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

[AllenSalvador17]

Allen Salvador

[nick_fite]

Act 1



This shot is a high angle single medium close-up shot. The shot abides by the rule of thirds, placing the character on the right third. The shot is also dead on with the actor, we don’t get any side profile, and the shot is completely steady. The background looks very close. This would imply a longer focal length, but we know from previous shots that this is a pretty small space and the background really is that close. We still get some nice rounding of the face, so the focal length seems to be around 100 mm. The aperture is also opened up to get that nice blur in the background, with an f-stop around 11. All of this was done to give a claustrophobic feeling. In the scene the character is confronting the person she believes her husband is cheating on her with. She’s dressed nicely, indicative of the time period the movie is set in and implies that the conversation is important.


Act 2: Shot 1



This shot is a high angle dirty single medium close up shot. The subject is right of center, but not quite on the rule of thirds. The camera is motionless. The camera is at an angle, as we get a bit of his side profile. The background is pretty far away, and has a nice blur to it. The focal length is likely around 50 mm and has a f-stop around 11. This scene abides by the 180 rule, until they get their food and then it breaks to the other side, and then back to this side. They don’t use any techniques to do this, they just do it. It makes the interaction seem friendly and comfortable, but gives it an uncomfortable feeling. The set and costumes imply that they just got off of work, and are having dinner.

Act 2 Shot 2



This shot is a high angle double shot. Both the characters are framed differently. The woman has a close up shot, while the man has a medium close up. Then, when the woman moves towards the back of the room, they are framed as a medium wide shot. The background is pretty far away but seems very close to the characters, it must have a focal length around 150 mm. At the beginning of the shot the aperture is quite open, an f-stop around 4, but as she moves past the character it’s closed up, putting the man in focus, an f-stop around 8. The characters are pretty consistently kept on the rule of thirds, the woman on the left and the man on the right. Their clothing implies that they just had a night out. All of this shows that the man is hoping to get more of a relationship from her, but the woman is hesitant.

Act 2 Shot 3



This shot is a low angle single wide shot. The woman in red is on the rule of thirds, there is no camera movement. To get a shot like this the focal length has to be pretty wide and the aperture has to be pretty closed. The focal length seems to be around 35 mm with an f-stop around 13. The biggest thing in this scene is the color red. The curtains are red and so is the woman. In this situation, it seems to be implying love. In the story the woman has always been cautious of developing feelings for the man. From her actions and the colors of the room, it implies that she’s starting to develop feelings as well.

Act 2 Shot 4



This shot is a low angle double close up shot.The man and woman are both on the same rule of thirds. There is a lot of empty space behind them. There is no camera movement. The minimal background is pretty flat and there is a bit of blur. The focal length must be around 100 mm and has an f-stop around 11. The background is old and decrepit, and contrasts with the nice clothing that they’re wearing. The space behind the characters gives an uneasy feeling. It’s like something could come out and grab them. The relationship that they’ve created cannot last forever. It’s going to have to end soon. That’s why they put that space there, because that is going to come out and grab them soon.


Act 3 Shot 1

This shot is a low medium close up single shot. There is quite a bit of blur in the background, and there is a nice rounding of the face. The aperture seems to be around 150 mm and an f-stop around 11. The character is on the rule of 3rds. There is also a very clear foreground and background. The character is looking at the foreground and remembering the relationship that he used to have with the woman. Showing the foreground, where the woman used to live, and showing it with the flowers adds to the idea that the character misses her.

Act 3 Shot 2



This shot is a low angle single medium wide shot. While in this shot you can see more than you can in the typical medium wide shot, you still can’t see his feet. There is camera movement, the camera trucks left and pans to the right. It doesn’t always keep the man in frame, momentarily letting him be covered by a column of the building, and is mostly focused on the building. This shot is pretty wide, and has practically no blur. It likely has a focal length of around 35mm and a f-stop around 20. The clothing of the man doesn’t match his surroundings. He’s a businessman and is dressed as one, and he’s in an ancient temple. In a previous scene he talked about how people used to whisper secrets into a hole in a tree and then fill it with mud. Then, he sees a hole in this building and does the same. In the same way that the tree holds that secret so does the building.

[benvaz722]

Benjamin Vasquez

1 This shot is a medium, single, at a straight or low angle of Mrs. Chan. Lens type is 50 mm with a f number of 5 to blur out the background and focus on Mrs. Chan. Iso is 800 for an indoor scene and shutter speed 1/125. The way the camera is position with Mrs. Chan on the screen left facing the right helps the viewer understand that she is speaking with Mr. Chow wife, especially because you can’t see the wife. This also help solidify the idea that this story is not about their partners but the main characters relationship.

2 this is a full shot, two shot at a high angle of Mrs. Chan and Mr. Chow. The lens type is 30 mm with a f number of 15. Iso is 1600 for this dark scene and a shutters speed 1/500. The narrow ness of the ally is forcing the two characters closer together and allows more and more recognition of each other’s existence. Possibly Mrs. Chan ascending gives the implication that the relationship that she will soon have with Mr. Chow will be difficult. Mr. Chow descending and light on his face shows the opposite and he will easily fall for her.

3 This is an insert shot of a clock in Mrs. Chan office. This shot is important as it show the viewer at what time she receives the call, and we later find out that it is Mr. Chow that is calling with her and not her husband. Its father builds the suspense that they both are hiding something form their partners and the viewers.

4 This is a two shot, medium shot, at a straight or low angle of Mr. Chow and Mrs. Chan. This is a dark scene so an iso of 1000 is useful with a 1/250 shutter speed. The camera lenses are a 50 mm to bring in Mr. Chow the same size as Mrs. Chan. The aperture is 6 to blur out Mr. Chow a bit and focus in on Mrs. Chan facial reactions and feelings. The shape within the frame of the bars gives the feeling that they both are in prison by their secret.

5 This is a wide shot, single shot, at a low angle of Mr. Chow. This scene is indoors so an iso of 800 will do and a shutter speed of 1/250. The 25- or 30-mm lenses will be used the get the far distance of Mr. Chow. Previously Mr. Chow is descending into this hallway, the redness of passion in the hall, and the distance is all further signifying his decent into love. The lines of the hallway are all pointing toward Mr. Chow to drive the eye to focus on him.

6 This is a medium shot, straight or low angle, and a dirty single of Mrs. Chan. The iso is 800 for the indoor scene and a shutter speed of 1/250. The f number is 18 to blur out the character in the foreground and focus on the character in the background. This help the effect of lying to the viewer to make us believe that she is actually talking to her husband and not Mr. chow. The blue in her dress implies the sadness in her heart.

7 This is an extreme close up, single, and a low angle of Mr. Chow whispering into a hole. The iso is 400 for a nice and cloudy day and a shutter speed of 1/125. The f number is low at an 8 to focus in on what he is doing. The camera positing making Mr. Chow on the screen right and facing screen left helps the 180 rules as if he is speaking to someone, but the reality is that no one is there. It also completes the comment he made earlier in the film of what is the significance of the action he is currently doing.

[JocelynHop:3]

Jocelyn Hopkins

SHOT 1

• Shot size, angle, framing: Medium, High, Over the Shoulder
• Shot composition, direction, motion: Stays on the clock for a bit and then focuses on the lady and a guy who walks it. It is also a very stead handheld camera
• Lenses and other camera settings: Focal Length 100 - 200 mm and Fnumber 1 -2
• mise en scène (set, lighting, costume, makeup, sound, etc.): The lighting is very green and dull
• Other relevant information, (e.g., shapes within frame, frame within frame, relevant movement): The edge of the Screen and the Clock make her seem trapped
• Meaning: These aspects make the shot feel as if she is trapped by time, especially how the camera mainly focuses on the clock along with the context of the call, time is not on her side, she's not in power, and does not know when and if he'll call.

SHOT 2

• Shot size, angle, framing: Insert, High angle, insert shot (cannot see anyone's face or body)
• Shot composition, direction, motion: The camera pans back and forth between the food items
• Lenses and other camera settings: Focal Length 75 -125 mm fnumber 3 - 5
• mise en scène (set, lighting, costume, makeup, sound, etc.): green, dull lighting, but vibrant colors compared to the food
• Other relevant information, (e.g., shapes within frame, frame within frame, relevant movement): Nothing that i can see at the moment
• Meaning: These aspects show the meaning of their current situation on how both of them are eating what their partners would've eaten. Especially how the lady eats her food with the hot sauce because his wife would eat it that way. The food represents how both of them are doing it for each other and how both of them are in similar situations with their partners.

SHOT 3

• Shot size, angle, framing: Full, High, Single
• Shot composition, direction, motion: Going from right to left
• Lenses and other camera settings: Focal Length 25 - 50 mm, Fnumber 8 - 10
• mise en scène (set, lighting, costume, makeup, sound, etc.): Dull and dark lighting, clouded
• Other relevant information (e.g., shapes within frame, frame within frame, relevant movement): He is in an open space, but the street and the buildings behind him direct him toward the building he's facing, he also looks strapped with nowhere to escape.
• Meaning: All these aspect make him feel very small in his location and his situation. The composition and lighting make it feel like he has to go into the building no matter what even if he doesn't want to or if it results in a negative outcome.

SHOT 4

• Shot size, angle, framing: Full, Low, Single/Overtheshoulder ( one person but cant see face)
• Shot composition, direction, motion: Composition makes him walk upward in a straight line
• Lenses and other camera settings: Focal Length 35 - 50 mm Fnumber 3 - 7 with the foreground blurry instead of the background
• mise en scène (set, lighting, costume, makeup, sound, etc.): The color is both red and green so strong color theory, the lights still look sickly green, despite vibrant colors, the lighting looks dark
• Other relevant information, (e.g., shapes within frame, frame within frame, relevant movement): the plant and the walls and the ceiling also make him look small and trapped.
• Meaning: All these aspects give this shot the meaning that he is working against the odds even though everything else in this shot is either dull, sickly, or trapping him in a box making him feel small, but because of the low angle and going against the odds he's somewhat in control.

SHOT 5

• Shot size, angle, framing: Medium close-up, High angle, dirty single
• Shot composition, direction, motion: walks from right to left
• Lenses and other camera settings: Focal length 75 - 150 mm fnumber 1 - 2
• mise en scène (set, lighting, costume, makeup, sound, etc.): the lighting is somewhat bright and this shot is very yellow based, which is also somewhat sickly just because it's a dull yellow rather than a vibrant one with the walls broken down
• Other relevant information, (e.g., shapes within frame, frame within frame, relevant movement): trapped within a box
• Meaning: These aspects show that he is trapped in this shot and is going to go toward the lady in the back. However, we still cannot see her, so she's not as important, nor does the blurriness shift in this shot. We see her later, but glimpses of her.

SHOT 6

• Shot size, angle, framing: Medium, high angle, single
• Shot composition, direction, motion: still shot
• Lenses and other camera settings: Focal Length 175 - 200 mm, Fnumber 1 - 2
• mise en scène (set, lighting, costume, makeup, sound, etc.): Bright, colorful
• Other relevant information, (e.g., shapes within frame, frame within frame, relevant movement): Trapped, framed within a frame ( the triangle)
• Meaning: These aspects show that he is turning a new after everything has happened. However, he is still trapped within his current situation, but the lighting really emphasizes the possibility of a brighter outcome.

SHOT 7

• Shot size, angle, framing: Full, High, crowd
• Shot composition, direction, motion: Fast going from right to left, handheld
• Lenses and other camera settings: Focal length 35 mm Fnumber 6 - 10
• mise en scène (set, lighting, costume, makeup, sound, etc.): Dull, looks like found footage
• Other relevant information, (e.g., shapes within frame, frame within frame, relevant movement): Focus is the people despite them being blurry
• Meaning: These aspect show the chaos of this scene, especially with the fast movement, handheld, and blurry movement. the Dullness and going from right to left indicates this is a negative siutaiton

[Meg Villanueva]

Meg Villanueva

[ChefBriller]

Austin Briller



1. The shot is a medium close shot at a high angle, framing both Mr. Chow and Mrs. Chan in a two-shot to emphasize their emotional entrapment in their marriages despite their infidelity. Though they converse, they are both facing the camera, breaking the 180-degree rule, yet maintaining an engaging dynamic. The composition highlights Mr. Chow blurred in the background while Mrs. Chan remains in focus, reflecting her growing contemplation of his words. The use of a 55mm lens and an f-stop around 6 ensures clarity on Mrs. Chan, with Mr. Chow fading into the background. The lighting emphasizes the characters’ expressions while darkening the background, underscoring the internal drama. Iron bars are visible within the frame, symbolizing their emotional confinement and the social constraints preventing them from pursuing a relationship openly.


2. In this shot, a full shot with a two-shot framing at a low angle is used to create depth in the scene. The camera settings, with a focal length between 35-50mm, keep the entire scene in deep focus, ensuring no elements are blurred. The warm tones from the motivated lighting of lamps, with an emphasis on purple along the walls, add to the scene's mood. The formal yet more relaxed costumes with Su wearing house shoes and Chow rolling up his sleeves reflect their shift in comfort with each other. Framed by the hallway, this shot symbolizes an idealized vision of the relationship they long for but know is unattainable. The purple tones represent their shared dream of a life together, free from secrecy, while the lamp, glowing brighter than the surrounding lighting, serves as a symbol of their growing emotional connection and the warmth of their desire for closeness in a shared space.


3. This shot is a medium, high-angle, clean single shot that reflects the man's inner turmoil as he grapples with his growing feelings for the woman. The composition uses dark colors—black, white, and yellow dominate the frame—to create a sense of confusion and discomfort. The only sound is music, further emphasizing the emotional isolation of the character. The man wears a plain white shirt, symbolizing his vulnerability and unease. The camera uses a standard 50mm lens with a slight depth of field, visually representing his emotional state as everything around him feels blurry and uncertain, suggesting he is either trying to hide from his feelings or blend into his surroundings.


4. This long shot establishes the grand and dramatic setting of the hallway, with a slightly low camera angle that emphasizes the towering, imposing architecture. The symmetrical framing, with red curtains and recessed lighting, creates a formal, balanced atmosphere. The hallway's elongated shape and the character's central placement guide the viewer's eye, drawing attention to her solitary figure moving forward. The static shot, with the character as the only dynamic element, highlights the environment and adds to the sense of anticipation, suggesting a journey or destination. The rich textures and symmetrical composition give the space a surreal, almost theatrical quality, hinting at symbolic significance in the character's journey. The use of the rule of thirds positions the woman off-center, with the curtain filling the other side of the frame, creating tension and mystery. The natural lighting, particularly from the room she faces, contrasts with the darkness behind the curtains, suggesting an unknown or hidden aspect of the environment. The woman’s red attire, typically associated with prosperity and good fortune in Chinese culture, further hints at deeper thematic meanings related to her journey or fate.


5. This wide shot emphasizes the dynamic between the characters and their environment, focusing on their spatial relationship and the contrast between them. It's a "dirty" shot, capturing the emotions of one character's face, filmed at eye level to avoid judgment and highlight her vulnerability. The composition leads the viewer's eye to the mirror, where the characters are reflected, creating a "frame within a frame." The shot moves along the x-axis from left to right. Using a wide-angle lens with a 70mm focal length and an f-stop of 5.6, the shot keeps the characters in sharp focus while blurring the background. The mise en scène is vibrant and colorful, providing a stark contrast to the film's overall tone, while the prominent color red suggests anger and emphasizes the characters' frustration and emotional tension toward their significant others.


6. This shot is a "dirty single" featuring two characters, but with the focus on the main character while the bystander remains heavily blurred. The main character is placed in the bottom right corner of the frame, appearing small and isolated. This composition visually underscores his sense of insignificance, highlighting that he has missed his chance and is now a mere shadow of his former self. His mistress has moved on, but he remains fixated on their past, clinging desperately to a fleeting experience that has long since faded. The small, off-center placement of the character reflects his emotional distance and the transitory nature of his feelings. The blurred character in the center of the frame shows the main character being watched or looked over by someone. The blurred character winds up in the middle of the frame making it a bit awkward, but the frame within a frame makes this shot very appealing.


7. This shot is a medium full-shot captured from a low angle in a clean single. The static camera frames the subject centrally, enclosed within a striking blue square, immediately drawing attention to them. The blue background not only adds depth but also sets a contrasting tone, enhancing the visual impact of the shot. The strong silhouette of the character against the deep blue backdrop creates a serene yet dramatic effect. The rich hue of the background complements the bold outlines of the subject, resulting in a visually captivating atmosphere that pulls the viewer into the moment.