is meant to reflect Su and Chows confliction towards their relationship and the theme of constrained love. They are visually barred from moving their relationship any further given the societal norm of infidelity and are also caged by the situation of their respective spouses being in an affair already with each other. This is emphasized too by the actual distance between them when they engage, as Chow remains far away and Su often changes her position to keep more distance between them physically. The shot being darker in lighting also accents the meloncholy tone to their relationship as the infidelity of their own partners still does hurt them emotionally.

3.

Shot Size, Frame, Angle: Full shot size, two shot framing, low angle

Shot Direction/Motion: Use of z axis for depth

Camera Settings: focal length 35-50mm. depth of field is in deep focus as no elements are blurred

Frame Composition Elements: color makes use of warm tones from motivated lighting of lamps. Emphasis on color purple along the house walls. Costume is kept formal but made more comfortable as Su's shoes are no longer heels but house shoes and Chows put away his office coat and rolled up his sleeves. Use of frame within a frame as they are framed by the hallway shape.

Meaning: This shot is meant to be an idealized glimpse of what they both would have wanted for their relationship but know can never be. The use of purple is meant to symbolize the dream they have to live as a couple in a place that is theirs where they dont have to hide their feelings and can be a couple. Purple is used to symbolize that fantasy, as well as the lamp which they are near by that glows brighter than the other lighting. The lamp acts as a visual hearth they are meant to gather around and is another symbol of their growing feelings. Their closeness in this shot too reflects that they both would have wanted this fantasy if their circumstances were different.

4.

Shot Size, Frame, Angle: This is a Medium Close Up, crowd shot framing, eye level angle.

Shot Direction/Motion: Use of the y axis and L to R motion of screen reading

Camera Settings: focal length 25-45mm, depth of field is in shallow focus as background elements are blurred

Frame Composition Elements: Light is blue/green toned and all motivated lighting. Costume reflects formal, business workplace attire. Use of frame within a frame and rule of thirds is used. Size is emphasized in this shot.

Meaning: This shot makes use of a 4th wall break to reflect Chows realization of his feelings towards Su. He and his coworkers are kept small and low in the frame because Chow cannot outwardly express his love for Su and must remain unphased. His gaze looking into the camera, though, accents the realization of his love as something he now knows, but something the audience would have already known. Chow's small smirk, as well, adds to the secrecy of the audience and him knowing this truth, but the rest of the world being oblivious to it. Chow is also kept framed within a frame, as we see him through the outside of the shop window, accenting the underlying theme of Chow and Su's love being caged and impossible.

5.

Shot Size, Frame, Angle: Medium Close Up, clean single framing, high angle

Shot Direction/Motion: use of x and y axis to have Su positioned center frame

Camera Settings: focal length 25-35mm, depth of field in shallow focus as background elements are blurred

Frame Composition Elements: light is vivid reds with green used as accent tones. Follows rule of thirds as her eyeline is aligned on the top horizonal third line. Costume also has same red and green elements.

Meaning: This shot is meant to use color to reveal Su's growing love for Chow but her insecurity in her feelings and actions. Red represents her affections for Chow, and the overwhelming amount of it in the environment and her clothing also symbolizes lust and the forbidden aspect to her feelings. Green represents her insecurity and uncertainty with the whole situation, as they both navigate their world trying to hide the truth of their relationship from others despite their feelings growing more prevalent. Green also contrasts red on the color wheel and is an accentuation to the theme of opposites.

6.

Shot Size, Frame, Angle: Master Shot size, dirty single framing, high angle

Shot Direction/Motion: x and y axis emphasis, use of standard L to R screen reading

Camera Settings: focal length 35-55mm, depth of field is soft focus as foreground element is blurred and background is in focus.

Frame Composition Elements: Light is all motivated lighting coming from the sun, allowing for a brighter shot. Sizing element is used where monk is large and Chow is small. Rule of thirds is applied with this shot.

Meaning: At the beginning of the film, we see Chow positioned on screen L for several shots, representing the starting point of his evolution as a character. This shot, taken at the end of the film, reflects his evolution as a character being complete as he is now positioned on screen R. Meant to have omniscient tone and perspective as camera placed behind the monk creates atmosphere of temple being reverent and quiet. Also meant to reflect how we are not meant to hear the words of Chow as he speaks them. Accents how Chow is accepting his fate about not being able to be with Su and how they ultimately can never be together.

7.

Shot Size, Frame, Angle: Insert Shot size, clean single framing, hip level angle

Shot Direction/Motion: use of x axis and emphasis on Chow moving screen R to screen L

Camera Settings: focal length 25-35mm. Depth of focus is in shallow focus as background elements are blurred.

Frame Composition Elements: Motivated lighting coming from the sun. Costume color is in green tone as well as gift box. Shot is bright with soft shadows.

Meaning: The emphasis of the color green is important in this shot as a color symbolizing hope. Despite the years that have passed, Chow is hopeful that Su still remains at the apartment complex where they both lived and has the chance to see her again. This is accented further by Chow translating screen R to screen L, to show that Chow is returning to the past. This insert shot also keeps the box centered in the frame and is in a similar pattern to a dress Su wears several times throughout the movie. Similar to that dress, the green represent the optimism of the two potentially being together at last.

**Nathan Garcia** · 11-17-2024, 02:50 AM

Nathan Garcia

Shot 1:

Size/Angle/Frame:This is a medium full, eye level, dirty single shot. As the woman is not in the position of power, though her boss is trying to get some information from her that is more personal to him.

Comp/Mise en Scene: The color in this scene is mostly a drowned out greenish color tone, taking place inside of an office, there is plenty of square shapes, with a circular clock being one of the few non-square shaped objects in this shot, textiles can be heard, as well as some chatter from other people in the office. This is showing that the place she is working at is one where everyone is busy and things are getting done, and she is part of the machine of productivity.

Camera: The lens is a 50mm, with a shallow DoF, the camera is still during this particular shot. This was to help show that the place she was working is stable, yet unchanging and boring.

Shot 2:

Size/Angle/Frame: This is a medium, low, dirty single shot. The focus is on these two characters and their interaction with each other, and to help illustrate the closeness they have with each other.

Comp/Mise en Scene:There is a slight drown out yellow tint to this shot, the man is wearing a suit with the women wearing clothing that is one color on the back, but has a variety of colors on the front outside of the dialogue, the only other sound is the crickets. This was to show that in this shot, the only 2 important figures are the 2 characters, and that no one, or anything else, is important to these 2, and they are only focusing on each other.

Camera: The lens is a longer 80mm with a somewhat deep DoF, the camera is slightly shaking, the the moves are very slow and smooth. This was done to help us not only focus on the 2 characters, but make it feel organic by moving the camera.

Shot 3:

Size/Angle/Frame: This is a medium, high, clean single shot. This is showing that the man is in a difficult spot with himself and his growing interest in the woman, and everything to him is getting cloudy.

Comp/Mise en Scene: There is a lot of dark colors, with black, white, and yellow being the main tints in the shot, the only sound in this shot is music that is playing, and the man is wearing a plain white shirt. This was done to illustrate that he is not in a comfortable position, and everything around him feels unclear and dark to an extent.

Camera: The lens is a standard 50mm lens, with a very slight DoF, this shows his inner thoughts and emotions, as he feels that everything around him is starting to become blurry, and he feels as though he either wants or is trying to blend in with his surroundings.

Shot 4:

Size/Angle/Frame: This is a medium-full, high, double shot. This is showing that these 2 characters are trying to connect, but not be noticed, as both of them are married, and trying to keep this growing interest in each other a secret.

Comp/Mise en Scene: There are plenty of bright colors in this scene, with Chan wearing clothing that blends in with the wall, while the man is wearing his suit again, there is noticeable chatter that is just below the volume of the man speaking. There is also shape within frame, where a curtain lies just above the 2 characters faces, this is a subtle hint to the saying ‘pull the curtains’, showing that they are trying to keep it secret, with them speaking just above the chatter in the other room, and the Chan, where that is her room, is blending in with her room, shows how much she wants to not be seen in this growing affair.

Camera: The lens is a short 30mm lens, with DoF to blur out the curtains, the camera is still during this shot. This is showing that both characters are trying to keep their interactions a secret, and not trying to stand out in any way.

Shot 5:

Size/Angle/Frame:This is a medium, eye level, clean single shot. This was trying to highlight what she was thinking, and how she is looking at everything that is happening so far.

Comp/Mise en Scene:The inside of the house is mainly red, with the outside being mostly white, her clothing reflects the outside colors while she is inside, she feels trapped, metaphorically speaking, to the inside, and wants to feel more free, and her clothes reflect that. There is no sound other than music, so we can fully focus on her and her thoughts.

Camera: The camera is a standard 50mm, with a noticeable DoF in the background. This was to show the wanting disconnect of her and the interior, and her wanting to be outside, where metaphorically speaking, she will be more free.

Shot 6:

Size/Angle/Frame: This is a Close-up, high, clean single shot. He did this to show that he is deep in his own head, as he is thinking about something before Chan arrives.

Comp/Mise en Scene: There is mostly white and red colors in this shot, he is wearing a white button-up with a tie, his hair is not as groomed as usual, there is a clear shape within frame with the wall and curtain on the right side of the screen. As for sound, it’s all background, which starts off small, but begins to get louder as this shot goes on. All of this is to help illustrate his current mental state and thought process that is going on.

Camera: This is a long 150mm lens, with a deep DoF, this is a still shot, this is meant to help show that he is focused all on his own thoughts, and that everything around him is not important to him, not even registering as he thinks.

Shot 7:

Size/Angle/Frame:This is a Medium-Full, High, Dirty single shot. As Chan returns to hear than the man no longer lives there, and is trying to plan for her future.

Comp/Mise en Scene: There is mainly yellow, brown, and light gray in this shot, Chan is wearing clothing that somewhat blends in, but is distinct enough, as for sound, there is mainly just chatter not only from them 2, but also as background noise. There is also a suitcase with belongings inside, showing that the other lady is preparing to move, and is giving Chan an offer to let her stay in the apartment, and that Chan is no longer trying to blend in 100% anymore.

Camera: This is a standard 50mm lens, with no DoF, the camera is still during this shot. This is showing that she is not standing out in any way, but is not blending in either, and she is trying to make sense of everything going on around her.

**ediValle** · 11-17-2024, 10:28 PM

Ediza Valle

A cowboy shot, with a frame within frame angle. A still shot. I say cowboy since we can see the knee and up, and while the camera isn’t close, we get this camera work because of how the character feels. Enclosed, trapped with how she really thinks. We get yellow lighting in throughout the whole film so it’s nothing out of the ordinary here, and the lighting bright in the room the woman is because of course, she is the main focus. The hallways are lighten up symmetrically but it’s just to fill up some space despite not being the attention of this scene. The woman while wearing what I’d say normal clothing, it’s black which helps her stand out in a yellow lit room, some items within the room are light colored yet blend into the scene.

A medium close up shot, it’s a two person shot, and eye leveled as the camera is positioned in between them. A still shot. We don’t get that much lighting but the only source of lighting coming from above the characters to light them up. This is to show the importance of these too and darken out the areas that aren’t. Mise en scene wise, the seating the characters sit on are red, which helps the characters stand out with what they wear, the man in the grey suit and the woman in light clothing. Though they’re dressed formally to eat, there isn’t that much to say. But the camera work before this sho, during this sequence the 180 rule was broken. Not through pans but different camera shots and angles. The shot before, the woman was on the left and man on the right, but it’s swapped here. Why it was broken is unclear, and it wasn’t broken through neutral means it just changed. While it’s a tricky thing for me discuss, I believe the reason the 180 rule breaks so often is because of the woman, and perhaps how she feels giving us a chaotic yet unsure vibe.

A close up, still shot with a low angle. Another frame within frame. Though we can’t see their faces we can hear would the woman wants to leave, and with the frame within frame, it helps us see how she may feel trapped and wants to get out of where she is. The only source of light we see is outside the vehicle, we don’t get a clear look inside the car to give the audience a somewhat unpleasant impression since people tend to feel that way with things and in places they can’t see.

A full body, still shot with an eye level frame. I really like how everything is focusing on the person in the distance and how everything shrinks down the further it gets, and the lighting it great. While the inside of the building has a yellow lighting, there’s light also coming from behind the curtain making the room a little red too. The black clothing the man wears, obviously, helps him stand out in the light and somewhat colored room because he’s the sense main focus.

Full body, still shot with a slightly low camera angle. What makes this sense interesting is how it follows the rule of thirds. The woman is angled perfectly on a side but not exactly tucked into a corner but also fills the rest of the scene with the curtain. This is done so we the audience can be kept from something. The set is naturally lit with the lights in the hall and we see more coming out from the room the woman is facing. And because it looks dark behind the curtain no light is going through. The woman is wearing red, which could be representing love, but because this is a Chinese film. In their culture red tends to means prosperity, and during celebrations the color red is often used for good fortunate.

A medium full, still shot with a low angle. We’re seeing the woman head down the stairs not directly towards the camera but to the side a bit. Thought there’s dim yellow-orange lighting it’s clear that there’s a hallway and the woman opened a door to go through and down stairs, but all we see is the woman’s silhouette. This is done for suspense.

a medium close up, still show with a slightly low angle while using another frame within frame. The main focus is the man we see, and with how everything is framed and angled, it shows how he thinks. The window isn’t closed so he doesn’t feel some sort of sadness, but instead he’s somewhat content, and when windows are open it could mean freedom, or openness. We see him smile a bit and I think using an open window is clever to parallel what he’s thinking as he looks out. Of course, there’s neutral lighting both inside and out since it’s day and even though the yellow lighting isn’t showing here, this could also help show that he is thinking clearly and openly to himself.

**dogma2026** · 11-18-2024, 09:22 PM

Roger Gonzales Jr

The shot appears to be a medium close-up, focusing primarily on the figure in the doorway. This shot size allows the audience to perceive details of the character's expression and body language, fostering a sense of intimacy.
The camera angle is slightly low, creating a slight upward tilt towards the character. This subtle angle can evoke a sense of the character's power or authority, even in an intimate setting.
The framing places the character off-center, with the doorway and surrounding environment visible in the background. This composition creates a sense of asymmetry, potentially hinting at tension or unease within the scene.
The character's positioning in the doorway creates a sense of a "frame within a frame," drawing the audience's attention to the character's isolated, almost liminal, state. This compositional choice suggests a sense of transition or uncertainty.
The character's gaze is directed off-screen, implying that they are focused on something outside the frame. This creates a sense of anticipation and curiosity, as the audience wonders what has captured the character's attention.
There appears to be minimal movement within the frame, contributing to a contemplative, almost static, atmosphere. This lack of overt action invites the audience to focus on the character's internal state and the underlying emotional or psychological tensions.
The set design, with its wooden beams and warm, earthy tones, evokes a sense of a rustic, perhaps rural, environment. This aesthetic choice can suggest themes of simplicity, isolation, or a connection to nature.
The lighting is soft and diffused, creating a gentle, almost nostalgic, mood. This lighting style can enhance the contemplative nature of the scene, inviting the audience to pause and reflect.

The shot appears to be a close-up, focusing primarily on the reflection in the oval mirror. This intimate shot size allows the audience to closely examine the details and subtle nuances within the reflection.
The camera angle is slightly tilted, creating a sense of distortion or disorientation. This angle, coupled with the curved mirror, can evoke a feeling of dreamlike or surreal quality.
The framing of the shot is asymmetrical, with the reflection occupying the center of the frame, while the surrounding environment is partially visible. This composition draws the audience's attention to the reflection as the primary focal point.
The circular shape of the mirror creates a distinct frame-within-a-frame, drawing the viewer's eye to the central reflection. This compositional choice isolates the reflection, suggesting it holds significant meaning or importance within the scene.
The reflection appears to be static, with no visible movement. This lack of motion contributes to a contemplative, almost meditative, atmosphere, inviting the audience to closely observe and interpret the reflection.
The direction of the reflection is inward, facing the viewer, creating a sense of intimacy and introspection. The audience is invited to engage with the reflection as a reflection of their own experiences or perceptions.
The absence of a human presence in the frame encourages the audience to project their own experiences and interpretations onto the reflection, fostering a personal and subjective connection to the scene. The sense of fragmentation and distortion in the mirror's shape and the surrounding environment can suggest that the reflection may not be a straightforward representation of reality, but rather a subjective and ever-evolving interpretation of the self or the world.

The shot is a medium close-up, focusing on the two characters in the dimly lit hallway. This shot size allows the audience to observe the characters' expressions, body language, and interactions more intimately.
The camera angle is slightly low, creating a sense of tension and enhancing the imposing presence of the characters. This angle can also suggest a power dynamic or a sense of vulnerability.
The framing is asymmetrical, with one character positioned slightly off-center and the other slightly in the foreground. This composition draws the viewer's attention to the interaction between the two characters and the potential tensions or unspoken dynamics at play.
The hallway setting creates a sense of confinement and a frame-within-a-frame, further emphasizing the intimate and potentially claustrophobic nature of the scene.
The characters' positioning and body language suggest a confrontation or a moment of tension. The one character's hand gesture and the other's slightly defensive stance convey a sense of unease or conflict.
The lack of overt movement within the frame contributes to a sense of anticipation and heightens the audience's focus on the characters' emotional state and the potential implications of their interaction.
The gritty, dimly lit setting and the characters' dark, ambiguous attire contribute to an atmosphere of mystery and danger, inviting the audience to speculate about the narrative context and the potential consequences of the characters' actions. The lack of overt movement and the focus on the characters' body language and subtle expressions create a sense of anticipation, as the audience is left to interpret the unspoken dynamics and the potential for escalation or resolution.

The shot is a long shot, establishing the expansive and dramatic setting of the hallway. This wide perspective allows the audience to take in the full scale and atmosphere of the environment.
The camera angle appears to be slightly low, creating a sense of grandeur and emphasizing the towering, imposing quality of the hallway's architecture.
The framing is symmetrical, with the red curtains and the recessed lighting creating a sense of balance and formality within the frame.
The hallway's linear, elongated shape and the central placement of the character create a sense of depth and a strong directional pull, guiding the viewer's eye towards the figure in the distance.
The character's solitary presence and forward-facing movement create a sense of anticipation and suggest a journey or destination within the narrative.
The static nature of the shot, with the character as the only moving element, heightens the audience's focus on the environment and the symbolic meaning it conveys.
The expansive, theatrical setting, with its rich, textured materials and symmetrical framing, suggests a heightened, almost surreal, quality to the environment. This aesthetic choice can evoke a sense of formality, control, and the potential for the character's journey to be imbued with symbolic or metaphorical significance.

The character's solitary presence and forward-facing movement, coupled with the lack of additional context or narrative cues, create a sense of mystery and anticipation. The audience is invited to speculate about the character's purpose, their relationship to the environment, and the broader implications of their journey within the narrative.

The shot is a medium close-up, focusing primarily on the two characters and the intimate setting of the bedroom. This shot size allows the audience to observe the characters' expressions, body language, and the interplay between them.
The camera angle appears to be slightly low, creating a sense of intimacy and heightening the viewer's connection to the characters' experiences.
The framing is asymmetrical, with one character positioned in the foreground and the other in the background, drawing the audience's attention to the complex dynamics at play.
The room's interior design, with its rich, textured fabrics and exotic decor, creates a visually striking and immersive environment. The layered composition, with the various elements and objects, adds depth and complexity to the frame.
The characters' positioning and body language suggest a sense of interaction or intimacy, with one character attending to the other in a seemingly caring or sensual manner.
The lack of overt movement within the frame contributes to a contemplative atmosphere, inviting the audience to focus on the subtleties of the characters' emotional and physical connection.
The lush, opulent setting, with its vibrant colors and ornate furnishings, evokes a sense of luxury, power, and the potential for high-stakes narratives. The audience may be drawn into the characters' world, speculating about their relationships, motivations, and the broader cultural or social contexts that inform their interactions.

The director's choices also suggest an underlying sense of mystery and the blurring of perceptions. The circular mirror and the symbolic objects within the frame can invite the audience to consider themes of identity, self-reflection, and the interplay between the outward and inward experiences of the characters.

The shot is a medium long shot, focusing on the two characters in the alleyway setting. This perspective allows the viewer to observe the spatial relationship between the characters and the environment.
The camera angle appears to be slightly elevated, creating a sense of detachment and objectivity. This angle can also suggest a power dynamic or a voyeuristic perspective.
The framing is asymmetrical, with the female character positioned in the foreground and the male character partially obscured in the background. This composition draws the audience's attention to the female character and her emotional state.
The alleyway setting, with its dark, shadowy atmosphere, creates a sense of isolation and potential danger. This environment can evoke themes of vulnerability, entrapment, or the hidden dangers within urban landscapes.
The female character's body language, with her hunched, defensive posture, suggests a sense of unease, fear, or a desire to withdraw from the situation. This physical expression can convey the character's emotional state and the power dynamics at play.
The male character's forward movement and partially obscured presence create a sense of threat or pursuit, heightening the audience's awareness of the potential for conflict or confrontation.
The medium long shot, combined with the elevated camera angle and the asymmetrical framing, establish a sense of emotional and physical distance between the viewer and the characters. This perspective can evoke feelings of detachment, objectification, and a heightened awareness of the power dynamics at play.

The dark, shadowy alleyway setting, with its moody lighting and sense of confinement, creates a tangible atmosphere of danger and the potential for violence or harm. The audience may feel a heightened sense of tension and anticipation, as they wonder about the characters' motivations, the nature of their relationship, and the potential consequences of their interaction.

The shot is a medium close-up, focusing on the two characters and their interaction within the confined space of the hallway. This shot size allows the audience to observe the characters' expressions, body language, and the subtle nuances of their interaction.
The camera angle appears to be slightly low, creating a sense of intimacy and heightening the viewer's engagement with the characters' emotional and psychological states.
The framing is asymmetrical, with one character positioned in the foreground and the other in the background. This composition draws the audience's attention to the power dynamics and the unfolding tension between the two figures.
The hallway setting, with its dramatic lighting and shadowy atmosphere, creates a sense of confinement and heightens the audience's awareness of the characters' spatial relationship and the potential for conflict or confrontation.
The characters' positioning and body language suggest a dynamic of pursuit and evasion, with the woman appearing to move away from the man's advancing presence.
The lack of overt movement within the frame contributes to a sense of anticipation and the potential for a pivotal moment or a dramatic shift in the characters' interaction.
The framing of the shot, with the characters positioned in the center of the frame and the hallway's walls creating a sense of confinement, can heighten the audience's perception of the characters' vulnerability and the potential for escalating tension or conflict.
The placement of the characters, with the woman in the foreground and the man in the background, can suggest a power dynamic or the woman's desire to assert her agency and independence within the context of the scene.
The medium close-up, combined with the low camera angle and the asymmetrical framing, create a sense of intimacy and engagement with the characters' emotional and psychological states. The audience is drawn into the charged atmosphere, invited to observe the subtle interplay of power, resistance, and the potential for confrontation or resolution.

The dramatic lighting and the shadowy, confined setting evoke a sense of danger, secrecy, and the potential for moral ambiguity. This aesthetic choice can heighten the audience's sense of unease and anticipation, as they wonder about the characters' motivations, their relationship, and the broader narrative implications that may be at play.

**Roberto** · 11-18-2024, 09:40 PM

Robby garcia

**Lgcastro** · 11-18-2024, 09:44 PM

Lourdes Castro

Shot 1: This is a wide angle shot showing the environment and later the characters within the scene. Giving a sense of distance and depth of he environment compared to the characters. This would be considered a clean single shot even though there aren't any characters. This was shot from an eye level angle which is pretty natural for the audience to look at. The shot composition is balanced there is a balanced amount of books and clutter on each side of the line drawn with the wall in the middle of the screen. The director choose this to show the line that has been draw the entire movie between the characters we can see and the characters that we can only hear. The screen direction is along the x-axis from left to right leading our eye to look across the entire window. The lens used for this shot is a telephone lens at around 100-105mm with an F-Number of about 14-16 with alone everything within focus but the foreground is a little out of focus. The mise en scene in this shot is driven by the lighting, a story is being told with the lighting coming from a what we believe to be a motivated source inside the room.

Shot 2: This is a wide angle shot establishing where the characters are in relationship to each other and where they are in relation to the environment. This is a two shot but in this case we can not see the faces and emotions of the characters. This is shot at a slight low angle looking up at the characters to show a feel of vulnerability that they are gaining for each other over time. The shot composition of this shot is directing our eye to the two characters and how they are slowly getting further and further away from the camera. The screen direction is along the y-axis with the characters traveling in a straight line vertically. The director chose to keep the camera still when capturing them walking away instead of following them close up to show a sense of sadness like they are walking alone but together. The lens used for this shot is most likely a telephoto lens at around 85-90mm with an F-Number of about 16 with everything in the foreground being in focus and the two characters slowly losing focus as they walk further away from the camera. The mise en scene in this shot is once again driven by lighting and color there are multiple sources of motivated lighting including the street lights and house lights. This really gives the dark and lonely night feel to the entire shot.

Shot 3: This is a medium full shot "Cowboy shot" the director chose this shot to show the confrontation between the two characters, it also shows how strong they are to be going through what they are going through. This is a two shot we can see both characters faces and their emotions. This shot from a bit is a higher angle looking down on the characters. This high angle really helps to continue to convey the narrative information and emotion. The shot composition is balanced we are looking at a balanced shot with one character on either side of the screen. The screen direction is along the x-axis looking from left to right as each character looking back and forth as they have a conversation. The lens used for this shot was a wide angle as about 35-40mm with an F-Number of around 20 with almost everything being in focus other then the fabric that is slightly covering the camera lens. The mise en scene of this shot is colors and costume. We are seeing fashion in this shot, fashion from Hong Kong in the 60's and the colors are very fun and vibrant which is pretty contracting to the overall theme of the film which is not fun and vibrant.

Shot 4: This shot is a wide angle focusing on the characters place and where they are in relation to the environment. There is also a statement being made on the size of the character within the environment. This is a single clean shot, we only see one character and his emotions. This is shot at a lower angle looking up at the character which would normally give the character a sense of power but in this case the character is vulnerable. The shot composition is unbalanced, there is a central point of conflict coming from the character. The screen direction is along the x-axis from left to right looking at the character and then at the blank wall that he is leaning against. The lens used for this shot is a wide angle lens at about 45-50mm with and F-Number of around 16 with everything in the foreground being slightly out of focus but the character and environment in the background being more in focus then the rest. Showing us that the character is slowly being drowned out with his emotions and thoughts. The mise en scene in this shot is drive by the un motivated lighting coming from the entrance of the doorway. It is light light shining in the darkness of the rest of the world but only for so long slowly dimming.

Shot 5: This shot is a wide shot showing the emphasis on the characters and the environment and where they are in relation to each other. This is a single dirty shot we can see the face and emotions of only one of the characters. It is from an eye level angle helping to show that there will be no judgement when interacting with the characters. Especially since she is very vulnerable right now. The shot composition is directing our eye to the mirror and the reflection of the characters within. There is this shape within frame the characters are bring shown within the frame of he mirror on the wall. The screen direction is along the x-axis moving from left to right. The lens used for this shot is a wide angle lens at about 70mm with an F-Number is about 5.6 everything in the background is out of focus and the foreground of the characters being in focus. The mise en scene of this shot is color and lighting like before the colors are fun and vibrant a complete opposite of the tone of the film. You can also say that the color red shows anger which can also be true in this instance with the characters being angry at their significant others.

Shot 6: This shot is a close up shot showing the inner thoughts and feelings of the main character. This shows a time of anxiety. This is a single dirty shot we can only see the face and emotions of one of the characters within the scene. Shot at eye level which during this scene is very natural for the audience. The shot composition is balanced there is one character on either side of the screen. The screen direction is along the x-axis moving from left to right between the two characters. The lens used for this shot is a wide angle at about 50-55mm with an F-Number is most likely 4 with everything in the foreground being in focus and the character in the background slowly moving more and more out of focus. Signifying that he is leaving her and slowly leaving the picture. The mise en scene in this shot is lighting there is un motivated lighting shining on her face to show her emotions even though it is a really dark night alone in the street.

Shot 7: This shot is a wide shot showing the comparison of the character to the environment. This is a clean single with a slightly higher angle looking down on the character within the doorway. The shot composition is unbalanced we are only getting one character on one side of the screen. The screen direction is along the x-axis from left to right looking at the character and then the black void. The lens used for this shot was a telephoto lens at around 150-155mm with and F-Number is around 20 with everything in the foreground being in focus and everything in the background out of focus for the most part. The mise en scene of this shot is all driven by lighting and color the bright un motivated lighting of the hallway. Shaping out the character that is a shape with frame of the door frame.

**Ashton koranek** · 11-18-2024, 10:12 PM

Ashton Koranek

Act 1:

1. This is a insert shot of a clock with Mrs. Chan in the background talking to her bosses wife. The focus at least for the camera is strictly on the clock and its not the only time in the movie where a clock insert shot is shown. The F-stop of the camera would have to be a very low number as Mrs. Chan is very out of focus to the point where she basically just looks like a blob. in the background. The framing of it is kinda interesting with her being on the left side of this clock and eventually the camera pans down to the left putting her very much back in focus. The Clock is also a aid to the conversation going on with her talking about how someone will be out late while we watch a clock and time ticking by. The Mise En Scene of the shot is that of a busy place with many different sounds in the background of others. One tiny detail I noticed after rewatching the scene is that the previous one ends with her running to pick up a phone in her house and then it cuts to her on the phone in a different space but that phone almost connecting the two scenes together.

Act 2:

2. This is a dirty single of Chow and Mrs. Chan walking past each other at a ramen shop. I would say this is a single on Chow as his face is clearly viable while Mrs. Chan's is not The sizeing of the frame is a bit odd but I would say if we are focused on Chow is would be a medium shot of him looking up at Mrs. Chan. The framing of it is really well done with the lighting as well as he enters into the frame he is almost basked in darkness but the single light at the top of the steps hit him perfectly when they pass to show is reaction to seeing her. The direction and motion of the scene is also very interesting with it starting as a insert shot of the bottle Mrs. Chan is holding then moving up to and just as it is about to see her face she turns into the stairs blocking out view of her face but as that happens Chow is their is almost take her place as the main person in the scene. The Mise en Scene and more specifically the costumes is very interesting like stated in a later scene she is dressing very nice to just go get some noodles. The lighting like I said earlier is masterfully done with just a single light at the top of the stairs being able to capture everything they need.

3. This shot is a single of Chow and Mrs Chan having dinner or at least just talking in a restaurant. Most of the shots in this scene are medium close ups with a insert shot of mrs chan playing with her cup. The angle for most of the shots is low which I found kinda interesting as while it doesn't seem like either have some power or anything I would say they both feel a little confident maybe and that's why the low angle was chosen. The composition direction and especially motion of this scene is stellar. For most of the scene it is just cuts between the two as they talk. At the start when Chow is more asking in a serious manner asking about her bags and a gift for his wife its cuts between them and is a normal conversation but the after she asks about his tie the camera doesn't cut but rather moves over quickly like a whip pan and then after he answers is whips back to Mrs chan for her response like its her almost flirty with him and the camera man gets flustered. I also liked the parallels between them in terms of the items their partners give them with her giving her bags and Chow's wife giving him ties.

4. This is a very interesting I wouldn't say its frame within a frame but it was interesting how the top part of the camera was obscured and as they walked in both of their faces were in the dark area and they were only visible when they sat down. The shot is a double of both of the main characters hiding in a room as people filled into their home to play Mojang. The Composition is very interesting and I think it runs hand in hand with the motion or I guess lack of motion in this scene. The top of the camera almost acting like a black bar in the film at the top. It could be seen as almost symbolic as they are only in the right head space when sitting down maybe. The Mise En Scene is very intersting with both of them always dressing really like when they meet. Their is also very subtle moves of the camera as action happens like him grabbing the jug with noodles and pouring it into a bowl. One small detail about the covering on the top that I feel really shows they knew what they were doing when putting something on the top of the camera is the fact that it isn't a flat black bar on the screen and it moves up in the middle so that Mrs Chen who is at a higher elevation in the camera is still able to be seen

5. This is a really amazing scene with almost the entire scene being frame within a frame. The angle being all low with the somber music going a almost sinister tone to the whole thing. The composition and direction of the scene is a lot of people in mirrors and its more then just a normal mirror giving the audience multiple frames to show the characters emotion. The motion of the scene is stellar with the camera doing these very slow pans around the characters and in this shot specifically its moves to the other side of the character in the green dress and then suddenly Mrs Chan is in the frame of both of the mirrors. Its a very well done use of frame within a frame as none of the shots in the scene are direct shots of the characters but even without that its still able to perfectly captivate. The Mise en Scene is very somber feeling and I feel the music contributes a lot to that feeling with it being slow and then all the characters looks like their going threw something.

Act 3:

6. This is a single shot of Chow talking to his friend about secrets and and what people in the past did which is important later on in the movie. The framing is at a high angle for most of the shots in the scene and the framing is often focuses on who is talking in the conversation at the time. The composition of it is very much a normal conversation between two guys with their not being a lot of motion in the scene. The Mise en Scene is that of a bustling bar with sounds of clinking bottles and just talking and rustling around. Part way threw the scene their is a shot that is taken behind what looks like blinds of some sort handing form the wall and it gives a nice almost checked pattern feeling. His friend giving Chow a hard time about secrets saying how he always bottles them up which could be why their is often a high angled shot with him being called out.

7. This is one of the last shots in the movie and while their is no face being show I would say its still a single as their is very clearly a focus in the shot and this scene in general. One thing I thought was interesting about the scene is that most of the shots where he is telling his lie in the wall he is framed on the left and only the left. The composition is that of a monk temple on what from we know can assume is one a tall mountain. The motion of the shots move around the character to as he is having this important moment. F-stop of the lens has to be low as the background is very much out of focus to give the audiences full attention on the main character. The Mise en Scene of the shots gives a nice background of this area being a monk temple with one monk in particularly following and watching the character as he does this. The thing he is doing is almost exactly what he told his friend about that people used to do that being go on a tall mountain and scream your problems into a tree or wall and stuff it with dirt. It shows that the character is not really okay with holding this secret in till maybe after he does this as he is maybe ashamed of it.

**JuGamez20** · 11-18-2024, 10:54 PM

julian gamez

act 1

Shot size, angle, framing= single frame, medium close up shot,eye level. because she is the only one in frame, we only see from her chest up and we see with the eyes at center of the frame. to show this is a scene of deep thinking while talking to somebody for the main center of attention
Shot composition, direction, motion= shallow focus, no motion and she is facing in the z axis. because the background is blurred out and no motion is here to show she is the main focus and she is having a conversation with someone
Lenses and other camera settings= 300mm or above, and the aperature is pretty large to show that much blurriness' in the background. to show less focus on the background and more of the serious scene that is happening in front of us.
mise en scène (set, lighting, costume, makeup, sound, etc.)= she has a big hairstyle, special kind of clothing the hallway is a bit dull in color and silence in this scene, and the natural lighting is shown to be present.
Other relevant information, square because it's a more serious kind of scene because nothing life thearting is happening it's not a scene we should be hyperfocus on and just listen too.

act 2

Shot size, angle, framing establishing shot, low angle, because it shows the area we are going to be in this scene to show whats gonna happen for who knows how long.
Shot composition, direction, motion= facing the x axis, going foward in the z-axis and deep focus. crystal clear picture to show the full picture, and go foward to show how long to hallway is and possibly what they will be going thorugh
Lenses and other camera settings= 200mm and the aperature is small to show a clear picture to show importence to all the picture in this scene for whats gonna happen.
mise en scène (set, lighting, costume, makeup, sound, etc.) the light is dimmed and dark the enviornment is around it, and it may look a bit dirty to show it's not been cleaned for a while
Other relevant information, triangle its a bit dark and scary and aggressive and it might show its about to get a bit aggressive for the time being

Shot size, angle, framing= crowd frame, eye level, and cowboy shot, because there is four or more people in frame, they go from the knees up to the head, and we see through the eye perspective in a way. to show that this is a bit of a montage of searching for someone
Shot composition, direction, motion= moving to the right on the z axis, deep focus. no blur in the picture and showing multiple scenes in a montage and this is one of them to show who is seraching for this one particular person.
Lenses and other camera settings= 300mm and the aperature is small to picture a clearer view and not a dramtic scene to see.
mise en scène (set, lighting, costume, makeup, sound, etc.) the sound of people talking and the smoke from the cigerettes, and the slightly dark meeting area of some kind to hols a conversation at.
Other relevant information, square to show that this an adult conversation of someone going missing and they need to know where he is at

Shot size, angle, framing= single frame, eye level, and close up= we see from his chest to his head, we see at an eye level, and he is the only one in frame. this is to show that he is the main attention and also he is probably thinking about something serious and we need to focus on what he wants to do and whoever he is talking too.
Shot composition, direction, motion= no motion at the moment, facing the x axis and shallow focus. because the background is blurred out and he is facing in the mirror so might be in the x axis. this is to show that this is an internal thought process and might something worth paying attention too
Lenses and other camera settings= 300mm or above with the aperature is a medium size to get the background this blurry. this is to set up this scen as a inner thought or dialogue sharing with one self or with others
mise en scène (set, lighting, costume, makeup, sound, etc.)= a dark room with little lighting, he is wearing a suit and tie with plaid curtains.
Other relevant information, square or circular= to might show this is an confusion or a time consuming, and sort of unnatural time because he is staring off into the distance of the window

Shot size, angle, framing= two shot frame, eye level, and medium close up= two people are in frame, can see them through the sort of perspective of a persons eyes, and we see them from the chest up. to show these two are talking so we should focus on them
Shot composition, direction, motion= the x axis and z axis, jump cuts in camera, and deep focus. we see no blur in the picture and as they are talking the camera might be jump to and from one person to the other. this is to show that this is a deep conversation between them and we should focus on what they talking about for the plot
Lenses and other camera settings= 300mm or above and the aperature is small to show that the area they are in is pretty small so no reason to use the aperature
mise en scène (set, lighting, costume, makeup, sound, etc.)= a fancy area like a resturant or something with red furnature, painted flowers and they are wearing suits without the sport coat.
Other relevant information, square to show this an ordered kind of thing because they were forcsed to come here in the first place.

Shot size, angle, framing= two frame, high angle, and meduim close up. theres two people in frame, the woman on the left we see above her eye level while the woman on the right is at eye level in a way. to show that this is more of a casual sort of conversation, and we the auidence can just pay attention without anything happening yet
Shot composition, direction, motion= no motion, facing the z axis, and deep focus. no blur at the moment, they are in the z axis by placement and eyes. to show they are the main soruces of attention and we should listin in
Lenses and other camera settings= 300mm or above, and no change in the aperature because it's a clear picture, and this is to show this is a semi serious conversation
mise en scène (set, lighting, costume, makeup, sound, etc.)= they are wearing dresses with a short bushy hairstyle, the lights are dimmed a lot, old fashion curtains
Other relevant information, circle and square becuase this seems to be a passive kind of thing becuase they seem to talk like normal people. and square because this is an adult conversation

Shot size, angle, framing= established shot, low and high angle, single frame= this is an expanded shot of the temples and a montage of the temples to show this the finale of the movie
Shot composition, direction, motion= deep focus, motion to the x axis to the right, this to show how big the temples are and that this is one of the montage shots to show the movie is ending
Lenses and other camera settings= 200mm and no aperature to show as much of the temples as they can
mise en scène (set, lighting, costume, makeup, sound, etc.= its abandoned temples with rotten walls, and almost time for sunset, and dried dirt on the ground
Other relevant information, circle because its showing nature in some sort of way of the temples

**Melanie** · 11-18-2024, 11:52 PM

Melanie Alvarado

Act I:

Shot 1:

( Shot Size - Medium-Full | Angle - Low | Framing - Dirty Single )
The director chose a medium-full shot to show how Su is holding herself. With this shot size, we can see her depressed facial expression and how she is hugging herself. The director wanted us to feel the betrayal she feels at learning that her husband is cheating on her. The angle is low and was chosen to showcase the crushing weight of realization that her husband is not faithful. The director chose to make this a dirty single to allow Su Li-Zhen's emotional state be visible through her physical stance, but also to make her seem small and insignificant by having her covered by other men closer to the screen.
( Composition | Screen Direction | Motion )
The purpose of the composition is to direct the eye: Su Li-zhen is on left vertical third's line and she is the best lit person on screen. There is no screen direction since the shot is static, which the director chose to focus on Su's emotion and to let the audience mirror that feeling. The motion on-screen consists of Su's hand with a handkerchief coming to wipe tears off her face, and the busy people around her working and pacing back and forth.
( Lens/FocalLength - 70mm | Aperture/F-stop/F-number - f/6 )
The director chose a focal length of about 70mm to maintain a healthy balance between the character and the background/foreground. The director chose the F-stop of f/6 to keep a shallow depth of field so that Su Li-zhen is the clearest subject in frame. This is to give the audience a perfect focus on her emotional state and the direction of the story.
( Mise en Scene: Set, Lighting, Costume, Makeup, Color, Sound )
The director chose for the set to take place in the cellar of the apartments. He chose for this to be the location so Su Li-zhen would be surrounded by strangers but not interacted with to make her emotions seem small or invisible compared to the business of the environment. The lighting is motivated, being provided by the overhead light and some presumably natural lighting streaming in from near the ceiling. The director wanted Su to be the brightest and clearest in the room so the viewers can know who is the most important. Su was chosen to wear a dress with muted colors to make her blend in to her environment which is to express how her feelings are going unheard. The other characters around are wearing work clothes that contrast Su's nicer dress. It is hard to make out makeup, but it appears that Su is wearing enough to make her lips a bit pink and her face clear. The main colors in the scene are off-white, yellow, and green which were chosen to symbolize sickness, disgust, and broken purity. The non-diegetic music playing contains the leitmotif of the film which symbolizes the relationship between Chow and Su. This is one of the earlier instances of the leitmotif which is around where the relationship first gets established after learning about their cheating spouses.
(Other) [Relevant Movement - static]
The director chose to make this shot static because he wanted the audience to see the importance of her finding out her husband is cheating. The shot provides the viewers information about her dejected look of betrayal, and gives her motivation for when she and Chow eventually begin seeing each other.

Act II:

Shot 2:

( Shot Size - Medium | Angle - high | Framing - dirty two-shot )
The director chose for this shot size to be medium so we can see the physical states of Chow and Su (mirror). This was to show the audience the passing of time as the two wait for Ms. Suen and her acquaintances to finish playing mahjong. The exhaustion from Chow's face is evident since he is slouched and sleeping. Su, who is blurred, is seen in the mirror appearing unhappy. This is to express to the audience that Su is thinking in the back of her mind if her actions are wrong. The director chose a high angle to emphasize the lack of power in this shot. Su and Chow are stuck together as they wait for Ms. Suen and her guests to leave so they can sneak Su out of the room. The director chose for this to be a dirty two shot (in this specific shot) to show the states of both occupants in the room and how they relate to each other. This is considered a dirty shot since there are other things in closer to the screen rather than Su.
( Composition | Screen Direction | Motion )
Because of the screen movement the focus is always changing which is because the director keeps redirecting the eye to the occupants and their environment. He wanted to show us the state of the room and the people to reveal the passing of time. The screen direction goes from right to left which tells the audience that Su is thinking on the foundation of the relationship, it being built on cheating, and how she wonders if it is right. Outside of the camera, the movement in the shot is minimal outside of blinking from Su Li-zhen which shows that she is alert and thinking.
( Lens/FocalLength - 50mm | Aperture/F-stop/F-number - f/8 )
The director chose for the focal length to be 50mm. He chose this so that the environment has some attention and so that the characters will have good focus too. The F-stop is at f/8 to make the room clear enough for the audience to get a grip on where they are. There is still some blurriness in far spots in the shot and that is because we are supposed to focus on what is in front of our eyes, which is Chow sleeping during waiting in this shot with Su in the background if we look a little closer.
( Mise en Scene: Set, Lighting, Costume, Makeup, Color, Sound )
The set of the scene is the room that Chow is renting, it includes all of his belongings, such as the script he is working on. The director chose this to how much they are willing to risk for each other, even getting caught. The lighting in the scene is entirely motivated and streaming from a window behind Su and in front of Chow. The shot shows that Su is wearing a beige dress which matches Chow's tie. Chow is also wearing a blue button up shirt to emphasize the calmness he is radiating while he sleeps waiting to sneak Su out. The makeup on Su is not visible from this far, but Chow does appear to be wiring minimal or no makeup to appear natural. The main color in the shot is blue and off-white: blue symbolizes the calm stillness in the room as both occupants wait, Off-white symbolizes the barely tainted nature of the relationship since they are both cheating. The sound consists of non-diegetic music of a soft song sung by a female singer in a semi-operatic way. The director wanted to exaggerate how dire the situation is and to show how Su is thinking on the relationship.
(Other) [Frame Within a Frame |Relevant Movement - pan]
The director created a frame within a frame using the mirror to capture Su in the same shot with Chow. This is to show both characters during the passing of time as they wait. The director chose a pan shot to give the audience a good view on the room which Chow is staying in, and to show how both characters are still waiting to sneak Su out. The shot shows both Chow and Li's physical and emotional states here as well. This is so the audience can know that Chow is sleeping and Li is thinking on things.

Shot 3:

( Shot Size - Wide Shot | Angle - low | Framing - Dirty two-shot )
The director chose for this to be a wide shot so we can see that Chow's new apartment is nowhere near the apartment he once lived at. The director wanted to show an interaction between the two before Su parted from Chow. The director chose for there to be a low angle so we can feel the relationship taking off after the scare of nearly being caught in the old apartments. It also feels as though the director is putting distance between us and the character's to emphasize the disconnect that is appearing in the scene. At first glance, this is a one shot. However, it is actually a dirty, two shot since Chow is partially hidden behind his doorway. The director chose this to foreshadow the disconnect that will come between them.
( Composition | Screen Direction | Motion )
The director masterfully used color, light, and motion to direct the eye to Su Li-zhen and Chow. He did this by having the lights and colored curtains create a frame around her. There is no screen direction since the camera is static. The director chose this to allow the viewer's to have clarity on where they are and to form a hypothesis about the happenings of the film. The main motion of the scene is Su leaving Chow's apartment and them speaking before she departs. The director used this motion to pull the viewer towards the conversation and to make us ignore the bright red curtains.
( Lens/FocalLength - 40mm | Aperture/F-stop/F-number - f/10 )
The director chose a lense of 40mm to cater to the background being expansive rather than flat. He did this to make Chow and Su seem small which is to show how secretive their relationship is to the outside world. This is also to foreshadow the relationship that is soon to fade. The f-stop, f/10, was chosen to give enough focus to the background and foreground by widening the depth of field. The director chose this so the viewers can see how Chow and Su are still together, but seemingly hiding in the new apartment building so their affair will go unnoticed.
( Mise en Scene: Set, Lighting, Costume, Makeup, Color, Sound )
The director chose for the set of the shot to be right outside Chow's newer apartment. The set itself is full of red curtains with a green accent present in the room. The lighting in the scene is very motivated, with the overhead lights and the wall-mounted lamp pointing out the focus of attention. The light from inside Chow's apartment offers Su's face some light so we can see her face more clearly. It is difficult to see Chow's outfit clearly, but what can be seen is that he's wearing brown pants and a green or white shirt. This is to show the audience that he is down to earth and in the moment. Su Li-zhen is wearing a bright red coat and purse, which matches the room. This was chosen to emphasize the fact that she came to visit Chow, motivated by her love for him. From this vantage point it is difficult to see makeup on either person's face. The main color, red, is here to symbolize that in this environment, both are free to express their love for each other. The green tones support this by expressing that they can now be natural with each other. The sound is diegetic with the main sound in the scene being provided by the conversation of Chow and Su. This is because the director specifically wanted us to hear their conversation rather than put distracting music in it. As such, the shot has no music but there is barely audible mumbling presumably from the inside of another apartment.
(Other) [Frame Within a Frame | Relevant Movement - static]
The director created a barely noticeable frame within a frame using the wood paneling behind Su and some of Chow, which is to bring attention to both of them in the conversation. The director chose for this shot to be static so the audience can wholly focus on the relationship between Chow and Su in the background. in addition to that, the camera movement was chosen to represent how they keep their relationship hidden under lock and key by meeting in newer location.

Shot 4:

( Shot Size - Medium CloseUp | Angle - Eye Level | Framing - Dirty Two-Shot )
The director chose for this shot to be a medium close up so that there can be noticeable intimacy between Chow and Li. The angle was chosen to be at eye-level for the audience to empathize with them. The director wanted the audience to be able to connect and feel happy for the characters as though they were there. The framing chosen is a dirty two-shot. The director chose this to show the audience how close the characters are and how much they enjoy each others company. The shot is considered dirty because of the red film/lace partially covering both characters. The director chose for this to be the case to emphasize how the most important person to each character is the other, which is held in a frame like a joyous photo.
( Composition | Screen Direction | Motion )
The director chose a composition that includes shapes with frames. He directs our eyes to Chow and Su through the holes, or frames, that the camera is peering through. There is no screen direction since the camera is static. The director chose this because it was important to encapsulate the sheer love and chemistry between the two characters. The motion in the frame comes from both Chow and Su as they speak joyfully with each other.
( Lens/FocalLength - 100mm | Aperture/F-stop/F-number - f/4 )
The director chose a focal length of around 100mm to flatten everything in the screen to make a picturesque shot. This was done to make the shot look like a photo of a happy memory in frame. The director chose the f-stop, f/4, to make the depth of field small so that the only subjects that are clear are Chow and Su Li-zhen. This was done so the audience can see the flowering relationship between the two.
( Mise en Scene: Set, Lighting, Costume, Makeup, Color, Sound )
The director chose for the set to be inside Chow's newer apartment. There is not much visible of the set from this shot, but there is a red film that appears to be lace that is draped over most of the screen. This is to symbolize the love and passion that the two feel for each other and show that the other is all that exists in their world. The lighting is motivated and coming from a lamp to the left of the screen. The costume is difficult to see in the frame, but it appears that they are both wearing green attire. Chow is wearing a button up shirt that shows he is still dressing up for Su Li-zhen. Similarly, Su is wearing a bright lime dress with blue flowers which is to show that she too is still dressing up for him, but it also shows her kind and calm nature. Upon further inspection, Su is wearing makeup with pinker lips. This is makes it clear to the audience that Su is still trying to court Chow. The director chose red and orange colors to symbolize love and passion they feel for each other. The sound includes non-diegetic music that consists of the couple's leitmotif. The music is played with strings which lets the audience feel the pure, organic love Chow and Su feel for each other.
(Other) [Frame Within a Frame | Relevant Movement - static]
The director specifically placed a frame inside the frame to capture the picturesque moments of Chow and Su happily enjoying each others presence. The director chose for the shot to be static so that the audience will have time to peer through the red film and discern the pure love/joy that the both have for each other.

Shot 5:

( Shot Size - Medium | Angle - Low/Eye Level | Framing - over the shoulder(1+2 shot) )
The director chose for the shot size to be medium to allow the audience to see her face as she acts out confronting her husband. With this size, we can see the hurt and tears in her eyes since she seems to be living through the moment like it is the real thing. At the same time, we can see how she physically holds herself is affected by the raw emotion of hurt and betrayal. She slouches and leans in during the conversation to force eye contact during the mock confrontation. The director chose a low angle, slightly at eye level, to give her power during the confrontation since anyone being confronted would likely be intimidated. The near eye level aspect makes the audience feel her emotion and/or feel confronted themselves. The framing chosen was over the shoulder, or "one + two shot". This framing was chosen to establish a conversation, but keeping the listener's identity secret. This was done to make the audience assume she is confronting her husband or Chow about having a mistress, but it is then revealed that she is simply practicing for a real confrontation with her husband.
( Composition | Screen Direction | Motion )
The director uses the composition to direct the eye with light. He chose for Su to be the most well lit since she is the one speaking and so the audience can listen to her words as she questions about a mistress. There is no screen direction since the camera does not move. The director chose for this to be the case so that the audience can fully focus on what Su is saying and on what the response will be. The motions of Su as she practices confronting her husband, include her leaning forward to close the gap between them and to reestablish eye contact so she remains in power during the conversation.
( Lens/FocalLength - 60mm | Aperture/F-stop/F-number - f/6 )
The director chose for the focal length to be 60mm to keep the appearance of a normal conversation. The chosen f-stop is f/6 which is to keep Su Li-zhen clear as the main focus and the background able to be discerned. The director chose this to maintain a clear view of Su and to let the audience get an idea on where the scene is.
( Mise en Scene: Set, Lighting, Costume, Makeup, Color, Sound )
The director had the scene take place in Chow's apartment which further shows the audience how close he is with Su. The set design is once again red which shows the burning passion they have for each other. The lighting is motivated as the natural white light streams in through a window. This lighting is used on Su to bring more attention to her. From the current angle, it can be seen that Chow is wearing a white button up shirt which shows how he dresses up still. Su Li-zhen is wearing a beige dress with blue flowers. The beige symbolizes how she must be down to earth in order to confront her husband, while the blue flowers show how she must remain calm and controlled during it. Su is also wearing makeup as evidenced by her perfect skin and pinker lips. This shows that she is still dressing to court Chow even at this point. The director chose for the predominant colors in the frame to be red and some off-white. The red symbolizes the love and passion in the relationship, while the off-white symbolizes the tainted purity in it since they are both cheating. There is no discernable music in the scene for some time, which is to let the audience have full focus on the diegetic conversation with the words being said by Su and Chow (or read, in this case).
(Other) [Relevant Movement - static]
The director chose for the screen to be static to allow the audience to fully focus on what is inside the static screen. Here, it is important to pay attention to Su in the conversation rather than anything else.

Act III:

Shot 6:

( Shot Size - CloseUp | Angle - Eye Level | Framing - dirty single )
The director chose for this shot to be a Close-up to emphasize the amount of sadness and hurt that Su feels in not being able to see Chow again. The director wanted the viewers to realize that she still cares. The director chose an eye level so that the viewers will relate to Su Li-zhen and feel her pain. The framing chosen was a dirty, single. The director chose this to show her pain and sadness but also to frame it like looking through a window or into a photo of the past.
( Composition | Screen Direction | Motion )
The director used the composition to direct the eye with light and shape. Su Li-Zhen's face is the biggest shape in frame and also the brightest which tells the audience that she is the main focus. The screen direction moves from Up to down, then left to right. This almost symbolizes a fall from heaven and a reading of events. The director chose this to follow su, but also to show that she is saddened by the outcome of events. Ms Suen is working in the background, But the main movement and focus is Su as she attempts to keep herself together while under the weight of her grief.
( Lens/FocalLength - 70mm | Aperture/F-stop/F-number - f/3 )
The director chose 70mm as the focal length to emphasize the importance of her emotion. The f-stop sits at f/3 to create a shallow depth of field which forces the viewer to look at the one clear subject in frame, Su Li-zhen. This was to again call to the fact that Su and her emotional state are the most important here.
( Mise en Scene: Set, Lighting, Costume, Makeup, Color, Sound )
The director chose to show Su's apartment for this scene since she is finally moving out from where her and Chow met. The lighting is motivated and streaming in from the windows. The lights keep Su Li-zhen the most well lit so that the audience knows where to focus. The dress that Ms. Suen wears is blue toned, which shows how calm and anchor-like she is in the moment, pulling Su Li-zhen from her thoughts. The dress that Su Li-zhen wears is yellow toned, which, when paired with her expression, symbolizes a sickness or longing. Su is again wearing pink lipstick as though she were still dressing nice for Chow. The other big colors in the room are green and orange. The combination of green and orange symbolizes a change in era like the leaves of a deciduous tree. The scene is mostly without music, only focusing on Ms Suen and Su Li-Zhen's diegetic conversation about the past before music begins at the end, preparing to wrap up the story.
(Other) [Frame Within a Frame | Relevant Movement - Boom]
The director created a frame within a frame using the windowsill around Su. He made this imagery to symbolize how she feels trapped because she has no choice with moving on though she wishes to be with Chow again. The director has the camera move as it follows Su to catch her emotional shift. This is done through a camera boom.

Shot 7:

( Shot Size - CloseUp | Angle - Low/eye level | Framing - Clean Single )
The director chose a close up shot so we can see Chow's look of longing and regret as he stares at the apartment door that Su Li-zhen used to stay at. This is to tell the audience that he still cares but is unable to find her now; Su was so close and yet so far. The director chose a low angle to emphasize the weight of the feeling of loss. The shot is close to a eye level angle, which would allow the viewers to connect and relate to Chow. The framing is a clean, single which was chosen to give the audience a clear uninterrupted view of Chow's deep longing for Su which is only forced to stop because he cannot find her.
( Composition | Screen Direction | Motion )
The director chose to make this composition almost unbalanced by placing Chow on screen left and leaving a space where Su Li-zhen would go on screen right but the door to her old apartment sits where she should instead. The screen direction barely moves, if at all, which the director chose to emphasize the look of sadness on Chow's face. The motion on screen is Chow's as he parts from Ms. Suen's old apartment and stops right outside Su Li-Zhen's previous one. He stands still for a while which tells the audience that he still cares and that it almost hurts him to leave knowing he's leaving the last he has of her.
( Lens/FocalLength - 60mm | Aperture/F-stop/F-number - f/4 )
The focal length chosen was 60mm, which was to give care and focus to Chow's face but also to keep the hallway looking expansive. The director chose f/4 as the f-stop, where a rack focus is used to show Chow's shifting priority from Suen's old apartment to where his mistress, Su Li-zhen, once resided.
( Mise en Scene: Set, Lighting, Costume, Makeup, Color, Sound )
The set consists of the hallway that connects Chow and Su's old apartments. The director chose this to show the audience how much has changed and how everything won't be the same again. The lighting in the scene is motivated and coming from the ceiling light overhead. Chow is wearing a proper suit showing that he was fully prepared to meet Su Li-zhen again. He wears a blue undershirt which symbolizes the mystery of what he could have been doing all this time and how calm he is in handling the realization that she is gone. Chow seems to be wearing little to no makeup, since his face looks rather natural. The hallway is very cool-toned with a sickly green being the main color. This green symbolizes a stagnant and almost disgusting tone to show the age and passage of time. The diegetic sound in this shot includes Chow finishing up his conversation with the lady in his old apartment, but also has non-diegetic music in the background which had begun to regularly appear as the story neared the end.
(Other) [Relevant Movement - static (with slight tilt)]
The camera is static but includes a slight tilt upwards to follow Chow. The director chose this to follow Chow as he walked through the hall while making the audience see his emotion and where his focus lies.

**Sen07** · 11-19-2024, 12:46 AM

Yessenia Montalvo

This is a crown medium long shot with low angle. The aperture was a medium size due to the low lighting, medium DOF and there is still a slight blur on the background characters, while the main characters are in full clear view. With all the people sitting at the table it’s a little odd that Mrs. Chan is the only one who doesn't have a designated seat. It is also interesting that this is the first time we are seeing Mr. Chan and his back is to the camera giving a sense of cold impersonal. This is also the only time we see Mrs. Chow and she observes the interaction in the dark hidden foreground. While Mrs. Chan is in bright colors in a well lit area. This contrasts with the foreground character who is literally outside the circle. This is for showing what to expect. The lighting is interesting because in one room it's warm, intimate, and inviting while the other is dark, and lonely.

This is a wide shot with a straightforward shot since we can see the characters, but we can also see the environment around them. This scene captures the two characters from behind as they walk away into the night this shows their physical distance between them even though they are walking together in the same direction this reflects their emotional journey and the unspoken twisted connection they have created between them. The framing is centered on the two characters as they walk side by side creating symmetry that reflects their quiet companionship. A medium lens is likely being used to keep the characters and background in relative focus. The women's cheongsam is vibrant and detailed, contrasting with the man's dark underrated suit. This contrast symbolizes their different emotions. The streetlights provide soft, diffused lighting, creating shadows and reflections that evoke a dreamlike quality. This created a growing tension between what is revealed and what is hidden in their relationship.

This is a medium shot that captures Mr. Chow and Mrs. Chan seated across a table it provides enough detail to show their body language, facial expression, and actions. The angle is at eye level making the viewer feel as though they are observing the scene from a seat nearby. There is a subtle tension building. The framing of the stop is symmetrical. The light fixture in the center of the frame serves as an anchor creating balance and focusing attention on the interaction between the characters. A medium lens was likely used; this is apparent in the way the characters are presented realistically. The lighting is soft and diffused with a warm slightly greenish hue. This creates a subdued intimate ambience while emphasizing the subdued emotions of the characters. Mr. Chow is wearing s a formal suit, highlighting his reserved and controlled demeanor. Mrs. Chan wears a patterned dress which adds elegance and emphasizes her grace and self restraint.

This is a medium prop shot since you can see the characters background and this frame is shot through a dirty used mirror. This creates a layer of separations between the viewer and the subjects. This reflection captures the two characters in intimate moments without really showing their faces. The camera is at a low angle that feels as if the audience caught these two characters in an intimate moment. The reflections create a soft almost dreamlike framing of the couple. This symbolizes their emotional relationship. This time Mr.Chow’s shirt contrasts with the dark tones of the reflection. While Mrs. Chan’s gently placed hand emphasizes the senes of connections the two characters have built. They likely used a telephoto lens this is apparent in the way the shot keeps the reflection of the figures as a focal point. A Wide aperture was used to create that soft lighting.

This is a close up shot that focuses on Mrs. Chan and the phone call she is having. This is a low and intimate angle we are very close to; it allows the audience to feel the growing tension and body language that suggest unpleasantness. The left side of the screen is obscured by a dark out of object that creates a voyeuristic effect and adds a layer of secrecy or restraint and emotional restraint. Her bright floral patterned dress is in contrast with the muted greenish background. A wider aperture was used to create a shallow dof so that the background is softly blurred while keeping the focus on the hand, arm and phone.

This closeup shot of Mrs. Chan’s help the viewers understand that Mrs. Chan feels regret and sadness for the missed opportunity and love lost. This idea is emphasized by her facial expression and in how she is trying to hide her tear filled eyes. This shot is taken at eye level creating intimacy and allowing the viewer to engage directly with her vulnerability. She still feels trapped in a pretty cage; this idea is further shown by the way she is framed inside the window frame as if she is physically and emotionally caged in. This just further emphasizes the theme of unattainable desires. A telephoto lens was used to create a shallow dof that isolated the women from the background. And a wide aperture to blur out the background while still keeping her in focus. While the character wears an understated patterned dress that shows her refined, formal personality. The lighting helps to add a soft warmth to the scene creating gentle highlights on Mrs. Chan’s face.

**hmdavis** · 11-19-2024, 01:02 AM

Hailee Davis

1. This close up at a slight low angle and dirty single has some very nice between both characters as is shows as if there is a wall between both of them with the doorway, which happens a lot throughout the movie, even at the start to show them separate and over time getting closer together by passing the boundaries. It also does a really good job of keeping the rule of thirds by leaving them in their own third throughout the whole moving segment. The focus on just the dude and leaving else blurry also really moves our focus onto him only so we pay more attention to how he is acting and saying.

2. This medium close up at eye level and dirty single shows how things are changing between the two of them as the man moves into the third of the screen she is in, making them feel incredibly close, closing the gap between both of them. It makes them feel very close, as well as breaking the 180 rule to show the change in the dynamic between the two of them after the revelation they have made.

3. This is a close up at a slight low angel and a dirty single. This scene shows with the use of the framing with the door in the background how they are separating from each other in this scene. With the focus it also shows how were paying attention to how he is feeling more than her leaving, but we still notice it as she’s in one third of the frame and the only one moving, even if he takes up most of the screen. Another things is that with the outfits, when separating it looks as if they are blending back into the background to where they originally were, showing they really weren’t supposed to be together in the first place.

4. This wide shot at a low angle makes us focus on how she is starting to feel small and lonely the farther she gets away from the room. It also shows the two sides of them as she is usually pictured in reds and he is usually pictured in browns, and how there is a divide between both them even if they are getting closer when they probably shouldn’t.

5. This medium close up at eye level really shows how she is trying to get to the same page as her husband as shes trying to get him to confess to having a mistress. This scene also has her shift out of the red door frame that was framing her as if she is trying to step out of her comfort zone to get him to open up to her. I also think it helps that she is wearing different colors making her stand our from the red as well to signify the change and get her to talk to her husband.

6. This medium wide shot shows how empty she feels after everything as it makes the hallway in front of her look like an empty void around her she sits in the chair and really thinks. She also is showing in very muted colors when usually she is seen in brighter colors showing that the spark she had was kind of dwindling in the moment, but some red still shows through in the her as a sign of some hope.

7. This is a close up shot at a slight low angle and it really shows him and how he is feeling in the space and it appears as if he feels a little trapped in the space he is in but with the open window that there is hope and a chance to get out there and figure things out.

**MontseNavarro** · 11-19-2024, 01:40 AM

montse Navarro

**DanielCabang** · 11-19-2024, 01:51 AM

Daniel Cabang

This is a dirty single and is shot at around eye level of the woman is above for the man. The shot composition has both of them slowly approach the center of the screen. The lens' focus blurs the man but soon lets him come into focus, so it is utilizing a rack focus. This is done to establish both these characters and their literal and metaphorical bump in with each other. The direction of the scene is a juxtaposition, having the two characters walk past each other, colliding these two fates together. The lighting is rather dark, with both of them bathed in the darkness, with only the characters being visible. This can show how the characters are meeting at a time of solitude, where they escape to from the apartment's peoples. Sound wise, this romantic track plays. This track plays whenever these two have an intimate moment, so this playing her signals the beginning of their relationship.

This is a dirty single shot and is at around their eye levels. The shot composition is interesting, as both of them are not very visible and occupy a very small portion of the center of the screen. The camera is also angled in a weird way, as if it's behind the wall to the left. This is all to show that this meeting they're having is something that other people probably shouldn't be seeing, as we the audience are like an intruder into this private affair. The lens has a slight blur over the entire shot, meaning the lens is in soft focus. This soft focus is here to show the audience that dreamy glow, to show the budding relationship between these two.

This is a clean single and is a full shot. The composition has the character in the very right part of the screen, past the 1/3 line and has a lot of empty space to the left. The subject is relatively small, and blurs into the background due to the camera focus. This is all meant to represent and show the struggle the character is facing. He's facing a rough decision, to cheat on his current wife, and his mistress has politely refused his initial courting, so he's going to feel alone. The scene is also dark, blatantly showing that the character is in a dark spot or slump emotionally for the time being.

The shot is a clean single and is a medium close up shot. The background is blurred heavily with an f stop of about f/1.5 . The lens is long and separates the character from the background spatially. This is all done in order to convey to the audience that his reaction to his failed advancements is effecting him emotionally, and so the audience must pay attention especially to his face. The shot is dyed this yellow, which carries a connotation of sickness or jaundice, showing his inability to firmly secure the mistress and his dislike of it. The yellow is making him look sickly, as if what he's doing isn't working.

This shot is a dirty single and is about his eye level or slightly higher. The foreground is very blurry, leaving the characters in the background with a lot more emphasis. The man is at almost a full body shot, with only his feet disappearing under the bed. There's a frame within a frame in this shot, created by the window the camera is peering through. This is all done to show that the characters are trying to mingle in the background without anyone noticing, with the camera and by extension the audience peering the window to spy on their scandal. Sound wise, the romantic track is playing again, acting a leitmotif of their interactions; of the potential love that could blossom.

This shot is a clean single and is a cowboy shot. The composition places the woman in the rightmost 1/3rd of the screen, leaving plenty of space to the left. The camera is under eye level and is peering right above the bed frame. The subject is relatively small on the screen, leaving lots of space for the background. This is all done to highlight her isolation. Now that they've both parted ways, she's left without him. This is seen with his absence in the shot and the gaping area he leaves behind. This is a very emotional scene for her, and so the camera feels like we're peering up at her from behind the bed frame and watching her.

This shot is a dirty single, though there's two people in the shot. The main character in the scene is in focus, while the bystander is extremely blurred. The main character is also very small in the shot, with them taking up the bottom right of the screen only. This is done to show that he's missed his chance and is only a shadow of his former self. His mistress eventually moved on while he hasn't, and so his feelings for her and that experience are but a fleeting experience, one he desperately tries to hold onto, no matter how small.

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Fall 2024 | Watch with Purpose #5: In the Mood for Love

Fall 2024 | Watch with Purpose #5: In the Mood for Love

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