Announcement

**Sebastian Jurado** · 09-13-2024, 11:24 PM

Sebastian Jurado

Frame one: This frame has an establishing shot size with a dirty crowd shot framing and a low shot angle. The director made these specific types of cinematic choices in order to establish the place in which Roger Thornhill is being abducted to, as well as to give more context as to the type of people he is being kidnapped by based on the type of house as well as where the characters will be for the upcoming scenes. Based on the type of house, the kidnappers seem to be quite wealthy and prominent since they have such a big and affluent-looking house. Regarding the shot direction, the focus is horizontal as it moves from right to left as the characters arrive to the house. The lighting in the frame has an intense contrast created from the bright light source coming from the sun and creates some harsh shadows from the trees, and also it’s important to note that there is very little light shown on the house. The director most likely chose this type of lighting contrast in order to convey to the audience that there is very little known about the house and creates a sense of ominousness with the dim lighting on the house. The focal length of the frame is most likely a 25mm wide angle lens with a fast shutter speed and a higher f-number which creates a deep focus. These camera setting choices show the audience the scene’s location in a clear and broad way.

Frame two: This frame has an medium shot size with a single shot framing and a low shot angle. The director made these specific types of cinematic choices in order to emphasize and establish the significance of this character as well as to show his power. In this frame, the character is being established as an important man who is involved and responsible for Thornhill’s kidnapping. It is important to note that the lighting, or perhaps the lack thereof, on the character’s face which was most likely done in order convey a feeling of mystery and emphasize how the character is unknown. Regarding the shot direction, the focus is horizontal as it moves from left to right. The focal length of the frame is most likely a 90 mm standard lens with a medium shutter speed and a lower f-number which creates a shallow focus. These camera setting choices show that this character should be the main focus since the scene behind him is blurry and the man himself is more clear despite being mainly in the dark. The director clearly set up this frame in order to portray this character as someone that the audience shouldn’t trust or consider to be enigmatic. Additionally, the director chose for this character to wear a suit in order to convey how this is a sophisticated man. The director also chose for the room to be a large affluent-looking office room in order to reflect the kind of person this man is.

Frame three: This frame has a master shot size with a crowd shot framing and a low shot angle. The director made these specific types of cinematic choices in order to convey to the audience who is in power and who is not within this group of people. For example, the two policemen are standing on both sides of Thornhill, emphasizing that he cannot go anywhere and is under their watch, therefore making Thornhill not be in power. Regarding the shot direction, the focus is horizontal going from left to right. The focal length of the frame is most likely a 90 mm standard lens with a medium shutter speed and a higher f-number which creates a deeper focus on the scene and background. These camera setting choices were made to show the audience the layout of the space as well as show how Thornhill is now in this new location, an official police station in a courtroom-type place.

Frame four: This frame has a medium shot size with a two shot framing and an over the shoulder shot angle. The director made these specific types of cinematic choices in order to convey the fact that these two characters are having a conversation as well as to emphasize the importance of this interaction between the two characters. We are shown the face of the guy on the right and we can see that he is quite confused or unfamiliar with Thornhill, which is most likely why the director chose to make these particular cinematic decisions, to highlight the other guy’s reaction or feelings. Regarding the shot direction, the focus is horizontal going from left to right, emphasizing the perspective of the conversation. The focal length of the frame is most likely a 150 mm telephoto lens with a fast shutter speed and a low f-number which creates a shallow rack focus. These camera setting choices were made to show the importance of this dialogue between these two characters and to ensure that the audience does not pay too much attention to what is going on around the characters. Additionally, the director made these choices in order to create that element of surprise when the man on the right gets stabbed in the back. As for the costumes that the actors are wearing, the two characters are seen wearing formal suits which is done for the sake of portraying the characters as classy and professional.

Frame five: This frame has an establishing shot size with a single shot framing and a overhead shot angle. The director made these specific types of cinematic choices in order to introduce the outside scene of where Thornhill is running in and show the audience the general time of day and location. Regarding the shot direction, the focus is horizontal moving from right to left. The focal length of the frame is most likely a 20 mm wide angle lens with a medium shutter speed and a low f-number which creates a shallow focus. These camera setting choices were made in order to give the audience a bird’s eye perspective of Thornhill’s escape while simultaneously making him look extremely small, which is most likely how the character may be feeling in the moment in comparison to everyone in the United Nations building, which is why the two are juxtaposed.

Frame six: This frame has an full shot size with a single shot framing and a low shot angle. The director made these specific types of cinematic choices in order to show the audience Eve Kendall’s demeanor and feelings about the situation they are in with Thornhill. The way she is relaxing and carelessly reading a book while Thornhill is hiding from the cops conveys a lot about her character. It shows the audience that she is not fazed by situations like these which could possibly allude to the fact that she is in on the whole situation and has her own secrets. Regarding the shot direction, the focus is vertical going from down to up. The focal length of the frame is most likely a 150 mm telephoto lens with a fast shutter speed and a medium f-number which creates a soft focus. These camera setting choices emphasize Eve’s calmness by allowing for the audience to immerse themselves in the scene with the wide horizontal view of her body and relaxed pose. Additionally, the dim and warm lighting choices really adds to the mood of calmness as well as the dark and modest dress Eve has on creates a relaxed feeling.

Frame seven: This frame has an establishing shot size with a low shot angle. The director chose these specific types of cinematic choices in order to show the audience the general environment of where the train is as well as the time of day. The director also wanted to show the audience how the surrounding area looks like from the level of the train. Regarding the shot direction, the focus is horizontal going from left to right. The focal length of the frame is most likely a 40 mm wide angle lens with a medium shutter speed and a lower f-number which creates a shallow focus. These camera setting choices create a feeling of unwinding as the audience can see the sundown leaving very little lighting in the environment and a shallow focus which makes the audience’s vision that much more blurred and perhaps calmer now that it is night time in the scene.

Frame eight: This frame has a medium shot size with a two shot framing and a low shot angle. The director made these specific types of cinematic choices in order to focus on the intimacy between Thornhill and Kendall, particularly focusing on the way they look at each other and the way Kendall has her hands on his chest. The director most likely intended to immerse the audience in this romantic intimacy which is why we are so close to the characters and can see the two as the embrace each other. Regarding the shot direction, the focus is horizontal going from left to right. The focal length of the frame is most likely a 300 mm standard lens with a fast shutter speed and a low f-number which creates a soft focus on the two characters. These camera setting choices were made in order emphasize the intimate interaction between these two characters. The director chose to use a soft blur on the two to highlight the tenderness and romance in the scene. The dim lighting and the lack of light on the characters with the light behind them creates a contrast that makes the characters seem to be in a secluded or private area/situation.

Frame nine: This frame has an medium shot size with a two shot framing and a low shot angle. The director made these specific types of cinematic choices in order to highlight the nonchalant interaction between these two and to show Thornhill’s new costume as he tries to escape the train undetected. The director chose this shot in order to make the audience feel as if they were there walking with the two characters while seeing their demeanor and facial expressions. Regarding the shot direction, the focus is horizontal moving from left to right. The focal length of the frame is most likely a 100 mm telephoto lens with a fast shutter speed and a low f-number which creates a shallow focus. These camera setting choices emphasize the two main characters and blurs out the background characters, setting both Thornhill and Kendall as the central focus in the scene. The choice of lighting in the scene exposes most people there, but with the choice of costume for Thornhill, he is able to conceal his identity and make himself less noticeable as he exits the train.

Frame ten: This frame has a wide shot size with a two shot framing and a low shot angle. The director made these specific types of cinematic choices in order to show the audience the two main characters and the surrounding environment and establish the ambiance of the scene which seems to be very bleak and deserted. The director chose to create this juxtaposition between these two characters specifically in this desolated area in order make the audience wonder who this man in front of Thornhill is and if is significant in any way as he is the only person there for miles. Regarding the shot direction, the focus is horizontal going from left to right. The focal length of the frame is most likely a 20 mm wide angle lens with a medium shutter speed and a low f-number which creates a shallow focus. These camera setting choices were made in order to highlight the position of two characters in a way that makes the audience immediately focus on them in comparison to the area they are in. The director set the shot up in this way in order to create a feeling of anticipation and mystery for the audience as we wait to see if this person in front of him is significant at all.

**B.Rocha** · 09-14-2024, 09:39 PM

B. Rocha

1. The mise en scene for this scene includes all male background actors to represent a gentleman's bar/club, fashion all relatively uniform in clean and neat business/corporate suits, there are ashtrays, alcohol, chairs and tables. The camera settings for this shot would be an fStop of shallow focus f4-f10, focal length between 35-85mm, and an ISO of 400-800. The screen direction plays with the X and Z axis as the ongoing conflict occurs from side to side as Thornhill address to two men, and his placement further away from the camera compared to the men establishes his size as smaller and implies he is not in command in this conversation, the men closest to the camera are. The composition utilizes size as previously mentioned, but also color as the sea of suits in greys and black amidst the brown tone of the club impresses the audience with a sense of camouflage being necessary - that standing out in this crowd would not be a good thing. This is a medium shot chosen to portray physical closeness between the character and their interaction range in regard to their props and one another. As an over the shoulder frame at soft high angle, almost eye level, the components to this shot were chosen to display a sense of inclusion for the audience in the conversation within an atmosphere that demands formality in attitude and motion. We are also placed in such a way as to have an overall neutral judgement on Thornhill as he addresses the two men in his meeting but utilizing depth to confirm his placement away from the camera, we have a soft implication that the two men closest to us have a larger dominance over the conversation.

2. The mise en scene for this scene includes the interior of a car, an exterior of a modern mansion in the distance, and an opening of a field of grass acting as a visual beeline to the mansion's location, walled by high dense trees on either side. The camera settings for this shot would be an fStop value of f16-24 with a tilt shift focus primarily on the mansion, a focal length of 15-50mm and ISO of 500-800. The screen direction plays largely on the Z and X axis due to the selective focus we have of the mansion entering from the right side of the screen moving left as the Z axis location of the house draws nearer as we approach. This breaks the western trend of analyzing things from left to right, so the entrance of the home in the opposite order causes an impressed feeling of imbalance or off-ness. The composition plays largely with the element of direction as mentioned, along with speed and shape as the approach to the mansion feels tense and drawn out but also the bee-line shape of the field of grass creates a visual path directly to the mansion. This is an establishing shot framed in the POV of Thornhill at eye level angle. This was chosen to directly connect the audience to the feeling of confusion and unease Thornhill is experiencing from his abduction and seizure to this unfamiliar location.

3. The mise en scene for this scene includes an ornate and wealthy office study, complete with an array of books, an elegant fireplace, rugs, sculptures, and fine furniture. The characters in view are dressed in formal attire and are clean and neat. The camera settings for this would likely be a deep focus shot with an fStop value of f20-32, a focal length of 35-50mm, and an ISO of around 600-800. The screen direction plays mostly on the Y and X axis as there is a deliberate place of Thornhill on the L-side of the screen, akin to Western trends of analyzing from L-R but also of Thornhills head in roughly the middle of the frame. Leonard's head is placed above Thornhills and VanDam is placed below, with both absorbing the majority of the frame on the middle and right side. This establishes the ongoing conflict as visually we are signaled that Thornhill is cornered and overwhelmed by their presence as they take up the vertical and horizontal axis of the frame, enhancing the atmosphere of unease and vulnerability. The composition uses color in the suits to signal good and bad, as Leonard and VanDam are in stark black dinner suits and Thornhill is an off-gray. This depicts clearly who are the bad guys in the shot, but also insinuates that while Thornhill is the vulnerable one in this shot (lighter suit) he is not an entirely innocent individual (a gray suit over a full white). Camera orientation is also used in this composition as we are placed above all character's eye level, this is meant to portray the audience's exclusion from the ongoing conflict, adding to the helplessness of Thornhills position as the view is in an omniscient, overseeing perspective. This is a Medium-Full, High Angle, Three Shot used to enhance the atmosphere of Thornhills threatened and vulnerable state and give the audience a sense of powerlessness at what is occurring.

4. The mise en scene for this scene includes a lineup of 3 vehicles that recently crashed into one another, stoplights and signs, roadway and sidewalk, adjacent homes and trees in the background and the individuals involved in the crash. The camera settings for this shot would be an fStop value of 16-24 in deep focus, a focal length of 35-50mm, and an ISO value of 200-600ISO given the darker image. The screen direction plays largely on the X and Y axis as there is the horizontal conflict of the crashed vehicles aligned along the road, but on the lower portion of the frame to create a visual weight that what occurred has negative implications. The composition of this shot utilizes brightness, direction and shape as the nighttime ambience intensifies the drama and danger of Thornhill driving whilst intoxicated. Further, the shape of the cars crashed together in a continuous looking chain creates a visual symbol of how these events are linked to the previous and incoming events Thornhill will come to face. This is a wide shot size, three shot framing at a high angle chosen and used to amplify the extent of damage Thornhill has caused in his drunkenness as well as the heaviness to his actions being serious and dangerous as the police approach his vehicle and the other civilian involved in the crash looks in his direction.

5. The mise en scene for this scene involves Thornhill, a telephone, a view of the hotel bed, the interior of the closet with suits inside and the coat of one draped on the bed. There is elegant wall moulding and brass handles on the doors to impress the audience that this is a lavish, expensive hotel. The camera settings for this shot would likely be an fStop value of f6-f12 in shallow focus, a focal length of 50-80mm, and an ISO value of 500-800 given the light of the interior of the hotel room not being overly bright. The screen direction plays largely on the Z axis as Thornhill is placed close to the camera which gives the audience a sense of inclusion and importance in the conversation Thornhill has on call. The composition of this shot utilizes size and brightness as Thornhills proximity to the camera creates an atmosphere of importance to the content of the call, as well as the color choice of the black phone being used as a symbol that the call is conveying crucial narrative info that is serious or important in nature. This is a Medium size, clean single frame shot at a high angle that was chosen and used to display important props and close proximity to the character to impress the audience with the signal that the phone call has importance to the narrative but we are overseeing or 'listening in' to the information occurring and are directly involved.

6. The mise en scene for this scene involves numerous tall trees, pine needles and pinecones, mount Rushmore in the background, two vehicles, Thornhill and Eve. The camera setting for this shot would likely be an fStop value of 18-24 as there is little blur between the foreground and background, a focal length of 35-50mm, and an ISO value between 800-1600 as this is a daylight shot. The screen direction utilizes the X and Z axis as the pair is placed further in proximity from the camera to allow their full physicality to be in view but also have distance between them. The horizontal axis displays their state of conflict as Thornhill now understands Eve's role in the entire ordeal. The screen composition utilizes brightness and size to enhance the drama of the scene as although the scene is daylit, the tree cover dims and lowers the brightness of the area of their conversation. Further, the size and distance of their bodies in comparison to the tall trees and height of mount Rushmore's makes them feel smaller than normal, implying visually that both are fighting against circumstances bigger than themselves that has brought them along this journey to be together. This is a wide size, low angle, two shot framing that was chosen and used to visually depict Thornhill and Eves desires to be together against the weight of their current circumstances. The location to their meeting was utilized in this shot to also portray how despite the tall and looming reality of their different lives and heavy circumstances, their physical sizing in the frame depicts their small but growing love for one another against all odds that wishes to close their distance.

7. The mise en scene for this scene involves Eve, Leonard, VanDam, and crowd fill actors inside a train station. There are suitcases, handbags, and a booth of miscellaneous maps, flyers, and flags. There are also phone booths, cigarette machines, and pews of seating in frame. The camera settings for this shot would likely be an fStop value of f4-8 as there is a rack focus occurring as Eve exits the booth and focuses on Leonard and VanDam at the booth area. The focal length would be 25-45mm and an ISO value of 400-600. The screen direction of this scene plays largely on the X and Z axis as depth is used to convey Eve's distance from Leonard and VanDam and the horizontal difference of Eve on the left and the duo on the right further pushes that dynamic. This serves as a visual queue for the audience that impresses Eve as an individual with shifting loyalties as at this current moment, we are unaware of her true role with VanDam. The screen composition of this scene uses direction, color and size. Eve’s proximity to the camera on the L side contrasts the duo on the R side in smaller size. Although this contrast is there, the trio themselves, being dressed in black compared to the other actors is a visual nod to their affiliation with one another as 'the villains'. This is a master/wide size, crowd shot frame at shoulder level angle chosen and used to highlight the trio in the scene but emphasize Eve's independent motives given her spatial distance from Leonard and VanDam despite being associated with them at this time.

8. The mise en scene for this scene involves Thornhill, a view of the terrain below him, and a view of the background terrain and sky. The camera settings for this shot would be an fStop value of f4-f8 in shallow focus, a focal length of 50-85mm, and an ISO value of 700-1000 as the shot is outdoors in daylight. The screen direction of this scene uses the Z and Y axis to emphasize the shielded nature Thornhill has as he tries to evade the helicopter chase. The screen composition utilizes direction and shape in this shot as Thornhill is flat against the ground but framed in the middle of the shot, this was used to depict his fruitless attempts to hide or shield himself as he is out in the open under attack. This is a Medium Full size, clean single, Ground level shot that was chosen and used to bring the audience on the same level as Thornhill as he hides from danger, adding to the visceral thrill for the audience.

9. The mise en scene for this scene involves Thornhill, Eve, VanDam, and Leonard. It also includes a background setting of an art dealing show, complete with numerous period pieces in gold, wood, and porcelain. There are draped walls and decorated chairs. The camera settings for this shot would likely be an fStop value of f8-12, a focal length of 35-50mm, and an ISO value of 400-700. The screen direction of this scene plays largely on the X and Y axis as we see Thornhill on the left at a higher elevation as compared to the trio taking up more of the right side and at a lower vertical point. This helps to portray Thornhill having dominance and control over the action in comparison to the trio who were caught unexpecting him. The screen composition involves direction as the use of moving Left and Right is meant to amplify Thornhill and his proximity to the camera positions the audience to take his side. This is a medium size, crowd shot at a high angle chosen and used to guide the audience as Thornhill confronts the people responsible for turning his life upside down as he enters the scene with the upper hand.

10. The mise en scene for this scene involves the sky and a view of Mount Rushmore, with trees below the frame. The camera settings for this shot would be an fStop value of f16 or higher and nothing is blurred and a, a prop lens focal length of 50-80mm as we are looking through a magnifying lens at a viewing point in the Mount Rushmore Park below, and an ISO speed of 800+ as it is daylight and outdoors. The screen direction of this scene plays with the Y axis, as the faces of mount Rushmore are placed at the upper portion of the frame and the camera looks up at its facade. This vertical emphasis aligns itself with the period and background in which the film is made and based - a cold war era film whereby capitalist ideas are on display and encouraged in mass media within the US to deter communist ideal propaganda. The screen composition of this scene also backs the previously mentioned purpose of US ideals as the use of bright lighting and immense size of mount Rushmore impress the audience with themes of freedom, capitalism, and liberties associated with speech, media, and art that are upheld by forefathers like the faces on that of Rushmore. This is an establishing size, point of view, low angle shot use and chosen to portray the themes behind the film as a whole as the spy/espionage craze, a result of the cold war era, is on display and confirmed with the several uses of American ideology imagery like the use of mount Rushmore to support capitalistic ideas.

**Nathan Garcia** · 09-14-2024, 11:10 PM

Nathan Garcia

Shot 1:

Shot Size: Wide Shot - The meaning behind this shot is to show that Roger Thornhill’s attempting to blend in, and showcasing how the chaos in the surrounding environment is able to assist in counseling him from police

Framing: Crowd Shot - The director used a crowd shot in order to give life to the train station, show that the general public is uncaring or unaware of Thronhill’s false crimes, and show that Thornhill is not a character that can be easily identified by the naked eye unless you are directly attempting to look for him

Angle: Low - This was used in order to showcase that Thornhill is attempting to maintain a semblance of control and power despite the circumstances making it hard for him to maintain it, as he is panicking, trying to flee the city and the law itself.

Screen Direction: Despite the character trying to flee and hide, as he is moving Screen Left, he is actually moving towards the direction of danger, but still going in that direction, this is contrasted later by him moving screen right, but the initial setup of him moving left shows that the rest of the scene is a deception of him moving towards some sort of resolution, and that he will feel safe for a moment, but will soon (And did) get into further conflict

Composition: The colors are muted and variations of brown, with little bright colors, not only to help sell the time period and not just mainly a result of the camera being used making bright, dynamic, and contrasting colors difficult at the time, but also to give, in a subtle way, that this is just an everyday man that got put into a situation that he was not expecting nor prepared for, the lighting seems to be on the darker side, with the very left of the screen being the darkest, which is where Thornhill is heading, showing that he is moving towards the direction of conflict and danger

Motion: The Camera is still and follows Thornhill throughout the shot as he walks further from the camera, this was used to show Thornhill walking away from everything and everyone he has known for his entire life, and also illustrates that he is in a negative situation

Camera Settings: The lens is probably a Standard/Normal Lens, around 50mm, since there is little distortion and objects aren’t exaggerated, shutter speed is fast, as even in dark areas you can see what is there, the speed would be very roughly around 1/60, the F-Number would likely be around f/2, with there being a shallow focus, all of these are done to make the Thornhill blend in with the rest of the characters and environment as seemingless as possible, by there being less exaggeration on anything, more light being allowed in, and there being a shallow DoF, it illustrates the urgency for Thornhill to hide and escape from everyone

Mise en scene:The lighting is coming from not only the natural light from the sun, but some lights on the top of the screen, as well as likely from the set itself to illuminate all of the characters in the scene, the clothing people wear is mainly suits for men and for women, some sort of formal-wear, this all adds to depict the setting and allow Thornhill to be blending in seamlessly unless you are looking at the faces of everyone.

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Shot 2:

Shot Size:Medium - The director wants us to focus on the emotional state between Thornhill and Kendall with the focus being on the physical interactions between the two, as the darkness makes it semi-difficult to read their faces

Framing:Two Shot - This is being used to keep the continuity with Thornhill staying hidden, but also to allow the audience to solely focus on those two, with everything around them being static so the eyes of the audience remain fixed on the two people.

Angle:Low - They are both in control of the situation as well as feeling vulnerable and comfortable with each other, showcasing this as both of them are at a low angle and their videos are leaning towards each other and the facial expressions show them relaxed

Screen Direction: This one was very interesting for me, as Thornhill is on SL and Kendall is SR, when watching the whole movie, this shows that the cause of the conflict is being funneled through Kendall and that Thornhill, being SL and thus feeling secure, more free, and thinking his conflict is coming to an end, Kendall is going to be putting an end to it and, while not being the direct villain of the 2nd arc of the movie, is going to be the catalyst for all of the tribulations that Thornhill will endure

Composition:The composition is interesting, as it has very muted and dull colors in the background, yet has a very dynamic and beautiful contrast going on with the lighting on the characters themselves, with the characters dominating the majority of the screen.

Motion:The Camera is still and unmoving during the duration of this shot, so that the audience can see the emotional state in the best state as possible

Camera Settings:The lens is likely a normal/Standard 50mm one, with there being a faster shutter as there is less light, roughly at 1/125s. The F-Number likely being around f2.8 as there is a slight DoF happening in the background. The ISO is roughly 400. All of this makes this a dimly lit and semi-romantical scene despite the muted and dull color palette being used

Mise en Scene: I find some connotation happening with the lighting, and especially with the context of the entire story and where this scene takes place, I find the lighting in this shot to be (in my opinion) a beautiful piece of storytelling without saying a single word with the lighting itself. If you were to take their silhouettes, but keep the lighting, Thornhill’s entire outline has light surrounding him, and most of the light is on his side, however, Kendall is nearly all dark, with the darkest part of the shot on her side of the screen, outside of the face being light, the back of Thornhill is lit while Kendall is dark, showing that Thornhill is trusting of Kendall, and since only her face has any sort of light, all he sees is the light, however, the rest of Kendall’s body is entirely dark, showing she is deceiving Thornhill and the Audience, which becomes known to the audience later on. The hand placement is also a great piece of storytelling, as Kendall’s hands are near Thornhill’s heart, showing that she has touched him emotionally but as her body is dark, she is going to break his heart, while Thornhills is on Kendalls hips, showing how relaxed Thornhill really is.
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Shot 3

Shot Size:Medium-Close: This was used to show the facial expressions of confusion and worry as well as showing what the investigators/police were doing

Angle:Eye Level: This was used to show that no one had any power at the moment, as the police were unsure of where Thornhill was, only knowing he had stolen a workers uniform, and the workers were unsure of why they were being checked out

Framing: Crowd Shot: This was to show that everyone could be either Thornhill or someone helping him to escape, and show the normalcy still happening for everyone else that was not involved with Thornhill

Composition:This is one of the more colorful shots in the entire movie, with the entire shot being well-lit and many contrasting colors (with the most important ones being the workers in their uniforms having a red hat to bring more attention to them as they were the ones that the story was focusing on at that time. You can see several faces but also many other faces are hidden from the camera, helping with the uncertainty of where Thornhill was

Direction:The Police are facing SL, showing they are moving towards conflict, while the workers are all on the left side of the screen, showing they are relaxed and in no way in trouble, in fact, when watching the entire scene, each worker is always on the left side of the screen while the investigators are on the right, but when they cut to Thornhill, he is the only one that wore that uniform that is on the right side of the screen.

Motion:The camera is still for each shot of the scenes, this shows that despite the chaos happening, the police and everyone else is still calm and in control of the situation.

Camera Settings: The lens is roughly 70mm, shutter speed is around 1/60s, F-Number being around f/4, and there being a shallow focus

Mise en scene: The are differing clothing being worn, but also other props being used to direct the audiences eyes to where the director wants them to look at, although they are all wearing

Shot 4

Shot Size:Master - This was used so the Audience can see how desolate this place is, and that Thornhill is entering a place where no one will be able to help him, and where he has no place to hide

Angle:High - This is not just to show the land itself, but that Thornhill is entering a place where he has no power nor does he know what might come.

Framing:Clean Single - The only thing you can see is a bus slowly coming to a stop, adding to the desolate nature of the setting where the scene takes place in

Composition:All of the colors are dull and most of them are a variation of yellow, which adds to the desolate nature as there is nothing that would catch the viewers eyes outside of the road itself, it is bright to show just how little life there is and that nothing of worth is happening on a regular basis

Direction: The Bus is traveling down and right, showing that although Thornhill is moving closer to some type of resolution, his situation is about to get a lot worse as he descends into darkness and madness

Motion:The Camera is still for the entire shot, adding an effect that truly makes Thornhill look small and he has no one to fall back on

Camera Settings:The Lense is a wide Angle, likely around 20mm, with the shutter being around 1/500s, the F-Number roughly being f/2. There is little motion blur and plenty of light, ensuring the viewers attention is directed at the small moving bus in the shot

Mise en scene: There is not too much in this scene, other than a moving bus and barren land, though the crossroads at the bus stop is a great metaphor for Thornhill, who is reaching a stop, but will also be at a crossroads with everything that has happened up to that point.

Shot 5

Shot Size: Medium-Full - This was to not really show if the characters were armed, but rather to see the reactions of the other civilians as the expression of shock is clear on their face

Angle: Low: This is to show that everyone in this scene, outside of Thornhill, has a calm-ish demeanor and is in control of the situation, while Thornhill is scared and feeling somewhat powerless

Framing: Crowd: - This was done to show how other people reacted to the crash compared to thornhill, only having one or two would not be enough to sell Thornhills escape, and add more impact to when Thornhill stole the car to leave

Composition:The sky dominates most of the background, with the desolate desert on the bottom-most screen, the scene is bright with muted colors outside of the sky and clothing of some people to show the differences in many other scenes where Thornhill blended in with his surroundings, but this scene his clothing makes him stick out like a sore thumb, but the dirt on his suit makes him feel a little more in line with the other characters.

Direction:While the four other people are moving towards SL and looking to resolve the problem that just appeared, Thornhill is attempting to leave by moving to the right, where he is attempting to escape the danger that is present. Which causes him to get in further conflict as he steals a car to escape

Motion:The Camera is still during the duration of this shot, so we can focus entirely on Thornhills actions and how they contrast against the rest of the people in the shot

Camera Settings: The Lense used is likely a 35mm Wide Angle lens, shutter speed is around 1/48s and the F Number is roughly f/2.8, this is for us to be able to see all the characters with the background not directing attention away from the viewer in this shot as he wants the focus to be on Thornhill

Mise en scene: The clothing used in this scene is unique compared to most other scenes in this movie, as Thornhill does not blend in due to the other characters wearing more rural and less business clothing, and the clothing on most of them have more wrinkles, more contrasting colors, and have more dirt on them, helping to make the rest of the characters in this scene stand out more due to the fact that it is one of the only times in the movie we do not see business attire, helping making it more memorable

Shot 6

Shot Size:Medium-Close - There is little going on with body movements as Thornhill is sitting down, therefore more emphasis is placed on the emotional state of Thornhill and how he is trying to plan to escape

Angle:High - Thornhill has little power in this scene, but is observing everything going on around him in order to find a way to get out.

Framing:Crowd - There is an auction going on, and it helps show the audience that Thornhill needs to be civil and calm despite the turmoil going on inside of his head.

Composition:The lighting in normal, not too bright nor too dark, with there being a deep DoF with the only person not having any blur being Thornhill as the Director wants us to focus on Thornhill and his state at the moment

Direction:Thornhill is facing left, which is done to help indicate that Thornhill, despite panicking and being in turmoil, does have the best advantage possible and has found out how to exit the auction and leave without being harmed

Motion: The camera is moving and following Thornhill throughout the scene, creating the illusion that Thornhill is closed and although not powerless, is not in full control of the situation happening

Camera Settings: The Lens is a short telephoto lens at 85mm, with the Shutter speed being 1/500s and the F-Number being roughly F/5.6, this allows for the viewer to focus on Thornhill and his state rather than shifting focus to other characters which are not as important in this scene

Mise en scene: When thinking about everything going on in this scene, it helps Thornhill look like an everyday person to the naked eye, though the lighting is done in a way where his face has the best contrast while other peoples faces are more flat, combined with the rest of the things done in the scene, it helps make the audience look only at Thornhill despite there being many different people in the scene where you can see their face.

Shot 7

Shot Size:Medium-Close - The focus is on Thornhills anger with the FBI agent, and his attempt to question and assert himself over the agent

Angle: Low - This shows that Thornhill is the one in power and shows he is taking control of the situation, combined with the agent being at a high angle, making him have no power in this scene, it allows the audience to see where the balance of power is

Framing: Dirty Single - The agents face is not important in this scene, as he is calm though not in power, instead the focus is on Thornhill and how he is angered and showcasing his emotional state in this scene

Composition: There is little light in this scene, with most of the light in the scene hitting Thornhill and the very front of the FBI agent, this is so that we as the audience are guided to look more at Thornhill rather than anything else in this scene,

Direction:Thornhill is on SL, and is facing to the right of the screen, showing that he feels like he is close to the end of his troubles and is ready to do anything and is prepared to take on the remainder of his problems

Motion:The Camera is still during this particular scene as the director wants us to focus on these characters and their interaction with each other, with the jet in the background to serve as a plot tool for the story, as the agent is trying to get Thornhill to cooperate before the plane takes off

Camera Settings:the Lens is likely a Standard 50mm lens with a shutter speed of around 1/1000s, the F-Number being around f/11, all of this makes the scene dark and allows us to only see Thornhill and the agent in the shot, with the airplane being a present and noticeable part of the background yet not taking our eyes off of Thornhill and the agent

Mise en scene: This scene does a great job with the lighting, as Thornhill has the most light in the entire shot, showing his feelings of being near a resolution and feeling in power again, compared to the agent, who has no bright colors on him, and by far has the darkest part of the scene that is not part of the background, this shows that Thornhill is not fooled nor trusts the agent.

Shot 8

Shot Size: Full - This was done to show the differing dynamics between Townsend and Lennard, mainly with Townsend being relaxed and unaware of anything going on outside of him leaving the country, and Lennard trying to reason with him, ready to show that he has been lied to

Angle: Low - This shows that both men are in power and in control of the situation.

Framingirty Single - The emphasis is on Townsend, as he has been lied to by Kendall, where the audience is also supposed to see the gun behind Lennard, making the audience think he is about to kill Townsend

Composition:Most of the light in the scene is on Townsend, as well as him being the tallest person in the shot, this makes him look more imposing combined with the camera angle.

Direction:Lennard is on the left of the screen, showing he knows the truth and is aware of everything going on in the scene, while Townsend is on the right, showing that he is being deceived and unaware of the facade that Kendall is putting up right in front of him and that Townsend thinks Kendall is faithful.

Motion:The camera is stationary but following the movements of the two characters, allowing us to focus on the characters without making them feel small or making them stand still, which would take away from the impact that the scene would bring

Camera Settings: The lens is a wide angle 35mm lens, with the Shutter speed being around 1/250s, and the F-Number being f/5.6, this ensures that both characters are not blurred, but with lighting and placement of the camera, it doesnt take the audiences attention away from the characters

Mise en scene: While Townsend is relaxed and unaware of everything going on, Lennard is tense on the right side of his body while showing to be relaxed on the left side of his body, as he is holding the gun on the right side, the darkness on Lennard makes the audience think he is going to kill Townsend

Shot 9

Shot Size:Medium-Full - This was used to show that Kendall not only had a gun, but used it on Thornhill, as the action of getting shot was more important and impactful than any facial expression that the characters could portray, though you can still see the emotional state of Kendall

Angle:Low This is to show and help with the illusion that despite Kendall is using blank rounds in order to sell Thornhill getting shot at, they are both aware that the bullets are fake and they are fully prepared to act on Thornhill being ‘killed’

Framing:Crowd - This is to show the planning that went into Kendall being able to leave and making Thornhill look like he was actually killed, as a crowd of people would be able to confirm he died and make it hard for Townsend to see if he was fake shot at.

Composition: The interior is very well lit, with beautiful and contrasting colors from the background and the interior being clean and bright to make Kendall’s shooting more impactful, as seeing a clean and beautiful place isn’t usually associated with crimes

Direction:Thornhill is SL and facing SR where Kendall is, this shows that Kendall is in a place where he feels content and in control, while Kendall is trying to remain in Townsend’s good graces, and feels cornered and trapped

Motion:The Camera is stationary, but follows Kendall as she runs away, it remains this way so we can at first see Thornhills reaction to being shot and soon see Kendall attempt to flee from being captured/arrested, as well as to gauge the rest of the crowd's reaction as he is shot.

Camera Settings:the lens being used is a Wide 35mm angle lens, with the shutter speed being around 1/15s, and the F-Number being roughly F/5.6, this is all to make every face visible and allow the background to feel natural, as using DoF would make this scene feel less impactful and distract as it would be hard to gauge any reactions.

Mise en scene: The well lit scene and differing clothing by everyone present, combined with the decor makes this scene impactful as it takes place where you would rarely see crimes take place at, the dark clothing both Kendall and Thornhill wear bring more attention as they are very dark yet pronounced colors, compared to the rest of the crowd which wears more tame and less saturated colors.

Shot 10

Shot Size:Medium - The director used this to focus on Kendalls reaction to seeing Thornhill’s match casing.

Angle: High - This is to show that Kendall, who thinks she is in the clear, is actually in grave danger, and upon seeing the ROT insignia, causes her to worry for a second.

Framing:POV - We are seeing this shot through a modified version of Thornhills POV, where he is focusing on the matches, hoping that Kendall will open it so she can be saved from being killed

Composition:The colors are well saturated and the scene itself is moderately lit, there is a focus on the matches and the decorations on the table instead of Kendall

Direction:Kendall is on the right, showing that she is in danger, and the matches are on the left of the screen, symbolizing that they are the key to her escaping with her life

Motion:the screen is static during this shot, so there is nothing in the audiences way from being distracted, and the framing of the shot ensures the eyes remain locked on the matches and Kendall herself.

Camera Settings: The Lens is likely a standard lens of 50mm, with the shutter speed being 1/60s, and the F-Number being around f/11, this was all done to allow the entire environment to remain in focus, showing that she is in a place where she is trapped, even if she does not know it

Mise en scene: The biggest part of this scene is the matches themselves, as it was shown earlier and for most people it would be brushed off as a side conversation that held no importance, but when this scene shows, it reminds the viewer that only she knew what ROT meant, and made sense for Lennard to pay no mind to them, as he did not know what it meant nor had any reason to suspect that it meant anything of note.

**MontseNavarro** · 09-16-2024, 02:57 AM

maria Montserrat Navarro Martinez
iso, aperture and shutter speed is based on triangle diagram on class

Attached Files

**Venerable_Wolf** · 09-16-2024, 03:08 AM

Nicholas Wolf

1.

Shot size - Medium Close-Up (MCU) - This is a close-up shot meant to emphasize Thornhill’s expressions of confusion at meeting such an understanding and caring woman despite knowing who he is. The shot is also used to convey the next problem for Roger coming from the background.

Shot Angle - Shoulder level shot- The shot is done at shoulder level to make Roger look smaller compared to the cops in the background, whose figures, while small, do not understate their overall threat to Roger and his survival in the story.

Shot framing - Three Shot - The way that the shot is done creates dramatic irony as Roger is thinking that he is completely safe on the train now that the danger has passed only to show in the background that he only went from the frying pan into the fire.

2.

Shot Composition - The composition of the scene puts Roger in the center of the scene as his conversation with him and Eve is the main focus of the scene. This is then ruined when two new people enter the scene and make the audience's eyes on the two moving figures in the background.

Shot Direction - The cops appear on the right of the scene and slowly become bigger as they approach the train, signifying their importance in the shot, but also that these are likely the police. The shot could also imply how mobile the police are in that they’ve already tracked down the exact train Roger is on, while Roger is a sitting duck.

Camera Motion - The direction of the scene starts moving to the two other figures as it becomes apparent that these two characters are going to become important in the narrative soon. The camera stays focused on Roger to surprise both the viewer and the audience when those background characters turn out to be policemen who have come to arrest Roger.

3.

Lens Focal Length - The lens focal length is likely 50 mm as the shot looks standard with no real warping and wefting of the character. The director likely did this to show that Roger is in a safe place where nothing out of the ordinary is going to happen to him, which is why the sudden stopping of the train and the cop car pulls us out of that fantasy and that Roger is still a wanted criminal.

F-Stop - The F-Stop is likely at F/5 because, while the background is blurry and cloudy, as soon as a car enters the scene the audience would be instantly able to see that that's a police car, with police getting out. The director likely did this to make Roger the center of the scene, but to also allude to the next conflict that will occur without explicitly telling the audience.

4.

Mise-en-scène - Roger’s costume design makes him seem like an everyman, a person who could logically happen to anybody, and even in some scenes where he is a wanted man, very few people even recognize him. The lighting in the scene is bright and warm, lowering the audience's guard only to introduce a new opposing force to Roger's escape from the law.

1.

Close-up shot (CUS) - The close-up shot helps the audience know that while Eve is helping Roger, in all likelihood she is going to betray him and that she’s using her body to do this. This shot also forgoes any goodwill that the audience has with the character, which is why the twist that she is a double agent is all the more surprising.

Low-Angle Shot (low shot) - The Low-Angled shot helps ground the audience and shows the audience Eve’s wandering eyes, which in movie tropes, usually means the character has ulterior motives. It also makes her look menacing as her eyes look lifeless and disinterested as if what she is doing is just a job or a chore to her.

Single Dirty Shot - The single dirty shot is used to effectively convey to the audience that Eve is not to be trusted and the dramatic irony that Roger is fully infatuated with her heightens the stakes seven more.

2.

Shot Composition - The composition of the scene puts Roger and Eve’s blooming relationship front and center, though it quickly becomes irrelevant as Eve’s eyes looking away from Roger makes it apparent that Eve has ulterior motives which changes the message of the scene.

Shot Direction - The motion of Eve’s eyes focuses the viewer’s attention from Roger squarely onto her as her eyes are the only movement shown on screen. Her face slowly moves to the right, away from Roger implying that she cannot stay with Roger for long.

Camera Motion - The camera's motion pans from the two characters hugging session to Eve’s face as she looks cold and mysterious, unlike the Eve that we have been shown up to this point.

3.

Lens Focal Length - The focal lens is also pretty standard with a focal length of 45mm as the scene is initially meant to be lighthearted as Roger and Eve bond with each other, however, Eve’s facial expressions say otherwise

F-Stop - The f-stop is at f/5, which makes Eve’s expression and eyes all the more prominent in the scene while blurring out the background to make the focus more on Eve.

4.

Mise-en-scène - The lighting in the scene ties it all together with the darkness acting as an emphasizer that Eve has dark thoughts that do not align with Roger’s and that she may betray him in the future.

1.

Wide Shot (WS) - The wide shot helps create tension by not telling or showing the audience who this man is and what his objective is. He just stands there on the opposite side of the road which implies that he is an important character in the plot of the story, which is why it is comedic that we never see this man again.

Low-Angle Shot (low shot) - The low-angled shot helps in showing the two men staring each other down, with the Busgoer being closer to the camera making him seem stronger and bigger while Roger looks smaller and more weary in comparison.

Two Shot - The two characters being in the same place at the exact time that Roger is meant to meet George Kaplan is a Chekov's gun waiting for something to come of it, and the fact that nothing occurs and that it was just a red herring creates an unintentionally comedic moment.

2.

Shot Composition - The composition of the scene puts the two men on opposing sides of the road with the white line in the road implying a conflict soon to come which creates tension in tandem with the wide shot to create a compelling showdown between Roger and the Busgoer.

Shot Direction - The direction of the scene pans out to give the two characters time to take each other in as the fact that two people somehow encountered each other on the same stretch of highway and the fact that the mysterious man looks similarly dressed to one some of Vandamms goons does not make it less suspicious.

Camera Motion - The motion of the shot is very still as both characters figure in the scene the camera cuts to Rogers fidgeting and expressions of anticipation as in his mind this may just be the legendary George Kapkan that he keeps being mistaken for. These cuts serve to illustrate Roger’s inner monologue and his hesitation to engage the person who he thinks can solve all his current issues.

3.

Lens Focal Length - The focal length of the lens is likely at 75mm as both Roger and the Busgoer are far enough that their expressions cannot be seen, but their body language can still be inferred.

F-Stop - The scene is likely shot at a f/11 as the figures are pretty visible, though it is hard to tell with the older quality of which movies were shot at the time. The f/11 helps emphasize the two men while also making the setting a part of the tension as the audience can see that other than the two men and the odd car or bus. They are completely alone and isolated from the rest of the world.

4.

Mise-en-scène - The lighting and the setting both paint Roger as being in an extremely vulnerable spot and even more as other than the telephone poles, there is nothing but barren desert and the long winding road that goes on forever which separates Roger and the stranger creating mystery on who he is and what he is doing here right when Roger’s about to meet George. The lighting also makes the scene look even more barren and sandy with the yellow tint it adds to the scene.

1.

Wide Shot(WS) - This shot takes place as a super wide shot as it shows just a lone crop duster in the distance doing its job supposedly and the audience is led to believe that this is just another red herring. Much like with the Busgoer’s appearance in the previous scene; the plane isn’t important to the story, which is also emphasized by how small and insignificant it is in the entire wide shot and from Roger’s perspecive.

Low-Angle Shot (low shot) - The low angle when paired with the POV shot allows the audience to be put into Roger’s shoes and have the mindset that the crop duster does not seem like something that should be feared or be notable in the scene.

Point of View Shot (POV) - The POV shot enhances the scene by simply being interpreted as a throwaway scene of a conversation between the two characters while the Busgoer waits for his bus to come. This easily lulls the audience into a false sense of security as we are shockingly introduced to the biggest threat that Roger would face in the story.

2.

Shot Composition - The composition of the scene uses the rule of thirds to put the plane not in the center of the frame but in the middle left of the screen, making it unfocused and not the center of attention even when it is the only thing that is on screen.

Shot Direction - The motion of the plane is from left to right which is supposed to create a sense of normality and familiarity with the audience. This is why it is jarring when it is noticed that there does not even seem to be a reason for the crop duster to be there in the first place since there are not any crops to be seen in the first place.

Camera Motion - The direction of the scene leads the viewer's eyes to the plane as it is the only moving thing in the scene, allowing the viewer to drop their guard as the Busgoer even alludes to the plane being a crop duster which allows both Roger and the viewer to drop their guard as they assume it to be just a normal crop duster doing its job and nothing more.

3.

Lens Focal Length - The focal length is likely at a shot at 50mm as the crop duster is just a speck in the distance which helps mislead the audience into thinking that it must be insignificant in the overall story. The perspective in the shot also looks natural as if we are looking through Roger’s point of view and not that of a telescope.

F-Stop - The f-stop is shot at an f/16 as even the background is not too blurry and to best show the crop duster by making it blurry they needed to make it pretty strong for it to show up and not be blurry meaning that it has a role in the overall scene.

4.

Mise-en-scène - The barren setting is used to good effect as it makes something as innocuous as a crop duster, something that was frequently seen on farmlands and not too noticeable in the main talking point and into the main focal point of the scene.

1.

Wide Shot (WS) - The wide shot is used to convey how the closeness of the lovers has now turned into that of distance and betrayal as Roger believed that Eve was on his side when she was actually on Vandamm’s side all along.

Low-Angle Shot (low shot) - The low-angled shot could also represent the emotional low point of their relationship up to this point in the story and even though Roger knows that she was doing it to stay undercover, nonetheless Roger cannot bring himself to love Eve after what she did, but is willing to forgive her and even wants to get her away from this.

Two Shot - The two actors mirror the same shot of Roger and the Busgoer, which alludes that their relationship is that of strangers now that Eve had been revealed to have been working for Vandamm, and also the US Government. Both of these have made her a person whose past could all have been a lie to get closer to Roger and seduce him and their entire relationship is built on lies.

2.

Shot Composition - The composition of the scene uses the rule of thirds to put both Roger and Eve on the left and right sides of the screen respectively to show equal importance to both characters as this is their scene to mend their relationship.

Shot Direction - The direction of the scene is stillness, then motion as Roger does not resent Eve, and even wants to repair their relationship by making the first step, which Eve then does as well walking left to show both characters are willing to make efforts to repair their relationship if need be.

Camera Motion - The camera pans in the scene show their relationship with the camera making sure to show both their faces being genuinely remorseful for the things they said to each other and being willing to move forward both in their words and also in their actions.

3.

Lens Focal Length - The focal length of the scene initially starts at 65mm and transitions to 50mm as both Roger and Eve reunite at the center to tell the audience that they have grown closer again.

F-Stop - The F-Stop is likely to be at f/8 as the main focus of the scene is the characters and anything else would have messed with the pacing of the scene.

4.

Mise-en-scène - The cars in the scene can be an allegory to the social status of both of the characters, with the park ranger car alluding to Roger’s more humble background and not being a notable person in the slightest, while Eve’s car is bold and expensive looking which can be used to describe both characters outer appearances.

1.

Establishing Shot - The establishing shot shows the final major scene of the movie, it is also making sure that whatever happens it is finished here. The shot also helps put into perspective the true wealth and power that Vandamm possesses at his disposal and how outgunned Roger is in this fight.

Low-Angle Shot (LAS) - The low-angle shot helps portray Vandamm’s mansion as being imposing and large especially since the scene takes place at night which makes the mansion look sinister.

Point of View Shot (POV) - The POV shot also helps show the impossible odds that Roger is working against as he is about to square off against Vandamm; making the audience wonder how he is going to pull this off.

2.

Shot Composition - The composition of the scene places the Mansion on top of the shot making it look bigger and longer than it was especially since the building’s length goes off the screen.

Shot Direction - The direction of the road is representative of Rogers's journey which has just been ups and downs since his kidnapping by Vandam and this is where it all ends for better or worse.

Camera Motion - The camera stays still to help show the house being massively bigger than Roger and to show Roger’s bravery in going out of the frying pan into the fire of his own volition.

3.

Lens Focal Length - The Focal length of the scene is likely shot at 55 mm as the scene doesn’t look warped, but it also does not look scoped which creates an open and inviting feeling in a place that represents the opposite of those two things.

F-Stop - The F-stop is likely at around f/16 due to how unblurry the foreground and background are, which was likely done as the mansion was important to the story and was not just a background piece.

4.

Mise-en-scène - The Setting and lighting both come together to make a mean-looking castle that Roger will need to infiltrate if he is going to save Eve even if it looks imposing all the while.

1.

Full Shot (FS) - The full shot leads the viewer to think that Vandamm is about to be betrayed by his very own henchman in the most dramatic twist of the film. The setup is so over the top that even for a moment the viewers are led to believe that Vandamm may not even be the final villain of this movie.

Low-Angle Shot (LAS) - The low-angled shot allows the audience to see that even though Leonard is sitting down he looks bigger than his boss which again makes the audience think he is about to commit a crime of passion for the love of Eve.

Point of View (POV) - This pov shot puts us in the shoes of Roger, who does not know what is about to happen, to him Vandamm is about to be taken care of by his henchman.

2.

Shot Composition - The composition of the scene in the rule of thirds puts both Leonard and Vandamm in the focus of the shot, which could lead the viewer's eye away from the gun and more onto the two characters' conversation.

Shot Direction - The movement of Leonard’s hands as he pulls out the gun and hides it behind his back looks like he has now decided to kill Vandamm, rather than be a spur of the moment that he does without much thought.

Camera Motion - The camera flickers to and from the conversation to show Roger’s expression evolving as the conversation evolves from just talking to Leonard looking like he is going to use the gun to shoot Vandamm with it, especially since he is being secretive about the whole thing.

3.

Lens Focal Length - The focal length is 50mm as that was Hitchcock’s standard and made the scene all the more human as it looked and felt like Leonard was smitten with Eve and was willing to kill his boss to achieve that goal.

F-Stop - The f-stop is likely at f/6 as both men in the scene are important but Leonard and his gun seem to have more focus as he looks to be scheming something against his boss.

4.

Mise-en-scène - The overall acting from both Roger and Leonard elevates the scene as Roger looks surprised by the development that Leonard may just kill Vandamm and save him the trouble, and how oddly Leonard’s actor goes about showing the audience and Roger his gun and implying malice towards Vandamm.

1.

Medium Full Shot (MFS) - This shot also builds on the previous scene as Leonard both in expression and action prepares to gun down his boss on the spot. The shot size even helps in this motion as the shot is usually done with showdowns.

Low-Angle Shot (LAS) - This low-angle shot further emphasizes the power dynamics in the scene where Leonard is seen as more powerful and the bigger man than Vandamm, which allows the audience to think for a second that Leonard is about to become the new big bad of the story in the final act.

Point of View (POV) - This POV shot puts us in the shoes of Roger who is genuinely concerned about what is happening as this scene happens so fast that you cannot even properly analyze it before it is over and done.

2.

Shot Composition - The composition of the scene puts Leonard on one side and Vandamm on the other side which makes the scene tense as we see that neither side is joking and Leonard fully looks to be ready to carry out his plan.

Shot Direction - Leonard goes from hiding the gun to quickly firing the gun turning a clear-cut relationship into one of supposed betrayal due to wanting Eve.

Camera Motion - The camera stays still to show that Roger isn’t moving one inch from his spot, not only because he does not want to catch Leonard's attention in case it turns out to be a real gun, but he also wants to know how this will all end.

3.

Lens Focal Length - The focal length is 55mm as this shot was also from Roger's perspective of the scene, with the idea likely being to show off the whole exchange between Leonard and Vandamm as we have no context as to why Leonard would want to betray Vandamm other than wanting Eve.

F-Stop - The f-stop in the next scene is likely done at f/8 as now both Leonard and Vandamm are important to the scene, so now both are in the shot and focused on showing the standoff between goon and boss.

4.

Mise-en-scène - The prop choice for the gun was genius as no one likely looked at Eve’s gun that she shot Roger with which is why the twist is that Leonard wasn’t trying to kill Vandamm but instead showed him that Eve knowingly shot Roger with a blank.

1.

Close-Up Shot (CUS) - The close-up shot helps the audience see both the resolute nature of Vandamm’s and Leonard’s plan to kill Eve for crossing him and even alluding to how they will be getting rid of her.

High Angle (HA) - The transition from a high-angled shot, to an even higher-angled shot to best illustrate what he is going to do to Eve on the plane is the most sinister thing to come out of this movie.

Two Shot - The characters in the scene are bunched together to illustrate that they fully agree on Eve’s fate now that she has been exposed as a traitor.

2.

Shot Composition - The composition of the scene frames both men fully on the screen to emphasize that they are in control of the situation. While also being calm enough to come up with a plan that while not explicitly stated, makes it clear that they agree on how Eve should be disposed of.

Shot Direction - Both Leonard and Vandamm move their heads in unison as both of them come to the same conclusion as the other that even needs to go, and both of them seem resolute in their decision-making.

Camera Motion - The camera moves up to emphasize Vandamm’s words of disposing of Eve from a “Higher altitude” and portray him and Leonard looking up at Eve’s room as a double meaning.

3.

Lens Focal Length - The focal length was shot out of a 40 mm lens to show how level-headed and logical both Vandamm and Leonard were in their murder scheme to kill Eve. That their plan was not a crazy plan or a complicated one, just push her out of a plane over water.

F-Stop - The f-stop for the scene was done at f/2 as it was a pretty point-blank shot and the characters being the focus of the scene meant that the background could afford to be unfocused creating a strong contrast between the foreground and the background.

4.

Mise-en-scène - The way this scene is executed is good as both the actors do not exaggerate, nor do they fully narrate their plan from start to finish, they just make known how they are going to do it and in what manner, making both characters evil and leaving the audience to guess all the smaller details in their mind, which elevates the scene.

1.

Medium Full Shot (MFS) - The shot size helps show the impending conflict as Valerian is fully ready to pounce on the would-be escapers and to end this all, especially with the fact that the audience can fully see Valerian while Roger and Eve cannot create tension.

Low Angle (LA) - The low-angled shot emphasizes the ambush waiting for Roger and Eve on their grand escape from Vandamm and how it was a low blow in the context of the finale of the story.

Three Shot - The characters all face the camera not only to show how unprepared they are for an ambush from one of the goons. It also creates dramatic irony as up to this point they have not met any resistance on their escape only to be jumped by Valerian with a knife on the way down.

2.

Shot Composition - The composition of the scene makes it look like it was shot in a cartoon with how comedic the positions of the characters are, and how ready Valerian is, knees bent arms wide, like he is the predator about to pounce on his prey.

Shot Direction - The direction of Roger and Eve is left to right which conveys a sense of unease which is confirmed when Valerian pops out of nowhere like a horror movie villain ready to shank Roger.

Camera Motion - The camera immediately pans out showing that not only are Roger and Eve not alone, but Valerian is fully prepped and ready to pounce with how posed he is in the scene.

3.

Lens Focal Length - The focal length looks to be shot from a 65mm lens as it gives them a lot of room to do the camera panning and also to maneuver the camera without restrictions.

F-Stop - The f-stop was likely shot at f/6 to emphasize Roger and Eve and to make Valerian look more sinister with how dark his face looks and how he is barely moving as they approach.

4.

Mise-en-scène - The thing that I love about this scene is that Valerian only pounces on Roger once Eve spots him making the scene extremely funnier than I think Hitchcock wanted it to be. Not to mention Valerian barely winded himself up when he lunged making it look goofy with his arms outstretched.

Nicholas Wolf

**fellowghoul** · 09-16-2024, 07:45 PM

Trinity Torres

1. Shot size is medium close, angle is two shot, with a low angle.
2. The composition of this shot puts the police officer in a higher point of power due to his tall, rigid, confident nature compared to Roger’s more reserved, defenseless one. Also the focal point of the scene is swayed by the position of the officers body. It is pointing toward Roger, which leads the viewers eye to believe he is the main character even without no prior knowledge.
3. The camera in this shot is fairly close to the characters meaning the focal length will be on the smaller side, maybe around 18-24mm.
4. The muse en scene in this scene has the lighting centered on both Roger and the officer to signify that they are the two main people in this shot. The officer being dressed quite formally and Roger having on casual attire symbolizes the difference in power between the two. Also the body posture of the characters signifies power as well, with the officer having a straight back and standing firm and confident with his hands on his hips, while Roger is hunched over and clinging the phone close with both hands. It shows who has authority and who doesn’t even if both people had the same attire on.

1. The shot size is a close up, with a single shot frame, and pov shot angle.
2. The composition of this shot has the taxi driver taking up the majority of the shot, and the motion is moving from back to front with the motion of the car.
3. The camera here has a low focal length with a shallow focus, which makes the background blurry and the front clear.
4. The lighting of this scene is very bright, to show that it is bright outside. His costume is casual, yet mysterious because we can’t see the front of him and are therefore devoid of total information to deduce whether the character is good or bad. He also answers Robert’s question without turning his head at all. This shows confidence and unwavering certainty in the character.

1.The shot size is medium close up with a dirty single and an eye level angle.
2. The composition of the scene shows the parallel of these characters. One being a confident and cunning young woman and the other being very desperate and cautious.
3. The focal length of this shot is low to get a wide view of both people. It also utilizes bokeh to create a blurry foreground by using a wide aperture.
4. The mise en scene of the scene is supposed to appear very casual despite the tense situation of cops looking for him.

1. This is a medium shot with a three shot frame and it seems to be taken at eye level.
2. The motion of this shot is swayed by Roger’s constant shifting left to right to look at the men, suggesting he is nervous.
3. The camera is positioned very close to the main focus while leaving the background blurry, meaning it has a shallow focus.
4. The mise en scene in this scene is related to how the two men on either side are constantly looking forward, unwavering and not fidgeting at all, while Thornhill in the middle keeps shifting his gaze at everything around him and fidgeting a lot.

1. This is a medium shot with a crowd shot frame and we are looking from an eye level perspective.
2. The composition of this shot puts the primary target in the middle of the frame so that we know he's the main one to focus on even though there are lots of people behind him.
3. The camera here has little to no zoom because the main focus is in the foreground and it has a shallow focus to blur the people behind him and put more focus on the main character.
4. The mise en scene here shows a couple people around Thornhill that are more in focus than the rest staring directly at him, which puts more of a focus on him.

1. This is an establishing shot, with no faces present, and taken from a seemingly eye level.
2. The composition here is purely to show the car moving between all the skinny trees, on its way to the next destination.
3. The camera might be a tad zoomed to create a medium focal length, but still giving the shot a wide portrayal.
4. The mise en scene here, while not containing any visible characters, contrasts the bright green car with the dark brown trees and brown grass in order to show it more clearly moving left to right across the screen.

1. This is a cowboy shot with a dirty single and is taken from a low angle.
2. The composition here is meant to make the man on the right look smaller and therefore less in power compared to the one with a gun in his hand.
3. The camera is at a low angle to show the gun and the man to be looking smaller than he really is and the focal length is very low as to offer a wide shot and make sure everything is in frame. The background is slightly blurred to tell the audience that it is not important to the story.
4. The mise en scene here portrays the man with the gun as the higher one in authority and at a higher position of power, not only because of the gun but he is more cautious and hunched slightly while the man on the right is very casual and unaware with his hands in his pockets.

1. This is an establishing shot, no faces in sight, but is taken from a high angle, almost a birds eye view.
2. The composition here mainly has to do with color choices, as the ground is mostly plain and has nothing much to offer, while the bus is only slightly lighter in value.
3. The camera is positioned very high so likely has a small bit of zoom to it but is still wide to capture the entire scene and show where the bus is going.
4. The bus in the frame is made to be the main focus because it is in the center of the shot.

1. This is a master shot, with a crowd shot framing and is taken from a very high angle.
2. This composition is purely meant to show the police men chasing after Thornhill. The huge crowd is only there as an obstacle to get in their way. The crowd is also seen moving in the opposite direction compared to the officers.
3. The camera keeps most of the things in frame while maybe blurring out the edges slightly.
4. The mise en scene here is meant to put focus on the officers chase because they are going against the major flow of the crowds movement.

1. This is an establishing shot because it is showing where the car is going while it is out of control, with a clean single even though no faces are present at the moment, and it is a pov angle of Roger.
2. The composition here is meant to be blurry on the edges as to further show the audience that he is very drunk and out of it.
3. The camera is taken straight from the position of Roger and has a bit of zoom to show what's in front of him outside the car. The motion of the camera also further enhances the fact that hes intoxicated because the camera is swaying right and left.
4. The mise en scene here only shows that Roger is trying to stay in control of the car and keeping it on the road. Different objects like cars, animals, and people are positioned in the center of the screen to bring more focus on them as they pass.

1. This is a medium shot with what can be considered a three or more shot framing, taken at an eye level perspective.
2. The composition is to show the three men in suits hovering over the woman, creating some contrast.
3. The camera focal length is very low to create a wide angle and show all three men in the scene while the background is blurred to create even more of a focus with a shallow dof.
4. The mise en scene in the shot is mainly centered around showing that these three men are protecting the woman or at least discussing something about her in some way.

Attached Files

**Lgcastro** · 09-16-2024, 07:48 PM

Lola Castro

Shot 1:

Shot Size: ES (Establishing Shot) This scene was chosen to show the location change, the environment, and how long the train they are traveling on. It establishes the time of day as sunset and shows that the day is ending and a new sequence of scenes is beginning.

Angle: The angle of this shot could be a POV shot from the perspective of who is looking out the window of the train to show the long distance of travel, or it could also be considered an eye-level angle. The camera is looking out from where eye level of the character may be.

Framing: The framing of this scene is a wide frame we are allowed to see almost the entire length of the train, the water, and the sky. Everything in the environment is being shown to establish location and time of day.

Composition: The composition of this shot directs the eye to the light and towards the front of the train. Telling the story of travel, of the day of traveling being elongated or almost over since we are traveling towards the sunset, signifying the end of the day.

Direction: the direction of this shot is along the y-axis the scene is traveling in a vertical direction. Yet the train isn't traveling in a straight vertical line but a curved one. This could show that the train is going off of the beaten path since it is traveling in a curved vertical direction.

Motion: The motion of this scene was an insert shot in front of the camera to again establish the location. The camera stays still along the edge of the train while everything around is moving.

Lens/Camera Settings: The lens used for this shot is most likely around 150mm and could be considered a telephoto lens. The depth of field for this shot is a deep focus shot we can see things that are far away from the camera in clear focus.

Mise en scene: In this scene, the lighting is a huge part of the composition, the sunset lighting can set the tone and mood of the entire scene.

Shot 2:

Shot Size: A WS (Wide Shot) shot may be similar to an ES shot but we can see the change of environment along with the characters and how they interact with each other. Show the full body of the characters but also the longevity of the train in comparison to the people.

Angle: A low angle is used to show the full environment but also to set the scene up. At a lower angle, we are under the impression of hiding which Mr.Thronhill is trying not to get caught once getting off of the train.

Framing: This could be considered a crowd even though we aren't seeing many faces we know that there are a lot of people within the scene. This allows the scene to be set up so crowded that Mr.Thronhill may or may not be able to blend in with the larger amount of people at the train station.

Composition: This scene is sort of unbalanced with the large train on the left side of the screen and a few people on the right side of the screen, but it is also directing our eye to the train itself. We also see the two men dressed In uniform walking away from the camera as everyone else in the scene is walking towards it, adding focus on those two men creating a sense of question as to what their intentions are.

Direction: This scene is moving on the x-axis in a horizontal direction. We are looking from left to right, starting left at the front of the train which is the main focus to the right of the screen at the people who are way out of focus as we move further along.

Motion: The camera is panning to show the train but also the people getting off, after this scene we see Mr.Thronhill and Ms.Wendell getting off the train and walking away from the officers and people who are trying to catch him.

Lens/Camera Settings: The lens used for this angle is most likely 20mm-30mm. used to get a wider shot, they may have also captured this scene with a slower shutter speed allowing for more light to come in when filming the scene.

Mise en scene: The mise en scene in the shot is quite different from other shots there is a lot of lighting bouncing off of the train but the station that the train is parked in is covered other than what we can see uncovered towards the back. So I'm curious as to why they chose to highlight the train.

Shot 3:

Shot Size: This MS (Master Shot) follows the previous establishing shot of the train station, allowing us to see how the characters are all placed in comparison to one another within the train station.

Angle: A high angle is used to look down on the crowd within the train station, this was used during this chase scene to kind of also distract the viewer as well as to where Mr.Thornhill went.

Framing: The framing of the scene is a crowd shot, allowing the viewer to see how many people are population the scene but not necessarily focusing on one particular person. Looking at the crowd as a whole when they are trying to locate Mr.Thornhill it is quite difficult because of the mass amount of people at the station.

Composition: I love the composition of this scene they are directing our eye to the obvious color difference with the red hat, which is how they are trying to find Mr. Thornhill because he is dressed in the same uniform. It also goes to show how difficult it is going to be to find him because of the abundance of people with the same uniform on, the officers are all looking at them from the back which is making it much much harder.

Direction: There are multiple directions within this scene including along the x-axis moving from left to right and the y-axis moving from top to bottom. There are so many people moving trying to either leave the station or get to another train that the director uses all of this direction and motion to show the chaos that is happening.

Motion: The motion in this scene isn't from the camera but from all of the people within the scene, everyone is in their little world when it comes to traveling within the train station. Again the director added this much motion within the scene to add a sense of urgency when it comes to the officers trying to catch Thornhill.

Lens/Camera Settings: The lens used for this shot is to capture a wide angle shot so most likely a 25-30mm. The depth of field for this shot is a deep focus shot allowing us to see all of the people in the scene in focus one way or another, they may be moving fast but nothing is blurred out.

Mise en scene: The mise en scene used is so nice the choice of the bright red hats to break up the dark grey colors of the men's suits and women's dresses. It directs our eyes almost completely only to the red-colored hats out of everything in the scene entirely.

Shot 4:

Shot Size: This WS (Wide Shot) shows the full body of both characters and where they are in comparison to each other but also to the environment. This shot shows that the two characters are out in the middle of nowhere, the size and distance of the characters within the shot also comes into play.

Angle: A low angle was used for this scene it kind of shows the vulnerability of the two characters, but mainly Thornhill because he was told to go there to meet Kaplan but has no idea who he is or what he looks like. This gives the viewer and Thornhill and sense of uncertainty.

Framing: This is a two-shot frame. We are looking at the interaction of two different characters. The distance between the characters adds a sort of weird tension build up leaving Thornhill wondering if this man is Kaplan or not.

Composition: The composition of this piece is different than other scenes within the movie. We are getting this sense of balance with a character on each side but also a sense of unbalance with the character on the right being much bigger than Thornhill. The sizing also might show a type of power play because as of right now we believe that this other man is Kaplan.

Direction: The direction in this scene is along the x-axis with our eyes moving from left to right looking in between the two characters but also leaves us wondering what is going to happen next.

Motion: There is not much motion within this scene we are at a sort of standstill with the characters just sort of looking at each other trying to figure out what is going on.

Lens/Camera Settings: The less used for this sort could be close to a telephoto lens at around 125mm because we can see the characters in focus but we can also see pretty far down the road.

Mise en scene: the colors in this scene are pretty bare but it adds to the sense of him being in the middle of nowhere waiting for someone who he doesn't even know let alone if he will even show up (he didn't).

Shot 5:

Shot Size: WS (Wide Shot) Even though there are no characters to be seen within this shot it is still focusing on the place and geographical location of the crash. The scene is making quite of big statement with the size of the explosion in comparison to the surrounding area.

Angle: A low angle was used for this shot to see the fire and smoke leading up into the air. It also shows the severity of the crash.

Framing: Single (dirty) There is a single character still in the semi-truck and everything is happening around him it is also a wider shot so that we can see everything that is going on and to show that there is nothing else around.

Composition: The composition of this shot directs the eye right to the fire which is the main piece of this scene, watching this scene happen I was in shock it happened too fast. The director wanted to show how intense this scene was.

Direction: The direction of this scene is along the y-axis. The fire is traveling vertically toward the top of the screen. Yet when we look the the plane that crashed it was moving along the x-axis crashing into the semi.

Motion: The motion of this scene is all within the fire showing that it's the main focal point for the entire scene, leaving a sense of confusion on why that scene was included and who the person even was that was flying the plane.

Lens/Camera Settings: The lens used for this shot is a wide lens at about 30mm which allows for us to see the crash scene and a little bit behind it but not too far behind without losing focus.

Mise en scene: The mise en scene within this shot is all the color, the bright orange of the fire leading the scene is the first thing that your eye goes to in a sea of dull colors.

Shot 6:

Shot Size: ES (establishing shot) This shot shows the change of location, the time of day, and what the weather is like. We are shown this shot to portray the gloomy emotion of the scene.

Angle: Low angle with the camera below the subject eye level, panning upward. The glow of the headlights once again reveals the time of day and the shadow of the skyline gives and ominous feel.

Framing: Single (dirty) In this case the car is a single character and the skyline is dirty.

Composition: The composition of this scene directs the eye to the contrast from the glow of the headlights to the darkness of the shadows in the skyline. There is also a sense of balance between the car and the city.

Direction: The direction of the scene is along the y-axis looking top to bottom with the car being the main focal point. The straight line of looking vertically is considered to be good.

Motion: The motion of the shot can be considered horizontal with the car driving down the street. But also vertical with the viewer's eye looking up at the buildings.

Lens/Camera Settings: This shot uses a wide-angle lens at 32mm with a faster shutter speed allowing for less light to be captured. There is a sense of deep focus with in the scene allowing for the car and the skyline to be in focus.

Mise en scene: The mise en scene is interesting because the colors aren't very bright but still draw our eye to the car first.

Shot 7:

Shot Size: MCU (Medium close-up shot) It takes the view from the binoculars that zoom in.

Angle: Low angle with the camera below the subject's eye level showing a sense of power from Mount Rushmore.

Framing: The framing can be considered a four-shot because we can see all of the faces of the mountain.

Composition: The composition directs the eye, particularly toward Mount Rushmore with the type of spotlight feel.

Direction: The direction of this shot is along the y-axis looking vertically up towards Mount Rushmore. It can also give a feel of vulnerability to the viewer based of the mountain's size it can make one feel quite small.

Motion: The motion is the viewer looking up at the mountain in a sort of awe of its size, feeling once again small compared to oneself.

Lens/Camera Settings: The lens used is a fish eye lens at about 13mm with a slower shutter speed allowing for more light to be captured. And a depth of field with a shallow focus viewing the mountain close up.

Mise en scene: The Mise en scene of this shot plays with with the brights of the mountain and the darks of the fish eye lens border forcing the viewer to focus solely on the mountain.

Shot 8:

Shot Size: This master shot follows the establishing shot of Mount Rushmore and confirms the geography and where the characters are within the scene and in relation to each other.

Angle: The angle is low, below eye level but could also be considered OTS (over the shoulder) because we are looking over Thornhill's shoulder but can also see the other agent in view.

Framing: This scene is a two-shot because it includes more than one character and the viewer can focus on what both Thornhill is looking at and what the agent to looking at.

Composition: The composition is balanced with the characters on either side of the screen and directs our eye to the brightness of the mountain.

Direction: The direction is along the y-axis looking up at the mountain. But can also be on the x-axis looking right to left at the characters.

Motion: The motion directed my eye to the mountain and then to its two lead characters.

Lens/Camera Settings: A wide-angle lens was used at about 35mm with a slower shutter speed helping to brighten the image. The depth of field is a split diopter with both the characters and the mountain being in focus.

Mise en scene: The Mise en scene of the shot is the subtle contrast of colors and brightness of the lights within the scene.

Shot 9:

Shot Size: WS (wide-shot) Makes a statement with a depth of the distance between the car and the mountain. Comparing the character to the environment.

Angle: The angle is eye level the trees are a distraction and type of camouflage the mountain is partially hidden and the car is clearly in an area where it feels as if it would be hard to find or see.

Framing: The frame can be considered a crowd shot with the number of trees within the scene. Showing a scene where the car is hidden not wanting to be seen or discovered.

Composition: The composition of the shot directs your eye to multiple places including the mountain the trees and the car.

Direction: The direction is along the x-axis looking horizontally across the scene with the abundance of trees. With a small incorporation of the mountain peeking through looking up towards it vertically.

Motion: The motion of the scene is the viewer's eye panning the trees to the height of the mountain.

Lens/Camera Settings: The lens used is a wide angle at 35mm with a slower shutter speed to capture the light off the mountain and the darkness and contrast of the trees. The depth of field is a deep focus allowing for everything in the scene to be within focus.

Mise en scene: The Mise en scene in the scene with the darkness of the trees and light of the mountain gives of sense the light at the end of a tunnel.

Shot 10:

Shot Size: MCU (medium close-up) This shot reduces the distraction of the surrounding environment, prioritizing the two characters and intensifying the scene.

Angle: The angle is overhead looking down on the characters as they look up towards the audience with a mischievous look and obvious plot to harm.

Framing: The scene is a two-shot framing of both characters while they plot their plan.

Composition: The composition is balanced, the characters were "coded" so they are easily identifiable as the villain.

Direction: The direction is along the x-axis looking horizontally from character to character allowing for the conflict to be presented.

Motion: The motion of the scene is looking down on the characters as plot to kill Eve Wendell once on the plane and over water.

Lens/Camera Settings: The lens used is a wide angle at about 30mm with a faster shutter speed capturing less light and leaving the scene with a darker look.

Mise en scene: The mise en scene in the shot includes darker tones allowing for a devious mood with a slight greenish undertone villain vibe.

**dogma2026** · 09-16-2024, 08:07 PM

Roger Gonzales Jr

1. Shot Size
Close-Up: This shot focuses tightly on the hands writing, emphasizing the emotional weight and details of the handwriting.
Angle
Slightly Overhead: The angle provides an intimate view of the writing process, making the audience feel involved in a private moment.
Framing
Tight Framing: The tight framing around the hands and paper isolates the action, heightening focus on the writing and its emotional significance.
Shot Composition, Direction, Motion
Static Composition: The stillness allows viewers to concentrate on the writing, conveying the moment's importance.
Direction: The deliberate movement of the hands indicates a thoughtful process, suggesting the message is significant and possibly urgent.
Lenses and Camera Settings
Macro Lens: This lens captures fine details of the hands and paper, enhancing clarity and texture.
Shallow Depth of Field: This technique keeps the focus on the hands while blurring the background, isolating the emotional action.
Mise en Scène
Set Design: A minimalistic, dark background creates a sense of isolation and introspection.
Lighting: Soft, focused lighting highlights the hands and paper, enhancing the emotional intensity of the moment.
Costume: The rough, worn hands suggest a character with a history of hardship, adding depth to their identity.
Makeup: Minimal makeup reflects realism, showcasing the character’s life experiences.
Semiotic Analysis
Conveying Meaning
The director’s choices convey themes of urgency and emotional weight. The act of writing symbolizes communication and potential confession, with the close-up underscoring its importance.
Changes to Understanding
These choices reveal the character’s vulnerability. The focused shot suggests the gravity of the message, prompting viewers to contemplate its significance.
Implicit Information
The tight framing and stillness imply secrecy and heighten suspense. The roughness of the hands indicates a character who has faced challenges, adding complexity to their identity.
Emotional Impact on the Audience
The director’s choices create tension and anticipation. The close-up fosters a connection to the writing, encouraging reflection on its significance and potential consequences.

2. Wide Shot: Captures the busy airport scene, including travelers and security personnel, establishing a bustling atmosphere.
Angle
Eye Level: Provides a neutral perspective, enhancing relatability and making the audience feel part of the scene.
Framing
Balanced Framing: Includes both travelers and guards, creating visual symmetry that highlights their interaction and emphasizes surveillance.
Shot Composition, Direction, Motion
Dynamic Composition: Characters in various poses add energy, reflecting the urgency of travel.
Motion: Guards walk purposefully, suggesting authority, while travelers display a range of emotions, from anxiety to excitement.
Lenses and Camera Settings
Standard Lens: Captures the scene naturally, enhancing realism and viewer engagement.
Depth of Field: A moderate depth keeps both travelers and guards in focus, reinforcing their interconnected roles.
Mise en Scène
Set Design: A bustling airport with signs and advertisements conveys a sense of travel.
Lighting: Bright, even lighting creates a vibrant atmosphere of excitement and urgency.
Costume: A mix of formal and casual attire reflects diverse backgrounds; guards symbolize authority.
Makeup: Minimal makeup enhances realism, focusing on character expressions.
Semiotic Analysis
Conveying Meaning
The director conveys themes of travel, authority, and the human experience in public spaces. The airport symbolizes transition, while guards represent surveillance.
Changes to Understanding
These choices clarify character roles: guards like Officer Reynolds embody authority, while anxious travelers like Ms. Thompson highlight personal stakes, emphasizing freedom versus control.
Implicit Information
The bustling environment suggests diverse stories and emotions. Guards’ vigilance contrasts with travelers' varied reactions—some excited, others apprehensive.

3. Shot Size
Close-Up: This shot focuses tightly on the characters' faces, emphasizing their emotions and the intensity of the moment. The close-up allows viewers to connect deeply with their feelings of fear and urgency.
Angle
High Angle: The camera is positioned above the characters, portraying them as vulnerable and in a precarious situation. This perspective heightens the tension and creates a sense of danger.
Framing
Tight Framing: The characters are framed closely together, which conveys their emotional connection and shared struggle. The framing isolates them against the vast, rugged background, emphasizing their peril.
Shot Composition, Direction, Motion
Static Composition: The shot remains fixed, focusing on the characters' expressions and actions. This stability contrasts with the chaotic environment around them.
Motion: The characters are depicted in a moment of stillness, clinging to the edge, which amplifies the tension of their situation. Their subtle movements suggest urgency and the threat of falling.
Lenses and Camera Settings
Standard Lens: This choice maintains a natural perspective, enhancing the emotional realism of the scene.
Depth of Field: The shallow depth of field keeps the background slightly blurred, drawing attention to the characters and their emotional state while suggesting the vastness of the landscape behind them.
Mise en Scène
Set Design: The rocky cliffside setting conveys danger and isolation, reinforcing the characters' vulnerability.
Lighting: Natural lighting casts dramatic shadows, enhancing the tension and highlighting the characters’ expressions.
Costume: The woman’s orange coat contrasts with the stark landscape, symbolizing warmth amid danger. The man's attire is more formal, suggesting a contrast between their backgrounds and current predicament.
Makeup: Minimal makeup highlights the characters' raw emotions, allowing their expressions of fear and determination to take center stage.
Semiotic Analysis
Conveying Meaning
The director’s choices convey themes of vulnerability, danger, and the human struggle for survival. The characters' close proximity suggests their emotional bond, while the high angle heightens the sense of peril.
Changes to Understanding
These choices deepen our understanding of the characters' relationship. Their shared struggle on the cliff’s edge reveals a moment of crisis that tests their connection and resilience.
Implicit Information
The rugged landscape symbolizes the challenges they face, while the characters’ expressions convey unspoken fears and hopes. Their physical struggle against the cliff reflects broader themes of overcoming adversity.
Emotional Impact on the Audience
The shot evokes intense feelings of tension and empathy. Viewers may feel their anxiety as the characters cling to the edge, prompting reflection on personal struggles and the fragility of life. This emotional engagement creates a strong connection with the characters’ plight.

4. Shot Size
Medium Shot: This shot frames both characters from the waist up, allowing for a focus on their facial expressions and body language while also providing context of the hotel reception area.
Angle
Eye Level: The eye-level angle creates a neutral perspective, promoting relatability and intimacy. It allows the audience to engage directly with the characters as if they are part of the conversation.
Framing
Symmetrical Framing: The two characters are positioned in a balanced manner, with the hotel receptionist slightly behind a counter. This framing emphasizes their interaction and the power dynamics at play—where the guest is seeking assistance and the receptionist holds the position of authority.
Shot Composition, Direction, Motion
Static Composition: The shot remains still, focusing on the dialogue and interaction between the two characters. This stability allows viewers to concentrate on their exchange without distraction.
Direction and Motion: The characters exhibit subtle physical movements—leaning slightly toward each other—which suggests engagement and tension in their conversation. The receptionist’s posture indicates attentiveness, while the guest appears slightly tense, hinting at urgency.
Lenses and Camera Settings
Standard Lens: This lens choice captures the scene naturally, enhancing realism and making the environment feel familiar and accessible.
Depth of Field: A moderate depth of field keeps both characters in focus while slightly blurring the background, emphasizing their interaction and the immediate setting.
Mise en Scène
Set Design: The warm wood tones of the reception area convey a sense of elegance and formality, reflecting the hotel’s status. The organized filing system in the background suggests professionalism and order.
Lighting: Soft, even lighting illuminates the characters, highlighting their expressions and contributing to the scene's overall warmth and intimacy.
Costume: The guest, dressed in a stylish suit, signifies sophistication and perhaps urgency, while the receptionist’s tuxedo underscores his role in a formal setting, reinforcing the theme of service and authority.
Makeup: Minimal makeup enhances realism, allowing natural expressions to convey the characters’ emotions effectively.
Semiotic Analysis
Conveying Meaning
The director’s choices convey themes of authority, urgency, and the dynamics of service. The hotel reception represents a threshold between the outside world and the sanctuary of the hotel, where the guest is seeking help.
Changes to Understanding
These choices deepen our understanding of the characters' relationship. The guest’s tense demeanor suggests he is in a precarious situation, while the composed receptionist embodies professionalism and control, highlighting the power dynamics inherent in customer service.
Implicit Information
The structured environment and formal attire imply societal expectations and the roles individuals play within them. The guest's urgency hints at a backstory that adds depth to the narrative, suggesting he may be in a crisis or facing a significant challenge.
Emotional Impact on the Audience
The shot evokes feelings of tension and anticipation. Viewers may empathize with the guest’s plight, sensing his urgency and need for assistance. The warm, inviting setting contrasts with the underlying tension, creating a complex emotional landscape that engages the audience.

5. Shot Size
Wide Shot: This captures a broad view of the landscape, including the rocky terrain and the dimly lit runway. The wide shot establishes the setting and the isolation of the location, emphasizing the distance and emptiness.
Angle
High Angle: The camera is positioned slightly above the scene, which can create a sense of detachment. This perspective allows viewers to observe the vastness of the landscape, enhancing feelings of loneliness and vulnerability.
Framing
Asymmetrical Framing: The composition is weighted toward the left, with the road and lights leading the viewer’s eye toward the horizon. This draws attention to the path ahead, suggesting a journey or an impending event.
Shot Composition, Direction, Motion
Static Composition: The shot remains still, allowing viewers to absorb the tranquil yet eerie atmosphere. This stillness contrasts with the potential action implied by the lights along the runway.
Direction and Motion: The faint lights suggest movement and activity off-screen, hinting at something significant about to happen. The road leading into the frame invites viewers to imagine where it might lead.
Lenses and Camera Settings
Standard Lens: A standard lens captures the scene in a natural perspective, enhancing realism and allowing viewers to connect with the environment.
Depth of Field: A moderate depth of field keeps both the foreground (the road) and background (the landscape) in focus, reinforcing the relationship between the characters and their environment.
Mise en Scène
Set Design: The rugged terrain and sparse lighting create a sense of isolation and foreboding. The landscape appears wild and untamed, suggesting danger or unpredictability.
Lighting: The dim lighting from the runway lights contrasts sharply with the dark surroundings, creating focal points that draw the eye and evoke a sense of mystery.
Costume: While there are no visible characters in this shot, the environment itself is a character, suggesting themes of desolation and uncertainty.
Makeup: There are no characters to apply makeup to, but the natural textures of the rocks and the landscape add to the realism and depth of the scene.
Semiotic Analysis
Conveying Meaning
The director’s choices convey themes of isolation, anticipation, and the unknown. The landscape symbolizes a threshold between safety and danger, while the runway lights suggest potential movement or arrival.
Changes to Understanding
These choices establish a mood of suspense and foreboding, hinting at possible action or confrontation. The desolate setting contrasts with the expected hustle and bustle of an airport, enhancing the tension.
Implicit Information
The empty road and dim lights imply that something significant is on the horizon, whether it's an arrival, a departure, or an impending conflict. The isolation of the scene suggests that the characters may be in a vulnerable position, facing external threats.
Emotional Impact on the Audience
The shot evokes feelings of tension and curiosity. The stillness of the scene, combined with the eerie lighting, prompts viewers to wonder what lies ahead. This anticipation creates a sense of unease, making the audience more alert to potential developments in the narrative.

6. Shot Size
Medium Shot: This shot captures the character standing inside the house while simultaneously showing the figure outside. It allows for a focus on the characters' interaction and the spatial relationship between them.
Angle
High Angle: The camera looks down on the characters, suggesting a sense of surveillance or vulnerability. This perspective heightens the tension and emphasizes the precarious situation of the character outside.
Framing
Asymmetrical Framing: The framing places the character inside the house on one side, while the figure outside is positioned against the stone wall. This visual separation underscores the tension between safety and danger.
Shot Composition, Direction, Motion
Dynamic Composition: The composition includes both the interior and exterior, creating a sense of depth and highlighting the contrast between the two environments. The stone wall serves as a barrier, enhancing the feeling of separation.
Minimal Motion: The shot is static, allowing the audience to absorb the tension in the scene. The stillness contrasts with the potential action outside, making viewers anticipate what might happen next.
Lenses and Camera Settings
Standard Lens: This lens captures the scene in a natural perspective, enhancing realism and making the viewer feel present in the moment.
Depth of Field: A moderate depth of field keeps both the character inside and the figure outside in focus, reinforcing their connection and the underlying tension between them.
Mise en Scène
Set Design: The modern architecture of the house contrasts with the rugged stone wall outside, symbolizing safety versus danger. The interior space appears inviting, while the outside is dark and foreboding.
Lighting: The warm light from inside the house contrasts sharply with the dark exterior, emphasizing the sense of safety within and the threat outside.
Costume: The character inside wears an orange dress, which stands out against the darker background, symbolizing warmth and vulnerability. The figure outside is less defined but suggests a more menacing presence.
Makeup: The character's makeup is natural, enhancing realism and emphasizing her emotional state, which is likely one of concern or fear.
Semiotic Analysis
Conveying Meaning
The director’s choices convey themes of vulnerability, tension, and the contrast between safety and danger. The separation of the characters visually represents the emotional and physical barriers they face.
Changes to Understanding
These choices deepen our understanding of the scene. The character inside is isolated in her safety, while the figure outside suggests a threat, heightening the stakes of the narrative. This juxtaposition allows viewers to grasp the tension between the two spaces.
Implicit Information
The stone wall serves as a metaphor for the barriers between safety and danger. The warm light inside contrasts with the dark outside, implying that the character is in a precarious situation, surrounded by unseen threats.
Emotional Impact on the Audience
The shot evokes feelings of suspense and anxiety. The high angle and separation create a sense of foreboding, making viewers anxious about the potential danger the character inside may face. This anticipation generates emotional investment in the unfolding narrative.

7. Shot Size
Close-Up: This shot focuses tightly on the sign of the United States Intelligence Agency, emphasizing its importance. The close-up allows viewers to absorb the details of the sign while also hinting at the building behind it.
Angle
Slightly Low Angle: The camera is positioned slightly below the sign, which elevates its significance and power. This angle also incorporates the backdrop of the Capitol building, suggesting authority and governance.
Framing
Centered Framing: The sign is prominently placed in the center of the frame, drawing the viewer’s attention. The background of the Capitol building creates a visual connection between intelligence and national governance.
Shot Composition, Direction, Motion
Static Composition: The shot remains still, allowing viewers to focus on the details of the sign and the building behind it. This stability reinforces the notion of authority and permanence.
No Motion: The absence of motion in the shot conveys a feeling of seriousness and gravity, appropriate for the subject matter.
Lenses and Camera Settings
Standard Lens: The standard lens captures the scene in a realistic manner, enhancing the clarity and detail of the sign and background.
Depth of Field: A shallow depth of field keeps the sign sharp while slightly blurring the background, emphasizing the importance of the agency while still recognizing its governmental context.
Mise en Scène
Set Design: The sign is set against a clean, well-maintained environment, reflecting the professionalism and seriousness of the agency. The Capitol building in the background reinforces the connection to national security.
Lighting: Natural lighting creates a clear and inviting atmosphere, but it also casts slight shadows, adding depth and complexity to the scene.
Costume: While there are no visible characters in this shot, the formal nature of the sign and the building suggests a serious, authoritative presence.
Makeup: There is no makeup in this shot, but the polished surface of the sign enhances its significance and professionalism.
Semiotic Analysis
Conveying Meaning
The director’s choices convey themes of power, authority, and the relationship between intelligence and governance. The inclusion of the Capitol building suggests that the agency operates within the framework of national interests.
Changes to Understanding
These choices shape our understanding of the agency's role within the government. By placing the sign in front of a symbol of governmental authority, the director emphasizes the agency's importance in national security and intelligence.
Implicit Information
The reflection of the Capitol building in the sign hints at the interconnectedness of intelligence work and political oversight. This connection suggests that intelligence operations are not isolated but are part of a larger governmental framework.
Emotional Impact on the Audience
The shot evokes feelings of seriousness and intrigue. The focus on the agency's sign encourages viewers to contemplate the implications of intelligence work—issues of security, secrecy, and governance. The authoritative imagery prompts a sense of respect and caution regarding the agency's functions.

8. Shot Size
Wide Shot: This shot captures the entire scene, including the burning wreckage in the background and the truck in the foreground. This wide perspective allows viewers to understand the context and scale of the chaos.
Angle
Low Angle: The camera is positioned low to the ground, looking up at the truck and the figure underneath it. This angle conveys a sense of danger and vulnerability, emphasizing the precarious situation of the character beneath the vehicle.
Framing
Asymmetrical Framing: The truck dominates the bottom of the frame, while the flames and wreckage occupy the background. This composition creates a dynamic tension between the safety of the truck and the chaos behind it.
Shot Composition, Direction, Motion
Dynamic Composition: The juxtaposition of the truck and the flames creates a sense of urgency. The positioning of the character below the truck suggests he is seeking refuge or escape from the danger.
Minimal Motion: The shot is relatively static, allowing the viewer to absorb the scene’s intensity. The flames flicker and the truck’s engine may rumble, adding to the tension without overwhelming the frame.
Lenses and Camera Settings
Standard Lens: The use of a standard lens captures the scene naturally, enhancing realism and allowing viewers to engage with the environment.
Depth of Field: A moderate depth of field keeps both the foreground and background in focus, reinforcing the relationship between the character's immediate danger and the broader chaos.
Mise en Scène
Set Design: The setting is clearly chaotic, with the burning wreckage indicating an explosion or accident. The stark contrast between the green truck and the flames highlights the volatile situation.
Lighting: The bright flames illuminate the scene, casting flickering shadows and creating a dramatic atmosphere that heightens tension.
Costume: The character underneath the truck is dressed in a suit, suggesting he is out of place in this dangerous environment, emphasizing his vulnerability.
Makeup: While not prominently visible, any soot or dirt on the character would enhance the realism and suggest the immediacy of the danger he faces.
Semiotic Analysis
Conveying Meaning
The director’s choices convey themes of danger, survival, and chaos. The image of the truck alongside the fire suggests a clash between safety and destruction, illustrating the character's precarious position.
Changes to Understanding
These choices shape our understanding of the character's situation. The low angle emphasizes his vulnerability while the wide shot contextualizes the scene, revealing the extent of the danger he faces. This framing evokes empathy for the character as he navigates a life-threatening scenario.
Implicit Information
The burning wreckage implies a backstory of violence or disaster, suggesting that this moment is part of a larger conflict. The truck, possibly a symbol of safety or escape, contrasts sharply with the chaos, indicating that refuge is not guaranteed.
Emotional Impact on the Audience
The shot evokes feelings of tension and anxiety. The low angle and chaotic setting prompt viewers to worry for the character's safety, creating a visceral reaction to the unfolding danger. This engagement heightens emotional investment in the character's fate.

9. Shot Size
Medium Shot: This shot captures the figures walking past the storefront while also incorporating the window display. The medium shot allows viewers to see both the characters and the context of their environment.
Angle
Eye Level: The camera is positioned at eye level, which creates a neutral and relatable perspective. This angle invites viewers into the scene, making them feel part of the characters' world.
Framing
Asymmetrical Framing: The characters are positioned to one side of the frame while the storefront occupies the other. This composition highlights the contrast between the individuals and their surroundings, suggesting a disconnect or a moment of contemplation.
Shot Composition, Direction, Motion
Dynamic Composition: The movement of the characters walking past the storefront creates a sense of flow and life within the scene. The contrasting stillness of the window display adds depth to the composition.
Motion: The characters are in motion, suggesting purpose or urgency, while the static elements of the window display emphasize the passage of time and the mundanity of everyday life.
Lenses and Camera Settings
Standard Lens: The standard lens captures the scene realistically, allowing viewers to engage with the environment and characters without distortion.
Depth of Field: A moderate depth of field keeps both the characters and the window display in focus, reinforcing their relationship and the broader context of the scene.
Mise en Scène
Set Design: The storefront and its contents suggest a commercial environment, possibly indicating the characters' socio-economic status or their intentions. The painting in the window adds an artistic touch, hinting at cultural values.
Lighting: Soft, natural lighting enhances the scene's realism and creates a welcoming atmosphere, while also casting subtle shadows that add depth.
Costume: The characters are dressed in suits and hats, reflecting the style of the time and suggesting a level of formality and intentionality in their actions.
Makeup: Minimal makeup on the characters enhances realism, allowing their expressions and actions to convey their emotional states.
Semiotic Analysis
Conveying Meaning
The director’s choices convey themes of urban life, social interaction, and the passage of time. The juxtaposition of the moving characters with the stillness of the storefront suggests a moment of transition, perhaps reflecting on life’s choices.
Changes to Understanding
These choices shape our understanding of the scene and characters. The characters' movement past the storefront indicates that they are part of a bustling city life, while the window display invites contemplation about art and consumerism. This suggests a deeper narrative about aspirations and the mundane nature of daily existence.
Implicit Information
The storefront's sign and the painting in the window imply a cultural backdrop that may influence the characters' lives. The contrasting elements of movement and stillness evoke a sense of nostalgia or longing, hinting at the characters’ inner lives beyond what is explicitly shown.
Emotional Impact on the Audience
The shot evokes feelings of curiosity and reflection. The viewers might feel a connection to the characters’ journey and ponder their own experiences in urban settings. The dynamic yet contemplative nature of the scene invites introspection about the characters' lives and choices.

10. Shot Size
Medium Shot: This shot captures both characters in their environment, allowing for a focus on their interactions while providing context about the setting. The medium shot highlights their physical proximity and emotional dynamics.
Angle
Eye Level: The camera is positioned at eye level, promoting a sense of equality and intimacy between the characters. This angle allows viewers to engage with their expressions and reactions on a personal level.
Framing
Asymmetrical Framing: The characters are positioned on opposite sides of the frame, with the woman on the left and the man on the right. This arrangement emphasizes the emotional distance or conflict between them, despite their physical closeness.
Shot Composition, Direction, Motion
Dynamic Composition: The arrangement of furniture and lighting creates a warm, inviting atmosphere, contrasting with the potential tension between the characters. The use of shadows and light enhances the emotional tone of the scene.
Minimal Motion: The characters appear relatively still, suggesting a moment of contemplation or tension. This stillness invites viewers to focus on their expressions and the subtleties of their interaction.
Lenses and Camera Settings
Standard Lens: The standard lens captures the scene naturally, enhancing realism and making the environment feel lived-in and relatable.
Depth of Field: A moderate depth of field keeps both characters in focus while slightly blurring the background, directing the audience's attention to their interaction without losing the context of the surrounding space.
Mise en Scène
Set Design: The modern yet cozy interior reflects a sense of wealth and comfort, suggesting the characters’ social status. The use of warm wood tones and soft furnishings creates an inviting atmosphere.
Lighting: The soft, warm lighting from the lamps enhances the emotional warmth of the scene while also creating shadows that suggest complexity in the characters' relationship.
Costume: The woman’s elegant dress contrasts with the man’s more casual attire, indicating differences in their personalities or roles within the interaction. This attire hints at social dynamics and expectations.
Makeup: The characters' makeup is subtle, enhancing their natural features and allowing their emotions to be conveyed through expression rather than exaggeration.
Semiotic Analysis
Conveying Meaning
The director’s choices convey themes of intimacy, conflict, and emotional distance. The juxtaposition of the characters within a cozy setting suggests that comfort does not necessarily translate to emotional closeness.
Changes to Understanding
These choices deepen our understanding of the characters’ relationship. The asymmetrical framing highlights their emotional disconnect, suggesting unresolved tension despite the intimate setting. Viewers may interpret this as indicative of broader themes of communication or misunderstanding in relationships.
Implicit Information
The background decor and the arrangement of furniture imply a shared history and familiarity, suggesting that the characters have spent significant time together. The presence of the TV and the casual setting hints at the mundanity of their lives, contrasting with the underlying emotional complexity.
Emotional Impact on the Audience
The shot evokes feelings of curiosity and tension. Viewers are drawn into the scene, sensing the emotional weight of the characters’ interaction. The warm, inviting setting juxtaposed with their apparent emotional distance creates a sense of intrigue, prompting viewers to contemplate the nature of their relationship and what lies beneath the surface.

Attached Files

**Ashton koranek** · 09-16-2024, 10:33 PM

1. This Shot is the main character talking to three other at a table. The show being over the shoulder helps with putting us in the eyes of Thornhill in this scene without making it first person. Its focused on the 3 as they are the main focus of this shot. While the angle is different for the multiple people with them lining up shortest to tallest however the shot being eye level for the most part conveys the friendly tone of them like they are a old group of friends meeting for a drink. The Shot composition is made for us to focus on the three characters as they talk to Thornhill but like previously stated they are lined up almost short to tallest and the left most person appears to be leaning down possibly cause he was as tall as the middle guy but the Alfred wanted him to be shorter. The lens is likely to be just a normal lens maybe around the 30mm - 50mm range the f-stop is on the smaller end as the main people are in focus but the two men in the background are not in focus. The overall mise en scene is that of a light harded talk between 4 men where the main character is the focus of the three men. The sounds you here are of a busy but quiet place like a restaurant where people keep to themselves.

2. This shot is a medium shot of the two characters about to kidnap Thornhill and the angle being low giving them a sense of power in the scene the framing being a double focused on the two characters. The composition and more specifically motions is what really blew me away with the shot moving from the people at the table to these two after Thornhill calls on the boy. The movement being smooth and what feels like the whole camera moving two focus on these two men. Its done to instantly shift the focus from the dining table to these two men. The lens wouldn't need to be to long so 40 -70mm I would say as it seems like the whole camera was moved for the shot. The mise en scene is silent when the camera moves giving the men a feeling of being scared of them but their isn't a audio sting to give them a entrance they are just their like any other person.

3. The size of this is a cowboy shot showing "Mr. Townsend" as he approaches the main character after he was locked in this library. The angle of this show is of a low point showing that "Mr. Townsend" is very much in the place of power here but also when it cuts to Thornhill the angle is also low but at a much less steep angle showing how while Thornhill doesn't feel helpless he is very much not in control. The framing of both of the shots is a single focusing on "Mr. Townsend" and Thornhill respectively. The composition is that of someone who is in power with the low angle and the expression on his face like he knows what he wants to say while with Thornhill he has a analyzing face like he is trying to figure out what's going on. The motion in this shot and scene is amazing Mr. Townsend walks from right to left as is cuts to Thornhill also moving right to left giving American audiences a sense of uneasy as the characters are moving in a manner that is not normal. The lens would be around the 40-60mm range as it need to be wide enough to show all of "Mr. Townsend" and convey the movement well. The F-Stop is likely to be low as the characters are the only thing in focus of the frame. The mise en scene is a normal library with no real sounds besides the characters movement and talking the costumes of a suit and tie make it feel very formal even though he just got kidnapped like Mr. Townsend was walking into any meeting to talk about stuff.

4. The size of the shot is medium shot of two characters that being Thornhill and the real Mr. Townsend. The angle is a eye level shot giving the shot a feeling of them being equal and not at odds the framing being a double shot of both the characters in focus. The composition of the shot clearly shows both in the middle of the frame. Motion in the shot or frame is that of Mr. Townsend getting a knife in the back and for a few frames you can see the knife fly to the back of Mr. Townsend. The lenses is around 40 - 60mm as while the two main characters are in the middle you can still see a good amount of them so that the expression and movement of Mr. Townsend can be shown. The F-stop is as a low amount as they are the only ones in focus in the scene. The mise en scene isn't a whole lot besides everyone in suits and ties showing its a formal place they are talking but when the knife hits his back the gasp followed by the audio stinger that brings out the action of the scene.

5. This shot is a close up shot of the note that Eve left for Vandamm while he was in a different cart from her. Its angle is that of a high shot but I feel it was mostly done to show what was on the note clearly and the framing being that of a single shot with if focusing on the note and what the note says. The composition of this shows a person holding it and the note being showing for awhile so the audience can read it themselves. The motion then leads into a double shot of the two men reading the note and looking at each other showing the audience who got the note. The lens is a close up so around the 60- 90 range to be able to get the note to be readable for the audience. The F-stop is really low with pretty much only the hands and the note in focus and everything else really out of focus. The Mise en scene of the shot for things like the lighting help light up the note and make it readable as well as the fact that neither of the dudes talk to add suspense for what they are gonna to the main character.

6. This is a medium shot of eve as Thornhill surprised her in her hotel room. The angle of the shot is a low angle shot to show the slight helplessness of eve in this scene as she isn't in control at all since Thornhill now knows what she is up too. the framing of the shot is a single only focused on her. The composition of the shot is of her being taken aback of the fact that Thornhill is alive and that he is in the same room as her. The lens that was used was around 30 - 60 mm and the F-Stop is short to medium with only her being in focus in the shot. The Mise en scene is one of power for Thornhill and powerless for eve. The clothing of her red and black dress is also a nice indicator of her being bad in that red is often associated with bad things in general.

7. this is a medium shot of Thornhill looking at Vandamm at a auction house with Eve. The angle of this shot is on the eye level of Vandamm to show he isn't helpless in this scene and he doesn't fear anything. The framing is a over the should shot of Thornhill. The composition of the shot while at eye level for Vandamm displays Thornhill as a much taller figure then Vandamm showing the sorta balance of power between them with Thornhill getting the upper hand on Vandamm and even Vandamm looks up at Thornhill while Thornhill is looking down at Vandamm.The movement of the henchmen walking away as the camera moves to point out that they have a plan to kill Thornhill and the person walking away as soom as Vandamm says he will be the role of a dead body. The lens is around 30 - 50mm with the F-stop being medium as it will move over to the henchmen walking away. The mise en scene is that of a auction house very formal and high class with everyone looking very rich and the bids reaching the 1000's of dollars.

8. The Size of the shot is a wide shot with the angle being around the eye level and the framing being a double. The wide shot with this angle makes it so both of them are on the same level as everything has been told to Thornhill and they are finally on the same level with them locking eyes. The composition is almost like they are in two different world with the trees in-between them being the border then need to cross. their is almost no motion for awhile while they talk to each other just them from across the trees talking about what happened between them. The lens would need to be a wide lens so around 15-35mm to get both of them in shot with both of them in focus as well as the trees in-between them the F-stop would need to me around the middle range. The Mise en scene is very interesting one thing I noticed that could have been coincidence is that her dress instead of being red and black like in a previous scene when we still thought her a bad guy its just black with no red as he no longer sees her as a bad guy.

9. The shot is a wide angle shot of both the maid and Thornhill with the angle being just about eye level for both with it slightly giving a low angle for Thornhill and a high angle for the maid. The framing being a double shot. The shot composition has a lot of space between the two as well as just things between them. The motion that happens is that the maid tells Thornhill to sit down kind of giving up his power to run and making him almost eye level with her. The lens would need to be wide so around 15 - 35mm and with the F-stop being low to medium as they are close to the lens and nothing behind them is in focus. The mise en scene is that of someone who got caught and is forced to freeze. Its gives all the power to the maid with her holding the gun to him and for the further scene of eve walking to the plane gives the audience a sense of "what could he do" till its found its a fake gun.

10. The shot size is a wide shot with a low angled framing for all three of the characters in the scene. I would say its a triple shot as all three of the characters matter in this shot. The shot composition is that of a panicked chase they are running away from him as he is close behind but with the lens and how he is put he seems far away but still on their trail. The motion in the scene is the main two running while in the background you can see the henchmen behind them following. The lens would be around 15 - 30mm to get this shot with everyone in it. The F-stop would be a medium distance as even though the main two are basked in darkness they are still in focus and the guy in the back while not in focus is still noticeable and seen. The mise en scene is panic the music is blaring they are stumbling around running for their lives. Eve broke her heel earlier in the scene showing the distress.

**Sen07** · 09-16-2024, 11:46 PM

Yessenia Montalvo

This size of this frame is a Master shot telling us where the movie will be located. The Framing is a Crowd shot of some downtown area with a bunch of people rushing trying to get on the subway. It's an overhead shot to show the environment, people, and overall tone of the movie.
This shot has a bunch of different people trying to leave and get to the subway. They are all nicely dressed probably either on their way to work or leaving work. Looks like people are just going about their day.
They took this shot with an aperture of about f/15 and they used a wide angle lens and moved from left to right.
The lighting is bright, the music is kind of fast tempo, and the characters are all dressed nicely. They are trying to set the tone of the movie. Showing how people are busy in their everyday lives.

This is a medium shot, two shot, with a low angle
The MC and supporting character are on a busy street heading to a taxi that shows the small journey they take and the conversation they are having at the time. It shows that our main character is an important business man.
The lens is about a 35-50mm, shallow focus, with a f/11
The lighting is brighter on the main character and his secretary. They are the main ones talking in this scene and this is the first time we meet the main character. The spotlight on them allows the audience to stay focused on the main character and supporting characters even though they are on a crowded street. It allows the audience to feel like they are part of the conversation.

This is a Medium shot, low angle, a four shot
In this shot Thornhill is meeting with a group of men. The men are sitting on opposite sides all together as a united front while Thornhill is sitting by himself. It also seems that the man closest to the mc is the leader. The scene moves from right to left.
This was shot with a 35 mm len with a f/5
The lighting is a little darker. Almost all the men in the scene with the exception of the mc are wearing dark colored suits. There are also 3 drinks but four people. This just continues to show the disconnect between the three men and the MC.

This frame is an Closeup shot, dirty single, at Eye level
There are people out of frame pouring him a glass of liquor in front of his face. To show that he is not only powerless but also afraid for the first time. He is about to be forced to drink that glass.
The use of a slight hazy effect makes him look slightly out of focus. This is to show his uncertainty and unease about the situation. This was taken with a 15mm lens and a f/2.8
The main character's clothes are a bit ruffled, the lighting is shadowed because of the sketchy situation the main character has found himself in. The protagonist clothes are dark black this portrays out mc as more of a hero character in comparison.

This Establishing shot shows the change in location for Mr. Thornhill, the time of day and overall scene. This Dirty single is shot at an Overhead angle.
The wide angle and overhead shot show the new environment and the overall atmosphere of the new location. They wanted Thornhill to feel small and alone in his journey to clear his name.
The shot is horizontal and moves right to left. The focal length would be about 35mm and a f/22
The scene is bright and colorful, but the character is super small and seemingly alone.

Medium Fullbody shot, two shot, and low angle
This is the first time we see these two characters together. This is giving the audience some foreshadowing. The lighting on the women is darker while the lighting on the man is brighter but we don't see either of their facial expressions. While both of them are wearing dark clothes they don't look at each other leaving the audience in suspense. The camera’s focus also shifts right then left between the two characters as they both come out of the phone booth.
This is a Rack focus using a 50mm lens and a f/11
The lighting of the women is darker and she is less in focus while the man is brighter and more in focus. While she is shadowed we can still distinctly see her in the contrasting black outfit and bright hair color. This portrays the man as the powerful one since she is looking down.

This Medium shot captures both characters. While also showing the environment to establish the characters locations,but not call any extra attention to it. This two shot was filmed with a low angle
The scene is showing the height difference, the age difference, and the feeling the main character is having toward the older man. They are close so we know they don't want to be overheard.
This scene was show with a 40mm lens and f/1.4
The scene is dark and not important but it also gives a sense of mystery. The main character's face is lit while the other mans is shadowed. This is to portray the secrets that he is holding.

This Mid Full Body allows the audience to see both character and the power dynamic. This is a two shot at eye level.
This scene is moving from right to left. While her body is shadowed the rest of the women are highlighted to show that she is the one in control. While Thornhill must listen then lighting is slightly darker and it feels like all is lost.
The focal length is a 15mm with a f/22

This wide shot shows the main characters in relation to the other characters. This also shows the relationship between the two characters. This is a crowd shot with a high angle
This is showing that while Thornhill may be outnumbered he is still the one in control. It also shows the audience who and where everyone is in the scene and there relation to each other. This also shows that Thornhill and the women have come a long way from the hotel.
Wide shot with a f/2 the lighting is dark to show the seriousness of the situation.
This is one of the dew times where the woman isn't wearing black or a darker color but orange. This is also one of the few times we see Thornhill without his suit jacket on.

This full body shot shows the two characters and they knew the environment with there white fresh new clothes. This is a low angle dirty single since we can only see Thornhills face.
This is moving from left to right signaling the ending. This is the transiting scene. They went from hanging off the side of a mountain to being on a train together. This is to signify the ending of the story but also the freedom they both know have
The focal length is 15mm and the f/20 this is to show the characters emotions while still seeing the environment change.
The both wearing white this is the start to their new life together with their new freshly cleaned clothes. The women is finally in brighter colors like she has been freed

Attached Files

**AllenSalvador17** · 09-17-2024, 12:50 AM

Allen Salvador

Attached Files

AllenSalvador_NorthByNorthwestSceneAnalysis.pur (5.06 MB, 4 views)

**ChefBriller** · 09-17-2024, 01:13 AM

- Shot Size: Establishing shot, single
- Angle: Overhead
- Framing: Horizontal movement, right to left
- Shot Composition: Shallow focus, highlights Thornhill’s smallness
- Direction: Right to left
- Motion: Horizontal pan
- Lenses and Camera Settings: 20mm wide-angle, medium shutter speed, low f-number
- Mise en Scène: Daylight, expansive setting
- Shot Size: Wide, two-shot
- Angle: Low
- Framing: Two characters in a desolate environment
- Shot Composition: Shallow focus, bleak atmosphere
- Direction: Left to right
- Motion: Static camera
- Lenses and Camera Settings: 20mm wide-angle, medium shutter speed, low f-number
- Mise en Scène: Desolate surroundings, minimal activity
- Shot Size: Wide, two-shot
- Angle: Low
- Framing: Full physicality of characters, distance emphasized
- Shot Composition: Large natural backdrop, emotional distance
- Direction: Not specified
- Motion: Static camera
- Lenses and Camera Settings: 35-50mm lens, f-stop 18-24
- Mise en Scène: Tall trees, Mount Rushmore, daylight
- Shot Size: Master
- Angle: High
- Framing: Clean single, bus in a desolate setting
- Shot Composition: Emphasizes isolation and bleakness
- Direction: Down and right
- Motion: Static camera
- Lenses and Camera Settings: 20mm wide-angle, 1/500s shutter, f/2
- Mise en Scène: Barren land, moving bus, dull colors
- Shot Size: Full
- Angle: Low
- Framing: Dirty single, Townsend and Lennard
- Shot Composition: Townsend highlighted, Lennard tense
- Direction: Not specified
- Motion: Stationary, following character movements
- Lenses and Camera Settings: 35mm lens, 1/250s shutter, f/5.6
- Mise en Scène: Townsend relaxed, Lennard holding gun, contrasting lighting
- Shot Size: Close-up
- Angle: Low
- Framing: Single dirty, focused on Eve’s face
- Shot Composition: Cold, detached expression
- Direction: Not specified
- Motion: Camera pans to Eve’s face
- Lenses and Camera Settings: 45mm lens, f/5
- Mise en Scène: Dim lighting, suggests betrayal
- Shot Size: Close-up
- Angle: High to higher
- Framing: Two-shot, Vandamm and Leonard
- Shot Composition: Emphasizes control and sinister plan
- Direction: Not specified
- Motion: Camera moves up
- Lenses and Camera Settings: 40mm lens, f/2
- Mise en Scène: Minimal, focus on expressions and plan
- Shot Size: Wide
- Angle: Low
- Framing: Single dirty, focused on fire
- Shot Composition: Intense fire, large explosion
- Direction: Vertical (fire), horizontal (plane crash)
- Motion: Static, focuses on fire
- Lenses and Camera Settings: 30mm wide-angle lens
- Mise en Scène: Bright orange fire, dull surroundings
- Shot Size: Close-up
- Angle: High
- Framing: Single shot of note, followed by double shot
- Shot Composition: Focus on the note and reactions
- Direction: Not specified
- Motion: Camera pans from note to characters
- Lenses and Camera Settings: 60-90mm lens, low f-stop
- Mise en Scène: Lighting highlights note, suspenseful
- Shot Size: Mid full-body
- Angle: Eye level
- Framing: Two-shot
- Shot Composition: Shadowed vs. highlighted characters
- Direction: Right to left
- Motion: Static camera
- Lenses and Camera Settings: 15mm lens, f/22
- Mise en Scène: Shadowed body, highlighted surroundings