Fall 2024 | Watch with Purpose #1 - North by Northwest

[ChayaNF]

Chaya Fuller

1. In this scene, the director chooses a Middle shot to show one of the props in the character's hands and shows the relationship between these two characters based on how they sit next to each other. With that, he chose two shots of the framing, so we can stay focused on the main characters in this scene, not getting distracted by what's happening around them. Keeping the camera at eye level keeps us more neutral on those characters. The Mis en scene is shown mainly with the character's clothes, they are but dress very classic giving us a feeling of what time they are in basic on how their clothes and for the female very light makeup a sense that the film was during the ’50s. This character has mainly more neutral tones in their outfits while the background has more of a brighter contrast causing us to look at them. With this, the director used a wide-angle lens, most likely around 15 to 16 mm, since this helps us see the character more and how the interpreter helps us extensible the relation between the two characters.

2. The director used a wide shot and an over-the-head angle here to help us understand how small the character is feeling in this moment though we can’t see him it gives us the idea of feeling small and lost in a big world. This is a point of view shot, not the view of the character but from the outside world around the character viewing them from the outside for once and not in a personal or normally close angle. The camera lens has a wide lens as far as 20mm putting us far away from the main character and letting us see the full environment around him.

3. The director makes this a dirty to let us see more of the female's emotion, this the close allows us to see what she is feeling in the moment truly and sets us up at shoulder level with the character so we can see what they are seeing and able to get the full emotions of the scene too. Mis en scène is this scene is set by the lighting allowing it to have a romantic mood, with soft lights with the lenses for this camera in this mostly 50 to 80mm allowing us to be close with the character but not too close.

4.The director used a master shot to help decide how alone the main character is feeling, showing how he completely abandons himself the there is no one around him to help, and that there might be no hope felt for him. With his they used a clean single to help show off this, with the main character being left in the desert a clean single shows himself and no one else, and using a high angle we can see how these fields keep going and going giving the main character no chance to leave. The direction and the motion n on the screen have us go right to the left giving us a sense of uneasiness and making the environment more uncomfortable for the viewers to watch. The lenses on the camera were mostly around wide-angle lenses around 15 to 20 mm, helping us see how big this field truly is.


5. This wide shot helps the viewer see the relationship between the two characters on the scene, they seem like strangers to one another, and this is shown by the distance between each other also with this we have a dirty single and a low angle, a low angle to almost feel like we are watching these too from afar. but not too far where we can't fully see them, but just enough. This shot is also a dirty single because we have two people in the scene, but we are unable to fully see their faces, giving them an unknown present about them. This wide lens here is about 28 mm since we can have both full bodies in frame, so that shows weren’t too close with the characters. The lighting gives almost a creepy tone and the costumes still show a sense of class or power between each other based on how each one stands as well.


6.The Over shoulder, close lets the viewer know the real emotion in this scene, while it focuses on one character we can see all the mention she is feeling in this moment, and this is the reason the director chose a shot like this, it being over the shoulder because we have the behind the back view for the male main character only really see his shoulder, the camera lens for this was a 15mm (about 0.59 in) or bit below do to us being close up to the face. The delight in the scene is set very dem almost like it's about preparing for a plot change in the story, while the character outfit still stays on theme with the time, they are in finding the overall feeling in the film.


7.The director uses a wide crowd shot pointed at eye level, to help us feel in the scene almost, wide shot so we can see all of the moving enivorment and all the people within, a crowd shot due to all the people and yet not being able to see all their faces make it that, and at eye level because it feel like you are standing in the room at a distance with this angle we start standing at a neutral standpoint to option on the main character it villains should affect us in this view, the shot being shot at 20 mm (about 0.79 in) or more due to happen for the camera is to everyone else in the scene and the overall setting and mood feeling partly fast pasted do to how the crowd is speed out but also the building itself feels classic and clean because if how it built and how the people are dressed inside it.


8.The director uses an over-the-head view here to show how vulnerable the character is in this moment, they are helpless since nowhere to run or go, it's a Two shot due to both characters being able to be visible in the scene and a medium closes up is allowing us to see the true emotion of the character in the moment of need. The angle also shows how far the drop is giving us almost a sense of panic seeing how far they might fall. The camera lens in this scene was a wide lens most likely 16mm due to the camera not being too close to their face but still letting us see a lot of detail, with the darker lighting and more rocky background shows how much dangerous the two main character may be in due to the stakes.



9. The director in this shot used a crowd shot due to the number of people in this scene, but also made it a medium-full shot, we are still able to see the character's upper body and lower half which is why it makes it a medium-full body and not a full body shot, with this being a high shot, thought 9it not over the character head or like complexly in the air the camera is sitting at a higher angle then eye level which makes me believe that it's high angle. the lighting in this room is also clear making it easier to see the people in the scene and what's going on in the scene around them, with this the camera seems pretty far back meaning the lens is most likely at 20mmor a hit higher sense we can see more people and more space in the room.

10. The director uses a dirty single, in this shot, with only one person's face being visible, and its medium close-up shot, shows us the relationship between these three characters and how they would interact with each other, this also shows the cameras just below camera level for the character so we are only really able to see their upper body, this character outfit is dress in class showing they must do something business of high-class level due to the time this movie is shot in. The camera's Len sense like it set at wide lens, made about 15m nit to close but not too far from the characters.

[Roberto]

Robby Garcia

[ruthpliego]

ruth pliego

1. medium-close up shot, clean single, low angle
2. Mr. Thornhill has just been kidnapped and taken into a study room by the perpetrators, in this scene he is arguing with Mr. Townsend, who is sitting on a sofa, in front of him. The way this is shot shows the seriousness of the situation. You are forced to listen to the seriousness of Thornhills voice. You can only look at him, there are no distractions, just the seriousness of his face.
3. There is a subtle diagonal line coming from the top left to the bottom right of the scene. Thornhill's eyes, the angle of his left shoulder, guide the viewer downward, falling into the inevitable: whatever situation Thornhill was just forced into. The light also helps in telling the viewer that there is "no turning back," the darkness behind Thornhill is not what's important, we have to face what he's facing.
4. The lens used was perhaps a 50ish mm lens. This would cause the shallow focus that is used in this scene, you can also still tell that that is a curtain behind him, with a flowery pattern of some sort. Likewise, the F-stop was likely a f/5.6, with a higher number of a shutter speed.
5. In the shot we have a nice contrast between a busy background and cleanness of Thornhill's suit and look. Everything about how the scene is lit (to emphasize on Thornhill, by lighting his face, and body, and leaving the rest of the background in the dark), to the choice of a busy curtain and use of drapery allows your eyes to rest on Thornhill.

medium-close up shot, clean single, high angle
Thornhill answers the phone to one of his kidnappers, after being accused of being Mr. Kaplan, Thornhill realizes that he has only been giving his kidnappers more evidence that he IS Mr. Kaplan.
There are these vertical, horizontal and diagonal lines in this shot, and it places Mr Thornhill literally cornered. Framing Thornhill in the middle of all these lines but unbalanced in the frame gives the sense of being lost and confused.
The lens used was perhaps a 50ish mm lens accompanied by a f/5.6 to maintain the sharppness of Thornhill and create a subtle blur to the background. There is likely a standard use of shutter speed with a low ISO given the controlled indoor lighting.
The beige in the scene compliments Thornhill's composed demeanor despite his frustration, contrasted by the pitch black phone, an indication of the seriousness of the call.

Medium Shot (Thornhill), high angle, two shot
This shot was used to show the adrenaline and perhaps nervousness Thornhill is feeling, I talk more in depth in the next paragraph, but the shot allows us to see Thornhill's face, read how he's feeling, and also get a sense of it from his performance in this shot (the way his body shifts and how he doesn't stop fidgeting with his hands). This shot also depicts a very neutral scene, there is no conflict, just an exchange of words between characters.
This Shot was fascinating to me, the vertical line in the scene showing the division of two worlds. On the right side you have Thornhill's adrenaline filled body, shifting his weight back and forth, not able to stand still and fidgeting with his hands from nervousness and the rush of playing the part of Kaplan and going to confront Mr. Townsend. To the gentleness and politeness of the lady on the left side of the shot, unaware of what's bothering Thornhill.
There is also the diagonal line between the two characters with the woman being at the lower end of the line, we do not see her as lesser than in spite of this. While, yes, Thornhill appears to be in control of the situation, the woman is the one with the answers. The unbalanced framing also shows him leaning more towards her, indicating that she is the one to guide him.
The lens used was probably a 35-45 mm lens allowing for both subject and background to be visible (with a slight blur on the foreground). The F-stop appears to be moderate likely a f/5.6 as the background seems very very slightly off focus. And a standard shutter speed, leaning more towards slow as there is not much motion in the scene.
The lighting in the scene is evenly distributed, allowing a formal and professional look to the scene. The use of grays and blues on their outfits exhibits this professionalism, and a clean look to the two characters, the blue and gray background matches this tone and provides a sense of calmness and stillness.

Wide Shot, Low angle, Single
This shot indicates to us there is nowhere to run! Thornhill has just mentioned that a train would be the worst place to hide, too close quarters, so many people, and yet in the next scene, look where he fids himself.
There is a balanced composition of the frame, with Thornhill at its focus. There is this play with a vanishing point, showing us the distance travelled by Thornhill, giving the impression of a never ending corridor.
This shot in particular was a rack focus shot(?), with the camera maintaining focus on Thornhill as he got closer and further away from the camera. it was likely shot using 15-30 mm of focal length, standard F-stop, and a slightly faster shutter speed. The use of rack focus on this scene was to show is the "perspective" of Thornhill, these rooms don't matter, moving forwards and away from the people after him is what does.
This shot contains train rooms on either side, with dim lights and dull walls making the place feel stuffy and serious. The repeating and orderly rows of rooms give it the appearance of a jail cell or multiple cells, highlighting the idea of being trapped


Wide Shot, Over the Shoulder (slightly), Low angle, Crowd shot
This shot shows us that both sets of characters (Eve Kendall on her own, and Leonard and the other guy he's talking to (i forgot)) are up to something. While most of the camera focus is on the two men, the business around them guides the viewer to focus on Eve who is by herself acting in a way that is rather suspicious.
The unbalanced composition of the scene places Eve out of focus but in the foreground indicating a sense of importance to her character. The direction of focus is mostly horizontal with most people moving from left to right, again, redirecting the viewer back and forth between both sets of characters.
The lens used is likely a wide angle lens that captures the distance between the two characters. And honestly, I would argue that in the shot, the middle ground is in focus. Maybe it's the image I captured, maybe it's not, but it might be for the purpose that we do not know what either character is up to, we just feel that it cannot be good.
This shot is very rich in detail, the train station places us at a location where things are always moving. Things are being set into motion in this scene.

medium-full shot, crowd shot, low angle
After just causing a plane to blow up, we get to this incredible shot of Thornhill walking towards a group of people, pretend to be interested in the crash, then slowly inch by them. This shot gives us a sense of everyone's body language, while everyone in the scene appears shocked and in a trance, Thornhill feels more awake, in his face, the way he confidently chooses to walk backwards, without the need to see he's going.
We get s nice horizontal like, couples with a shot with a group of people walking towards danger and the other calmly, then later franticly, run away from the scene. Similarly, unnaturally, these people are moving from right to left,
Given that this is a wide angle shot, this shot was likely filmed wit a 35 mm frame length. An F-stop of maybe f/5.6, this keeps every single character in frame and only slightly blurring the background.
The clothes in this scene highlight how Thornhill sticks out like a sore thumb, he was clearly the one the plane was after, he was the one who walked away from that crash, he is the one dressed like he doesn't belong.


medium shot, clean single, low angle
Thornhill is on the side of the building watching Eve Kendall, Leonard, and Vandamn. We are given these shots as a way to show how separated he is from the situation, he cannot intervene just observe (highlighted by the use of light and shadows in the first image).
There is a diagonal line in the first image, guiding Thornhill's gaze towards the group inside the home. There is a very interesting thing happening with the light and shadows of this scene, the brightest parts highlight Thornhill's gaze throughout the scene, there is a heavy contrast between the darkness of the shadow under him in contrast to the wall next to him, the highlights over his right shoulder give us a hint on his body language.
Then suddenly, to redirect Thornhill's and the viewers attention, a new light is introduced, showing us all what was left in the dark. I thought that was a very clever use of lighting in this scene.
The lens used was probably a 50 mm lens accompanied by a f/5.6 to maintain the sharpness of Thornhill and create a subtle blur to the background. The shutter speed would mostly likely have been lower to help out with the low visibility in addition to the fact that this scene doesn't contain much action.
I already talked a lot about it but the lighting in the scene is out standing, you really get to appreciate the cleverness of each use from breaking the silhouette and darkness of Thornhill to emphasizing on the important parts of the scene (Thornhill's eyes and attention).

POV/Insert Shot, Medium-Full shot clean single, low angle
Vandamn's helper is cleaning up after everyone had left and we get this cool shot of her noticing Thornhill walking by, caught without him knowing.
In the reflection, horizontal eyes guide the viewer to the direction thornhill is headed, walking from left to right. There is mostly dim lighting, with most of the harsher lights highlighting his silhouette.
The lens was a prop lens! and due to the interior lighting, and how dim the room is the shutter speed may have had to be low, likewise, since we are nit getting much action, there is little to no risk of motion blur.
The props in the scene I feel speak to the luxury Vandamn has, properly laid down wine classes ready to be poured, the openness of the building and room

medium shot, two shot, low angle
A lot if the techniques being used here is to play with the idea that we are much higher than we actually are, giving emphasis to the actors and their physical performance.
There is a heavy use of imbalance in this frame, pointing to how wrong and unnatural this is for our characters, the vertical line we get from our characters and the rocks they are holding onto mimicking the steepness and angularity that is, climbing down Mount Rushmore. Plus, squeezing our characters to one side of the frame, much like the closeness they are sharing between the two of them may also play into the distance they wish they could put on the fact are climbing down mount Rushmore.
The lens used was probably a 25-30 mm lens though it is hard to tell because I feel like the background is a mat painting, thus I believe blurring it would not work the same way an "in-scene" environment would. I am going to pretend like the mat painting is the same and our focus is on the characters, the shutter speed may be in the middle, but closer to the higher side because of the risk of motion blur on action scenes.
The angularity and size of the monument puts the threat in perspective, literally. This may be a reach but i also see them playing with the red, white and blue color palate in this scene.

Close up, clean single, POV(?), high angle
We are shown Eve Kendall's terrified face as she clings on to the monument, we can see the pure and genuine fear in her eyes and only that, we do not need to emphasize how high she is, we already know.
The darkness behind her reminds us of the void that is bellow, the shadows of her face do not being a sense of hope, there is no intense light, just the darkness that surrounds her.
The lens used was likely a 35-50 mm lens, again, we only want to focus on Eve Kendall, the shutter speed moderate but perhaps on the lower side due to the lack of lighting in the scene.
Her hair is used in this scene to show her physical state, high place, windy, while also hiding the background and producing this shadow around her. Her make up from this angle makes the rest of her eyes too dark to pay attention to, so we just see a fear in her eyes.


***TWO OF THE IMSGES DO NOT WORK FOR ME, HERE IS THE PUREREF WITH TYPOS >>> NBN_ruthPliego

[NearSharp]

Nathan Munoz

Shot 1

Shot size: Wide shot that introduces us to the area and focuses on introducing Thornhill a bit more.
Angle: low angle that adds an air of confidence to Thornhill.
Framing: Dirty single where the main focus is on Thornhill but features others in the shot.
Shot composition: a moving camera follows Thornhill through the lobby and shows depth in the set.
Direction: Thornhill moves from right to left as he enters an unfamiliar area where anything could happen. He also walks towards and away from the camera allowing us to catch a glimpse of him checking his watch as he walks towards the unknown.
Motion: The camera moves from right to left and follows Thornhill as he moves through the area as it is focused on him.
Lenses and other camera settings: 85mm - 100mm, f stop is 4-10
Mise en Scène: The Set directs the eyes to Thornhill whose suit is notably darker than the lighter set which helps him stand out even more.

Shot 2

Shot size: Medium Shot to show the table and alcohol present in the scene while also allowing some room for Thornhill to move around.
Angle: Eye level due to the lack of power and vulnerability in the scene. Thornhill isn't exactly on equal ground with them but he isn't above or below them. He holds his own ground.
Framing: Dirty single where Thornhill is framed between two other men in the scene. He holds the most importance in the scene and is shortly kidnapped after this.
Shot composition: Thornhill is in the middle of the screen and is slightly obscured by two other gentlemen in the scene. He is detached from the other men in the scene who are always shown together while he is shown alone.
Direction: Thornhill is center while the others are on the left and right showing slight opposition to them as Thornhill is just in the middle.
Motion: the camera is stationary as its main focus is on Thornhill and his performance.
Lenses and other camera settings: 50mm - 85mm, f stop 4-10
Mise en Scène: Dark colored suits with pops of colors being the background and alcohol. Light is mostly on Thornhill which helps him pop in comparison to the others who are lightly casted in shadow.

Shot 3

Shot size: Medium-Full shot (Cowboy shot) to show the confidence and power he carries compared to Thornhill who is fully exposed in light in this scene.
Angle: Low Angle that shows the power and answers this man holds in the scene.
Framing: single all of the focus is on Vandamm nothing else stands out as much as he does thanks to the harsh shadow that veils his identity.
Shot composition: Vandamm is centerstage while cloaked in shadow backlit by a single lamp that he turned on. There is no one else on camera so this allows us to fully soak in his presence.
Direction: Vandamm is in the center with no clear idea of what his motives are leaving us confused and intrigued.
Motion: the camera follows Vandamm as he enters the room and shuts the blinds all while cutting back to Thornhills reaction.
Lenses and other camera settings: 50mm, f stop is 30
Mise en Scène: The shadow that masks the face of Vandamm aids in the confusion that Thornhill is feeling. Not only does it add mystery but also menace. It's the fear of the unknown.

Shot 4

Shot size: A Master Shot that shows the dark road and sea that is being set up as the location Thornhill will meet his unfortunate end. It also shows Thornhill being carried away by the two henchmen.
Angle: High Angle to illustrate the lack of power Thornhill has in this scene as he is carried away to what is his supposed death.
Framing: Three Shot that frames Thronhill and the two henchmen.
Shot composition: Barely lit scene with a single strong light that barely illuminates the three characters in the scene.
Direction: The characters move towards the camera and from right to left. They are moving down to show inevitability and moving from right to left to show conflict and that something is off.
Motion: The camera sits afar and stationary, unable to move in closer and get a clearer view of what is being obscured.
Lenses and other camera settings: 85mm, f stop 30
Mise en Scène: The lack of bright lighting aids in the confusion Thornhill is feeling in this scene. The only hints of what is going on are shown through the silhouettes which are being illuminated by the edge lighting that's drawing them.

Shot 5

Shot size: Full body Shot that shows off the pure panic and confusion Thornhill is feeling. The pose he has cautions people to stay away from the crime scene but also to not throw accusations his way despite him holding the knife in clear of them all.
Angle: slight Low Angle to show the vulnerability thornhill is feeling. He is being framed for a murder while others look on unaware of what has actually occurred.
Framing: crowd shot with the main focus being on Thornhill who is in the middle of the frame where all of the attention is being pushed towards.
Shot composition: Thornhill stands in the middle of the frame while everyone watches on. All eyes are on him and everything on the frame points directly towards him.
Direction: The scene ends with Thornhill running off to the right side of the screen to show adversity.
Motion: The camera stays still as if the shock of the situation has left it frozen as well.
Lenses and other camera settings: 85mm, f stop 2.8
Mise en Scène: All of the people in the very front have dark colors compared to thorn hill who has a gray suit on. All eyes are on Thornhill which helps direct the viewer's eyes to him as well.

Shot 6

Shot size:Medium Shot to show the newspaper that catches Thornhills eyes and captures his reaction and panic to the situation he finds himself in.
Angle: Low Angle to show panic and vulnerability in a situation where Thornhill is innocent and on the run.
Framing: Dirty Single the face of the other guy is being obscured and the main focus is on the face of Thornhill who is also in the middle of the frame.
Shot composition: Thornhill is in the middle of the shot to draw attention to him, but he blends into the background due to the suit he is wearing. The bright newspaper stands in opposition to Thornhill as it stands out and is placed slightly skewed from the middle which draws far more attention to itself.
Direction: Thornhill comes in moving from left to right before stopping in his tracks to read the headline. And then being disoriented as he realizes the mess he has gotten in.
Motion: the camera stays stationary at a low angle as if it is also trying its best to stay concealed.
Lenses and other camera settings: 35mm, f stop is 4-10
Mise en Scène: Everything in the scene is a darker color except for the newspaper. Its bright color draws the viewer's eyes to it. Also Thornhills eyesight also helps in directing the eyes to the newspaper.


Shot 7

Shot size: Medium Shot that focuses on the intimacy of both characters and the facial performance. It's a shot that's close to them but not too close as they are barely getting to know each other.
Angle: Low Angle to show both characters vulnerability with each other.
Framing: Two Shot where both are the main focus and begin to share a tender moment with each other.
Shot composition: The shot is composed with both characters in the middle that stand out from the background due the lights tracing the edges of them and the light shadows that cover the front of them. Its tender moment with low light that focuses on the space between their faces before their inevitable kiss.
Direction: Thornhill is on the left of the screen and kendall is on the right. We are far more with Thornhill and his motives hence he takes up the left side, but as for Kendall we are unaware of what her motives exactly are. She takes up the right side to show a slight conflict between the two.
Motion: The camera remains still to linger on a tender moment between two characters.
Lenses and other camera settings: Lens is 50mm, F stop is 10-15
Mise en Scène: Thornhill wears a dark color compared to Kendall who wears white. Both are opposites. The slight back lighting in the scene helps them stand out further.

Shot 8

Shot size: Medium- Full Shot (Cowboy Shot), an action shot that shows Thornhill running towards the camera and away from the plane.
Angle: Low Angle to show that the plane holds all the power in the scene. Thornhill is trying to evade them but is vulnerable out in the open with no cover.
Framing: Clean single the main focus is on Thornhill running away from a plane that is trying to kill him.
Shot composition: Follows the rule of thirds and has Thornhill and the plane slightly off center. The eyes flow from the plane to Thornhill.
Direction: The plane takes up the left of the screen and forces Thornhill to the right side of the screen to showcase the one sided struggle between them. In fact it pushes Thornhill off to the right and he continues to run to the right to evade them.
Motion: The camera moves towards the z axis to show the action of Thornhill running and the plane shooting overhead both Thornhill and the camera.
Lenses and other camera settings: 24mm -35mm, f stop is 10
Mise en Scène: The plane is kind of this solid black thing that is racing towards the camera while Thornhill is being lit from the left side of his face. The shadows on the right help distinguish him from the semi bright background. The background is empty so that the focus is only on Thornhill and the plane

Shot 9

Shot size: Medium close up that focuses on the face of Thornhill.
Angle: over the shoulder angle that focuses on thornhills face and reactions.
Framing: Dirty single where the only face and performance you can see is from Thornhill.
Shot composition: Thornhill takes up almost all of the frame and towers over the other guy. He seems to be holding power in this scene.
Direction: Thornhill is on the left and the other guy is on the right. We can clearly read Thornhills face and emotions while we cant see the other guys.
Motion: stationary camera as it focuses on a conversion and not action.
Lenses and other camera settings:35-50mm, f stop is 15-30
Mise en Scène: Strong light on Thornhills face to help stand out from the background while the other character is not only facing away but also covered in shadow.

Shot 10

Shot size: Wide Shot that focuses on the characters and the environment around them, while also showcasing not only the physical distance but the mental one.
Angle: eye level as we watch from afar as there is no clear winner in this scene as both are trying to figure out the other.
Framing: Clean Two shot where both characters are fully visible and distant from each other.
Shot composition: shows both characters on opposite sides separated by many trees that represent the many things that have sprouted between them since their meeting.
Direction: much like the scene of them kissing earlier in the film. Thornhill is on the left and Kendall is on the right. Conflict very much exists between them.
Motion: a stationary camera that sits afar to capture the distance that has grown between both characters.
Lenses and other camera settings: 85mm ,F stop is 4-10
Mise en Scène: the tree in the middle of the shot perfectly frames the two sides these characters are on.

[nick_fite]

Nicholas Fite

[hmdavis]

Hailee Davis

[Melanie]

Melanie Alvarado

Shot #1:

• (| Medium Close-up Size | Over the shoulder Framing | Eye-Level (slight High) |) The director chose a medium close-up to emphasize the almost uncaring look on Kendall's face. An Over-the-shoulder shot was chosen to show how she is doing something behind Thornhill's back, like putting up a wall, as her face is not visible to him but us. The angle sits at eye-level (slightly higher) to give the audience a closeness to the character so we can get a feel for her thoughts and emotions, which seem to be against him.
• (| Z-Axis Zoom | Angled at Center Composition |) The director had a z-axis zoom to show the outward action, but then to show the inward emotion of Kendall. the director had her at the center of the shot, angled in a way that tells the audience that something is off about her.
• (| Telephoto lens (about 70mm) | Shutter Speed 1/100th | F-number/F-stop/Aperture f/3 |) The director chose these camera settings because of the intimacy of the scene yet the focus of impending betrayal by using a Telephoto lens. The depth of field was chosen to be shallow so that full focus could be on Kendall's lack of emotion. The shutter speed is at 1/100th to give a good middle to the clearness and motion blur.
• (Mise en Scene) The director chose for there to be little background to call full attention to Eve Kendall. Her face is the most lit subject with even Thornhill being shrouded in shadow since he is not the focus.

Shot #2

• (| Medium-Full Size| Over the Shoulder Framing | Low Angle |) The director chose this size to emphasize the suspicion on Thornhill's face and stance, while the framing keeps Kendall's back to us as she is mysterious. The low angle serves to show that Thornhill is in power as he is confronting Kendall.
• (| Left to Right Direction | imbalanced Composition |) The director chose to show left to right camera direction to show the power difference that Thornhill is winning on. The composition is imbalanced because of the difference in power, with Thornhill being big and to the left of the shot while Kendall is smaller and to the right. This causes the audience to feel on edge since someone we thought the protagonist trusted can no longer be.
• (| Telephoto Lens (about 85mm) | Shutter Speed 1/150 | F-number/F-stop/Aperture f/15 |) The director chose the Telephoto lens to show Thornhill's look of untrust. The shutter speed sits at a high value since it is not dark and there is some visible movement. The aperture was chosen to keep both subjects clear enough in the field of view while also keeping Kendall slightly blurred.
• (Mise en Scene) The director chose a red dress for Kendall to call attention to her like a red flag when really its a red herring. She exists in the background on the phone disconnected from Thornhill whom holds a glass of alcohol with distrust not unlike the earlier scene when he was forced to get drunk.

Shot #3

• ( | Insert Shot | Dirty Single (For object) | High angle | ) The director chose for this to be an insert shot to tell the audience of the note's importance. It is a dirty single since Kendall's hand covers part of the note, and a high angle was chosen to look down on what she is doing as though we actually saw her put the note in her bag in person. This makes the audience feel as though we cannot trust her.
• (| Up-to-down from right Direction | Composition Directing the Eye) This camera direction was chosen to show the inevitable hiding of the note as it goes in the bag but also leaves the audience in suspense of what information was on it. This shot is meant to direct the audience's eye to the note so that we may realize it is important.
• (| Telephoto Lens (about 60mm) | Shutter Speed 1/100 | F-number/F-stop/Aperture f/4 |) The telephoto lens was chosen to give enough focus on the note and less on the background. The shutter speed is not as high as other scenes since it is a conversation scene not action. The aperture is big so that the depth of field will be shallow to show the note's clear importance.
• (Mise en Scene) The set design shows how confidential the information is through the note being folded and then placed into a purse as a "hiding place".

Shot #4

• (| Medium-Full Size | 3-shot | High + Low Angle (more low) |) The director chose this size to present a little "showdown" between the main men in the frame. This shot framing is three-shot but it's to show how Kendall is caught in the middle of a conflict. For the main men, the camera sits lower than their eye level to show that they are competing for power. But for Kendall, the camera is significantly higher than her eye level which is to show how dis-empowered she is in this situation.
• (| Right to Left, then Left to Right Direction | Balanced Composition |) The director shows the camera moving from right to left to reveal the power gained by Thornhill. But after Kendall lashes out, the camera sways towards Vandamm to show his gain of power through knowledge. The composition of this shot is near symmetrical showing the balance of power from both Thornhill and Vandamm with Kendall in the middle.
• (| Telephoto Lens (about 85) | Shutter Speed 1/150 | F-number/F-stop/Aperture f/5 |) Since the character's faces and emotions are important, a telephoto lens was chosen by the director to show this. the shutter speed is a higher speed to allow less motion blur and the aperture is in the big-middle so the audience's focus will be on the trio in scene.
• (Mise en Scene) The director had both men dressed similarly in suits and standing tall to show a display of power, while Kendall sits on a chair to say she doesn't measure up to them.

Shot #5

• (| Medium Close-up Size | Clean Single Framing | Eye-Level (Slight Low) |) The director chose this size to drive home the raw emotion and guilt Thornhill feels from condemning Kendall. This is a Clean Single to give the audience an uninterrupted view of him and to allow connections on an emotional level. The angle is at Eye-Level, and slightly low, to evoke a deeper look at the thoughts and emotions Thornhill is feeling.
• (|Z-Axis Zoom + Diagonal Direction | Composition Size |) The director chose a diagonal motion from bottom-right to top-left so that a "difficult path" could be established and taken as the audience comes to the same revelation as Thornhill. A Z-axis zoom is used to further emphasis the weight of his regret and sadness as it closes in on him. The composition was chosen to change by the director from a presenting Thornhill as small or medium, to making him large in the shot.
• (| Telephoto Lens (about 150mm) | Shutter Speed 1/80 | F-number/F-stop/Aperture f/4 |) The telephoto lens was chosen to collapse the background and give complete focus to Thornhill as his emotions are on display. The shutter speed is slighty slower and the Aperture is bigger because of the lighting.
• (Mise en Scene) The director made the background very dark and showing little to nothing because the main subject is Thornhill and his emotions. The gleam in his eyes implies tears from the thought of the outcome his actions had.

Shot #6

• (| Medium-Full Size | Over the Shoulder/Point of View | Low Angle |) The director chose the Medium-Full Size to show the gun in the left man's hand and his apparent target. Over the Shoulder was chosen to show the unawareness on Vandamm's face and body language, While also omitting the face of the perceived attacker. The Point of View from a Low Angle was chosen to place the audience in the shoes of Thornhill as he is spying from down below.
• (| Down to up Direction | Size Composition |) The director chose a down to up direction for the camera to show that the man with the gun has the power in the scene to the point of moving the camera when he stands. The size difference between the men show the power difference and awareness of the situation while Vandemm being small, unaware and not empowered, the other man is big and in control.
• (| Wide Angle Lens (about 50mm) | Shutter Speed 1/100 | F-number/F-stop/Aperture f/18 |) The wide angle lens was chosen to emphasize the point of view from down below by having the background a bit more open. The shutter speed is slower and the aperture is smaller to compensate for lighting.
• (Mise en Scene) the director chose both men to have suit's implying a similar power dynamic. The man on the left has dark colors and lighting on his suit, which allows his had to be the brightest subject on that side of the screen. The director did this so the audience's eyes will go towards the hand and see the gun.

Shot #7

• (| Wide Shot Size | Over the Shoulder Framing | Low Angle |) The director chose a Wide shot size to show the effort that Thornhill is putting into keeping Kendall safe. It also shows how small he is compared to the wall he is scaling. The Framing was chosen to emphasize the work Thornhill's work through his body and not his facial expression. This framing was also to show who he's doing all this work for, which is Kendall. The low angle is used to give a perspective on his strength in the scene and how big the wall is. For the audience, this makes us feel relieved to see her safe but worried as to what will happen.
• (| Left-to-Right Direction, then Down-to-up | Directing the Eye Composition |) The director wanted us to see where Thornhill was heading so he chose for the camera to be in the direction of his simple movements, as he climbs the direction moves upwards. The bright window is used to direct the audience's eye towards Kendall so that we can see the physical destination of Thornhill, but so the audience could also see where his heart wishes to go.
• (| Wide Angle Lens (about 35mm) | Shutter Speed 1/80 | F-number/F-stop/Aperture f/20 |) The director chose a wide lens to put emphasis on the background in relation to Thornhill so that the wall will look less collapsed. The shutter speed is in the low range to make the scene brighter and the aperture is smaller for the same reason.
• (Mise en Scene) The director chose to make the window and Kendall the brightest and most colorful in the scene to show where Thornhill's destination is. Thornhill is shrouded in shadows to show how concealed he is in the night as he climbs towards the brightest thing in his world, Kendall.

Shot #8

• (| Wide Shot Size | Single Clean (before & after shot clean two-shot) | POV/High Angle |) The director chose this shot size to show Vandamm in his environment as he stalks towards Kendall. This is a Single Clean shot framing because the audience knows Vandamm is suspicious of Kendall and has full focus on him like a prey watching a predator. This shot framing evolved from a clean two-shot but as Vandamm walked away, full focus was put on him, before he dangerously approached Kendall. The shot is from Thornhill's point of view as he lookes down from the balcony to show the anxiety he must feel knowing that Vandamm is planning to "end" Kendall and is meant to evoke the same emotions in the audience.
• (| top-left to bottom-right Diagonal direction | Direct the Eye Composition |) The director chose a top-left to bottom-right Diagonal direction to how quick and easy he strolled up to Kendall. The eye gets directed to Vandamm as he is wearing a cool-toned suit while most, if not all, of the room is warm-toned.
• (| Wide Angle (About 40mm) | Shutter Speed 1/125 | F-number/F-stop/Aperture f/6 |) The director chose a wide angle lens to show how Vandamm travels across the room to Kendall. The shutter speed isn't as high as dark scenes and the aperture is in the mid-high range to make the depth of field smaller.
• (Mise en Scene) The set around Vandamm appears lavished and exotic which shows his power and money. His cool-toned suit demands attention from the audience since he sticks out against a warm backdrop.

Shot #9

• (| Master Shot Size | 3-shot | Low Angle |) The director chose to make this a Master shot because he wanted to reveal the antagonist from behind the rock. The shot framing is three-shot for the reason of showing 1 vs 2. The angle is low to show the lack of power that the protagonists have and that the antagonist has. This shot makes the audience tense in anticipation and eager to see what happens.
• (| Direction from right to left | Imbalanced Composition |) The director had the screen direction go from right to left so that the audience could see the antagonist stealing that power from the protagonists. The imbalanced composition is evidenced by how high up the antagonist is than the protagonists, and it was chosen to show the power that the protagonists are about to lose.
• (| Wide Angle Lense (about 40mm) | Shutter Speed 1/90 | F-number/F-stop/Aperture f/12 |) The Wide Angle Lens was chosen for this scene to emphasize the characters in their environment and how they relate to it, whether that is hiding or ready to pounce. The shutter speed is slow and the aperture is in the mid range to make the picture brighter.
• (Mise en Scene) The antagonist is wearing a suit which blends into the mountain side which reflects how the director wants us to know that the protagonists can't see him yet and are about to be ambushed. Thornhill is wearing a bright white shirt and Kendall is wearing a colorful orange dress which makes them stick out more obviously to the audience during this night scene.

Shot #10

• (| Insert Shot Size | Point Of View | Low Angle |) The director chose to do an insert shot to show the brutality of the man who would've "ended" both Thornhill and Kendall. The Point of View framing from Thornhill was chosen to show the horror of what was to happen from his perspective so that we, the audience, can feel his terror. The low angle was chosen to let the audience see how helpless Thornhill may feel and how he is at the mercy of one of the antagonists.
• (| From Up-to-Down Direction | Direct the Eye Composition |) The director had the camera shift from up to down with the intention of showing Thornhill's eye movement. This also shows the man to commit the act and his shoe about to do the deed to show that he has no humanity. The direct eye composition was used to make the audience see the action of the man about to step on Thornhill's hand. With his hand being the brightest subject and the light of the shoe bringing attention to the scene, the audience can wallow in suspense while the man's foot comes down.
• (| Telephoto Lens (about 150mm) | Shutter Speed 1/90 | F-number/F-stop/Aperture f/3 |) The director chose the telephoto lens for this scene so that full focus could be put on the hand and foot as they relate to each other. The shutter speed is a little slower and the aperture is in the high range to compensate for lighting
• (Mise en Scene) The scene shows the mountainside, Thornhill's hand and the man's shoe about to step on him emphasing the lack of empathy and the inhumanity being dispayed.

[EvelyT]

Evely Torres


1. Based solely on Mr. Thornhill who is most important in the scene, this would be a Medium- Full "cowboy" shot. However in taking the other characters into account, this is almost a full shot. This is also taken at a high angle and is a three shot as all characters are brought into focus. The way these characters are positioned is almost akin to a western stand-off, building off of the "cowboy" angle taken, which goes to show a fight of good vs. evil in this scene between Mr. Thornhill and the strange men. The high angle makes the audience to be onlookers rather than part of the scene, almost as if making them the judge of this conflict much like a court scene. This is taken at a wide lens at around 30mm, with a shutter speed around 1/30 to capture a bit more of the light, and an f-number of around f20 to capture a bit more DOF. These elements allow for the audience to take in the lavish environment which should be good, juxtaposed with the current situation. The positioning of these characters, with Mr. Thornhill on the left to show he is the "good" guy here, places them at odds with each other in a 2 vs. 1 opposition. In addition, the colors of their outfits help indicate their standing, those in darker being the "bad" guys. Mr. Thornhill, although sporting a lighter and therefore "good" color, is still wearing grey, which could indicate that while he is not wholly a good guy, for the sake of story he is the hero.


2. Arguably this is a wide shot as by this point the audience is already aware of where Mr. Thornhill is located, taken directly from overhead, and though miniscule, Mr. Thornhill is present in the shot, therefore making it a single. These elements work together to create tan overwhelming sense of dread and urgency, with the looming building and Mr. Thornhill almost ant sized in comparison. He feels so small and unheard in a moment like this, getting framed yet again without much of a way to prove his innocence. The focal length appears to be around 25mm or so, given as it captures the environment in a wide angle, with an f-stop of perhaps f15 as to allow for deep DOF, and a shutter speed of around 1/30. These elements allow for a good view of the scene, especially in making sure that Mr. Thornhill is still visible among everything else to really emphasize how small he is. The other natural elements in the scene look almost geometric and organized, together in harmony while Mr. Thornhill is anything but. To emphasize this, he is also running right to left, opposite of the usual to show that something is off.

3. This is a wide shot taken at just slightly below eye level, with Mr. Thornhill as the sole subject of the single shot. This creates a feeling of claustrophobia and isolation, with the low angle creating a looming sense of dread. This also seems to be taken on a telephoto lens with a length of about 120 mm to create a narrow look, an f-number of about f10 to create a semi deep DOF, and shutter speed of around 1/60 to capture smooth motion but appear darker. These elements contribute to the squeezed in perspective which created claustrophobia, and the slight darkness of the light adds to a suspenseful feeling. The environment appears repeating and monotone with no way out, which could indicate that Mr. Thornhill is almost trapped into a dead end.


4. This is an establishing shot taken slightly below eye level and also at a Dutch angle with no human subject in view, meaning it could perhaps be a pov. While it can be taken as a nice photo, the angling juxtaposes the environment in indicating that something is slightly off and will likely go wrong. This is likely taken with a lens at about a 35-40 mm for a wider angle, with and f-number around f16 for a deeper DOF, and a shutter speed of about 1/1000 to capture the fast motion yet take a darker image. These elements help to highlight the beautiful environment, yet the low light of the shot could indicate a looming darkness waiting beyond, though there is light over the horizon which could mean there's hope to come. While bare in terms of intentional props, the environment and the twists of the road indicate the many twists and turns in Mr. Thornhill's journey ahead. The train also appears to be moving almost from right to left, so he could be traveling to his doom potentially.


5. This is a wide crowd shot taken at an angle that is slightly higher than eye level. This helps to create an almost mundane feeling that everything is well, and at the angle the audience could feel as if they are almost stepping into the scene. However in context, with Mr. Thornhill hiding just within the bathroom, there is also a looming sense that he will be caught. This is likely taken with around a 24 mm lens to capture enough environment but still be up close, a shutter speed of about 1/30 to capture enough movement yet still have blur, and an f-number of around f10-15 to capture a bit of depth yet remain shallow. These elements help to capture the mundane, slow movements of the people just beyond, and the semi shallow depth with an emphasis to the bathroom helps emphasize that Mr. Thornhill is in plain sight and just in range to get caught yet manages to still evade capture. The operators are moving from left to right in this scene, which could indicate that they are right in that they are simply doing their jobs and trying to keep the passengers safe, although the audience knows that Mr. Thornhill is also innocent.


6. This is a medium full "cowboy" shot at a low angle, and this is a single shot. In using a cowboy shot, it emphasizes that Mr. Thornhill is helpless as he carries no weapons or means to defend himself, and in being alone it feels like he is being directly targeted though the "bad" guys often try to make these incidents seem as accidents. The low angle serves to add size to the plane and to appear much more threatening, especially to the smaller Mr. Thornhill. This is taken at about a 35 mm lens to capture a bit of the background, with an f-number of about f-16 to get a bit more depth, and a shutter speed of maybe 1/30-50 given the motion blur. These elements add to make this more of an action shot, creating high tension and a rush of adrenaline, as emphasized by the motion blur as Mr. Thornhill runs away. The complete lack of environment increases a helpless feeling as there is truly nowhere to hide or run away, there is no one around to even seek help from. Though it's daytime, the sky is slightly grey, indicating that not all is well and that there is little hope as shown by lack of actual sun.


7. This is a medium shot at a high angle, and while a crowd shot, it could be argued to be a dirty single as the other characters are meant to fill space but not be important as much as Mr. Thornhill is. This shows that he is the sole focus, but also emphasizes how even in a crowd he is alone as he knows something that everyone else is oblivious to. This is taken at about a 30-35 mm lens to capture a bit of the background but focus on our main hero, with an f-number of about f-2.8-f-5 for a shallow focus, and a shutter speed of maybe 1/60 to get some blur. This further emphasizes that he is alone in a crowd or at least different, as the others are blurred slightly while he remains clear. This could also indicate that he finally has clarity while throughout the story he has been shrouded in confusion. He is removed from the other characters as he is no longer ordinary and is now akin to the government agents. The colors in the scene set him apart as he is once again wearing slightly lighter colors from the crowd which makes him stand out, all while the others are meant to melt together as one mass.


8. This is a medium close up at a high angle, and this is a two shot though one person will not fully be in focus for another few frames. This helps to add depth to the antagonist, considering he is also betrayed by his companion. While he is still a bad guy, the close up on the expression adds a bit of humanity as what almost appears as melancholy contemplation crosses his face. While he ultimately decides to dispose of the main love interest, his slight hesitation adds to his character in that he does at least care some. This is taken at about a 30-35 mm lens to capture a bit of the background but focus on the bust, with an f-number of about f-5 for a shallow focus, and a shutter speed of maybe 1/60 to get some blur and darkness. These elements create a complex character out of our antagonist as he is the only one hit by light in a frame of darkness, reflecting the aforementioned humanity within him. His companion, however, is shrouded in blur and darkness, painting him as the wild card that may be the true antagonist of the story. The light hitting the character in the foreground from a low angle almost appears as hero lighting, adding to the fact that he may be the lesser of two evils after all.


9. This is a medium close up at a high angle, and while it could be a single shot, it is actually a pov shot from the view of Mr. Thornhill. This helps to capture the raw emotions of the realization that Mr. Thornhill is nearby, almost as if the audience is looking over from the banister. This is taken at about a 20 mm lens to capture a bit of the background, with an f-number of about f-10 for a semi shallow focus, and a shutter speed of maybe 1/30 to get some darkness and also as it's a slower scene. These elements help to emphasize an almost intimate setting between two characters, even with only one present. It creates an almost sense of relief as well since there is no one else in frame or anything bigger to focus on other than the present. The colors in this scene are all neutral, and even the colors on Eve blend in with the wooden table and neutral browns around her, showing she isn't exactly the most important character. The colors create a hierarchy of importance: the table and background at darker colors last, Eve with a slightly brighter yet neutral color next, but most important are the white matches. The matches are the most important as they reveal to her that Mr. Thornhill is nearby, the importance is her REACTION to this and not necessarily her as a character in that moment.


10. This is a wide shot at a low angle with a slight Dutch tilt, and this is a two shot though the characters are quite small in frame. This adds to a feeling of desperation and emphasizes just how far of a fall the characters will have to suffer. They are meant to be incredibly small in the face of their growing circumstances, yet their choosing to face them anyway is made all the more important. This is taken at about a 55 mm lens to capture a good view of the environment, with an f-number of about f-30 for a deeper focus of the mountain, and a shutter speed of maybe 1/250 to get some darkness yet clearer picture. These elements help to emphasize all of the darkness and dangers coming to a head, creating an air of tension and conflict. They further emphasize just how small the heroes are, yet how much they will have to suffer should they fail. The colors add to the tension yet add a hint of hope. Everything is dark and dreary, desolate and unmoving, yet amidst everything there is a speck of white that breaks through the darkness. Aforementioned, our protagonist also sports dark colors, which could indicate his flaws, however now he has completely shed his dark colors which indicates a change in his character for the better.

[Aaliyah Mickle]

Aaliyah Mickle



1. This is a full shot with a subtle low angle as we can see the protagonist's entire body. This lets us see his acting through not only his expressions and reactions, but also his body language. In this moment, we see his frustration and confusion as Mrs. Thornhill lies through her teeth. This is also a two-shot framing focused on Mrs. Townsend and Roger as we look over everyone else’s shoulder. This shows the isolation of the two of them from the group; Roger telling the truth about what happened that night, and Mrs. Thornhill weaving a web of lies. They are the only ones in this room that actually know what happened. There’s an interesting power dynamic as the smiling Mrs. Thornhill holds this crowd's attention and Roger looks on angrily from behind her. As he moves to the back of the room on the z-axis, he is actually becoming even more detached from this group as he realizes they don’t believe him. It makes him the smallest person in a frame to show that he is losing credibility and power in this situation. This is probably shot at a wide angle with a camera focal length of 30mm because we are able to get a lot of information about the background and these characters in the scene. There is no blurring of the background as we are brought back into this same study.



2. Here we have a medium size two-shot with a subtle low angle. In this interaction, Roger is seeking out clues to understand why he was brought to Mr. Thornhill's house. This is a clarifying moment where our focus is on just these two and this sudden flash. Over Mr. Thornhill’s left shoulder, a flash goes off as they start talking. This flash foreshadows the knife being thrown at Mr. Thornhill in the exact same place. We are focused in on just these two, but the flash almost lingers as we watch this confusion unfold. We always see Roger in this neutral grey suit that almost matches the grey in his hair. It makes him neutral and ordinary as all the craziness just seems to happen to him and around him outside of his control. Here they are using a telephoto lens at 100mm because everything else behind Roger and Mr. Thornhill is in soft focus but is wide enough to show the blurry hustle and bustle around them. This interaction is particularly important compared to whatever else is going on as we have a deep moment of realization for the protagonist.



3. This is a medium-close crowd shot of the elevator scene with a high angle. We are focused on Roger of course, but just behind him, we are able to see the reactions of some of the other people in the elevator. It’s almost like a dirty single in the way all of our attention is on Roger even though there are other faces to look at. His mother has just asked these men if they really mean to kill Roger and while we have this very grim and serious reaction from him, everyone else is literally laughing behind his back. They just turn into a laughing mass as they are shown here in soft focus. From this high angle, he actually appears tallest in the frame. This reinforces the idea that even though everyone is laughing at him, he stands out above the rest holding on to what is true and real. This angle is just wide enough to capture the expressions of the crowd while still giving us this closeup of Roger with a focal length of 80mm. We also have a larger f-stop at f8 as this shallow focus highlights roger’s expressions.



4. As Roger tries to stay low in the train station, we get this wide, dirty single-shot from a slight low angle. The wide shot helps establish where Roger is in the station, but also where he is in the story. Everyone in the frame, including Roger, is moving screen right to left. Yet, Roger actually appears to be going against the flow of the crowd as he attempts to sneak onto the train. Even the shadows cast of people nearby help create this general diagonal line in tandem with the movement of the crowd that Roger just cuts through. He’s supposed to be laying low for his escape, but his face is actually the only one we can really see here. It’s ironic, but intentional of course as Roger is the one we need to be paying attention to. This was shot with a shorter focal length of 20mm to give us this wide angle. It's important to have this wide angle so we can see this crowd flow in this large location; we don’t need a narrow angle of view on Roger or soft background focus to understand that our attention should be following Roger here. There is also a higher F-stop here at f/10 because again we don’t need that blurring around our subject to see he’s important here.



5. This is a clever establishing shot through a prop lens. We have a full view of the White House but we’re seeing it through the reflection on the sign. For the exposition, this is great to hint to the audience about what’s going on. Up to this point, we’ve been following Roger, trying to understand why all this is happening to him. After this shot, we meet the chief of the United States Intelligence Agency, also called Professor, who completes the puzzle for the audience as to why this is happening to Roger. In just this one shot, we can begin to understand the scale of this ordeal Roger has wound up in as well as some of the people involved. It’s no longer just a case of mistaken identity, this is a government level operation with huge stakes. There are some motifs of law and order that this shot frames up as well. Later we have a sequence where the Professor talks about Roosevelt’s big stick quote as he sits directly under Roosevelt’s Mount Rushmore head. This shot has the same effect by having the USIA sign reflect the White House. The USIA is supposed to reflect the law and power of the government here.



6. Here we have a wide, low angle single shot of Roger as he makes his way onto the train. The wide shot helps establish Roger’s relationship with this new place he finds himself in. A wide shot like this helps us understand the physicality of this character as he makes his way down the corridor. He’s not slow and lumbering, he’s fast and frantic to hide. The lines of the cabin doors and windows and hallway point toward him giving us no choice but to focus our attention on him in this space. Or rather the lack thereof, as this corridor feels rather claustrophobic to add to the tension of the moment. This was shot with a telephoto lens with a longer focal length of 100mm to give us this long and narrow angle of view. That’s also why it feels like Roger has a long stretch of hallway to run the length of on this train as we have a deeper depth of field. This also means that the F-stop is low at f1.5 to give this effect, as we can see everything in focus aside from the foreground walls. And much like the train station shot from before, he is trying to lay low and blend in in this sequence, but the audience is meant to have all eyes on him.



7. Roger makes it onto the train and has this first conversation with Eve after she helped him misdirect the police. This is a medium close single shot from a subtle low angle. We are just close enough to see his expressions and interaction within his reach, in this case to take a drink. Proceeding this frame, the back-and-forth shots of this conversation show Eve and Roger in a medium size shot. It’s when Eve says she bribed the waiter to sit Roger at her table that we move in closer to this medium close shot. It’s more intimate and we are able to see the shift in Roger’s expression. The subtle low angle is more common and natural for the audience, giving a moment of rest in the story as he has meets Eve. This shot also has a shallow depth of field as everything behind Roger, and Eve, blurs into the background. Nothing else at this moment is important except the exchange of these two characters. It was shot with a neutral focal length of 25mm, close to that of the human eye. It lets the audience view it as though we get to be a part of this interaction as well.



8. Still in the train sequence, the shots of Eve and Roger have been mirroring each other (which happens often for interactions between these two). Here we also have a medium close single shot from a subtle low angle. The difference is, we’ve shifted to the side profile view to see this moment in their interaction. He lit her cigarette with a match, and she drew his hand in closer to blow it out. We’ve gone from a medium shot to medium close shot moving in closer as the conversation becomes more intimate. Now she is literally drawing him in closer, by the hand, as they flirt. It also shows that something is a bit different about her here. She’s observant and independent and in this moment, she is able to disarm him and take control. Blowing out the match signals to us that she has become the more dominant one in the situation, and it signals to Roger that she is willing to let him in. I’m not sure if it’s the camera quality form 1959 or intentional, but Eve also seems to have this soft glow around her all the time. Roger is a sturdy and constant presence with his solid grey suit and hair. But Eve is striking with this soft focus as well as the contrast between her light hair and dark dress in comparison. It makes her seem almost ethereal and their conversation continues to be their own little world. Again, this is achieved with a shallow depth of field with focal length at 25mm and f-stop of f5.



9. Here we have a wide crowd shot from a low angle. This wide shot sets the scene for this interaction between Vandamm and Eve at the auction. All these people are looking towards the stage that we can’t see, so it’s not what we as an audience should consider important. This is a crowd shot, but interestingly enough, you can’t really see anyone’s face too well. They’re not that important. What is important to us is this tense moment between Eve and Vandamm where we better understand the power dynamic. You can see it in their body language. He has this almost predatory gaze and movement where she is tensed up and small. You get this creepy moment where we can see him gripping her neck from behind, basically claiming her as his own in among these people. The two are already at an elevated level from the rest of the crowd, but we are actually looking up at Vandamm and down on Eve like the rest of the crowd. This is shot with a wide angle with a focal length of 35mm. It’s wide enough to understand that even in the large group of people Vandamm is dangerous enough to stand above the rest.



10. This shot is going to be a wide dirty single from a high angle. I call this a dirty single, because we can’t see Roger or anyone else’s face for that matter, but we are meant to be watching him. His face isn’t important here; understanding him in relation to this huge intimidating estate is. He decides to save Eve, and his opponent is intimidating and dangerous, much like the setting he finds himself in in this shot. There is this amazing effect Hitchcock achieves here with the rim light to give us an outline of this character without just putting a spotlight on him. He is sneaking into Vandamm’s house to save Eve and in doing so is hidden in the shadows. They’ve put him in these pure black screen shadows, but the rim light highlights his silhouette so well, we can understand the difficulty Roger has to sneak up these rocks undetected. Again, undetected in the story, but plainly highlighted for us as viewers. There is also a shift in Roger’s character here. The whole movie he is running away from Vandamm, form the danger of being taken out. Now he’s heading for the danger to save Eve. In doing so we see Roger abandon his trademark grey suit for just the white shirt underneath giving him this white knight in shining armor effect. This shot with a wide-angle lens with a focal length of 35mm to give us this view of the mountain side that dwarfs Roger in comparison. The f-stop on this shot is larger at f16. The aperture must be small enough to give us a wider depth of field, but large enough to let in enough light from a night scene.

[ediValle]

Ediza Valle

[Meg Villanueva]

Meg Villanueva

[Adham Aatiq]

1.

Shot Size: Wide Shot- Allows the audience to see that Roger Thornhill is now in a courtroom setting.

Shot Framing: Crowd Shot- Despite it being a crowd shot with multiple people in the scene, the main character is directly in the middle, meaning our eyes rest there first.

Shot Angle: Low Angle- Having the camera at such a low angle, it emulates sitting in the crowd. As if the audience is there to witness this court session.

2.

Shot Composition: The lighting is even in the room, so nothing is particularly obscured. Thornhill is Center screen while everyone is either right or left of him.

3.

Lens & Camera: Wide Lens, 35mm. The Shutter speed should be around 1/15s, with the F number being F/8. These settings allow every persons face that’s in the scene to remain visible with no blur and even lightning.

4.

Mise en Scene: Notably the shot has almost a horizon line of Grey and white suits formed by all the people in the scene. It divides the brown upper part of the screen and the grey floor.




1.

Shot Size: Establishing Shot- The Director wished to show you that they were once again returning to the Townsend Estate, it’s a much closer establishing shot of the home before to show that Thornhill is familiar with the place now.

Shot Angle: Low Angle- The lower camera angle makes the building still seem foreboding as it was the place Thornhill was kidnapped and drugged at.

2.

Shot Composition: The vehicle driving into the scene is on the x-axis driving right to left, however the house's main entrance never leaves focus.

3.

Lens & Camera: The camera is more than likely an 85mm wide angle lens with a shutter speed of 1/60 given the dimness of the scene. The F-number is around F/16.

4.

Mise en Scene: As the car pulls up to the manor with Thornhill, his mother and a team of Investigators the building remains foreboding. The last time we were at this place Thornhill was experiencing a terrible kidnapping and attempted murder so it’s only right to set the scene this way.

1.

Shot Size: Medium Close Up Shot- This size puts the two characters in close proximity, but allows some shoulder and chest to be visible so it’s not just two “unconnected” heads in frame.

Shot Framing: Over the Shoulder Shot- This being over the shoulder lets you see Thornhill's concerned face as Madam Townsend pretends that Thornhill got drunk and drove off on his own accord. The emphasis is on his face not the lady’s, but her words are what’s making me react this way.

Shot Angle: Shoulder Level

2.

Shot Composition: The background is somewhat out of focus while Thornhill’s face is. All of this is to highlight his facial expressions in the scenario he finds himself.

3.

Lens & Camera: We’re looking at a 130mm lens with a higher shutter speed, and a F/5.6 F-Number to get the Rack Focus effect. This is all to make the audience focus on his face instead of anything else in the scene.

4.

Mise en Scene: Everything is brown or tan in this shot but Mr.Thornhill who is wearing a grey suit. Which makes him stick out.


1.

Shot Size: Medium Full Shot- Madam Townsend, Thornhill’s Mother and all the Investigators are on one side of the room buying into the false narrative of Thornhill’s kidnapping while he is on the other side of the room alone.

Shot Framing: Single Shot- It only has Townhill in the frame alone. This shows that he’s figuratively alone in a room with over 5 people in it, including his own blood Mother. As he is being made out to be delusional about his kidnapping and attempted murder.

Shot Angle: Low Angle- The low angle specifically emphasizes Thornhill’s lack of credibility in this scene even though he’s telling the truth.

2.

Shot Composition: There is an imbalance in the scene to make the viewer feel uneasy by the gaslighting. As Thornhill is on the left side of the screen leaving a large blank space on the right side.

3.

Lens & Camera: The lens is about 50mm and the F-Number Is more than likely F/16, since Thornhill and the background are both in focus, and the shutter speed is 1/30 secs since the lighting is even. This is all put together so the audience can get a clear view of what’s occurring.

4.

Mise en Scene: As Thornhill stands in the room he was assaulted in facing the people in the room who were supposed to help him believing every word of Madam Townsend, his posture isn’t straight. His fists are clenched as they talk off camera.



1.

Shot Size: Close up Shot- It’s a clear view of the morning News paper after Thornhill was framed for murdering Mr. Townsend. The Shot makes sure the headline is clear.

Shot Framing: Single Shot- The only person who is seen is the person who is holding the newspaper. It’s later revealed it’s a Government official seeing that Thornhill was being mistaken as a false Agent of theirs.


Shot Angle: High Angle- The higher angle is mostly so the entire newspaper can be seen by the audience and read properly.

2.

Shot Composition: It really only shows the hands and the Newspaper, and the shot lingers for enough time for the audience to read and comprehend what had happened.

3.

Lens & Camera: The lens is about 90mm, as it’s a close shot, mostly so the audience can read it. Also the F-Number should be around F/5.6 as the page is clear while the background is blurry so you can clearly focus on the News paper.

4.

Mise en Scene:

The only thing in frame is the Newspaper which has the caption and a freeze frame of the scene we saw prior plastered on the center page.

[bmlugo]

Bianca Lugo


Bianca Lugo_North by Northwest_Watch with Purpose.pdf

[SamseraiLopez]

Samserai Lopez


1.

-Shot size, angle, framing

The shot size is a crowd medium shot from a low angle. This was used to convey the level of importance of our characters. We have an obvious focal point but still enough space to see the folks in the background. Since we have the low angle even though they’re not the focal point we know they’ll be of importance because they’re above our focal point.

-Shot composition, direction, motion

The shot composition has a very clear size difference that’s playing into a power dynamic. These businessmen in the front seem important and we have these approaching characters framed smaller in the back but in a different color palette to really push this imbalance in this potential interaction. It’s leading us to the shift in power that’s approaching.

-Lenses and other camera settings

The camera settings were likely a longer lens with a focal length of about 200 and an f number of 5.6. This was to be able to achieve the squashing of that middle ground so we can frame those two in distance so perfectly in the corner whilst still maintaining the size difference for the composition and keeping them just out of focus enough so we see who the focus is but are weary of their approach.

-Mise en scene (set, lighting, costume,makeup)

The mise en scene here is to convey affluence- we’re in a fancy area having some fancy looking drinks with men wearing nice tailored suits and well maintained hair- we are meant to know these people are important from the start.




2.

-Shot size, angle, framing

The shot size is a one shot medium close up. I would even say it could be one and a half- the focal point here really is that paw on his shoulder. We’re still at a low angle so we still think of him as a man of stature. We’re meant to think that paw is there for an important reason.

-Shot composition, direction, motion

The shot composition leading up to this is actually motion moving towards where the ominous fellas from before, who were walking towards our protagonist here. Then the hand on the shoulder is what breaks that trudge forward into an inevitable collision. We’re also seeing a clear direction of the eye to that hand that came out of nowhere. This is the conflict the previous scene was leading up to.

-Lenses and other camera settings

The camera settings were likely a telephoto lens as well, about 150mm with f/5.6. We’re closing our protagonist in tightly by flattening our fore/background together and maintaining that focus on the conflict at hand (pun intended.)

-Mise en scene (set, lighting, costume,makeup)

The mise en scene here is the same as the scene previous- we’re showing the importance of these people through costume and cleanliness- even their well-kept appearance.




3.

-Shot size, angle, framing

The shot size is a three shot medium shot from eye-level. This is to be close enough to see facial expressions but far out enough to see how squashed they are in this tiny little car so we really feel how trapped he is.

-Shot composition, direction, motion

The shot composition here is highlighting the size imbalance from before except now we have them all right next to each other so even on the same playing field we see who has the upper hand. We’re also here to see the road outside to watch as things continue moving forward despite him being stopped in his tracks quite literally just a minute ago- a symbol of moving forward and quickly.

-Lenses and other camera settings

The camera settings were likely a focal length of 50mm and an f stop of f/11 so that we can fit our characters within such a tight space and still see traffic moving behind them so we see how quick moving this kidnapping just happened and continues to unfold and how there’s no escape for our protagonist.

-Mise en scene (set, lighting, costume,makeup)

The mise en scene here is really setting up that mafioso look that we know represented gang business or “bad guys” stereotypically from this era- the fedora and slicked back hair we know these men are up to no good and our protagonist is in quite the bind.



4.

-Shot size, angle, framing

The shot size is a double medium full shot from a high angle. This shot is likely set to start to indicate the hopelessness of this search our protagonist is on. We have to be able to see them speaking and their body language so that the impact of that knife can be more surprising because it’s too hard to miss yet somehow we missed who it must have been.

-Shot composition, direction, motion

The shot composition moves from the x axis indicating a conflict (being the whole- getting stabbed thing) and the direction of our eye to the conversation rather than the murder that was about to ensue is to cause that trick of the eye stab-and-run.

-Lenses and other camera settings

The camera settings were likely 100mm, so that we have the space to be able to see our characters but we’re still seeing that background extremely flat so that we can also acknowledge how full that room is and bold the murder is in such a populated area.

-Mise en scene (set, lighting, costume,makeup)

The mise en scene is really focusing on the higher end, so we can see that the man we’re approaching now is also a man of class- the knife so conveniently places just out of view was a strategic placement to surprise the viewer just as much as our protagonist.




5.

-Shot size, angle, framing

The shot size is a single close up from eye level. We’re meant to be shown her expression- we as viewers are being led to believe in her sincerity in her flirtation by her facial expressions the same way our protagonist would be focused in as well.

-Shot composition, direction, motion

The shot composition we have here is leaving intentional space to the left of our character to indicate that an open conversation is ongoing- like leaving room for the other half of the conversation so we know that it’s a back and forth. It gives off the same action as pingpong with the spitfire responses.

-Lenses and other camera settings

The camera settings were likely 170mm and f/16, we’re focused on our character and still keeping that background just out of focus so we know what to pay attention to.

-Mise en scene (set, lighting, costume,makeup)

The mise en scene is very warm and bright like our leading lady here, it’s to give off the warm and inviting romantic vibe that she’s trying to sell. This is just to further push a viewer’s perspective into acceptance of sincerity from her. She can’t be dangerous, she’s too inviting, etc.




6.

-Shot size, angle, framing

The shot size is a single medium close up from eye level. We’re being shown the approaching trouble- he’s engaged in conversation and is too busy to notice the conflict that’s approaching but we as viewers get to see beyond what he can as our focus isn’t just on the woman like he is.

-Shot composition, direction, motion

The shot composition here is showing an imbalance of power here, our protagonist is massive on screen meanwhile our approaching trouble is tiny and in the background- he’s got the upper-hand here still so there may be a way out of this yet.

-Lenses and other camera settings

The camera settings were likely a 200mm telephoto lens with a 5.6 f stop to really show the closeness of the men whilst also having them physically far so they appear so small but just out of focus as well. It’s an illusion to convey what is afoot.

-Mise en scene (set, lighting, costume,makeup)

The mise en scene in this scene is that very clear divide made using the contrasting pink curtain to the blue to separate him from the outside, it’s a semblance of protection- he’s within this border of the frame and thus he’s safe but the outside is closer than we would like so it’s to really push that impending doom and his cluelessness at this point.



7.

-Shot size, angle, framing

The shot size is a crowd wide shot from a high angle. This is following a chase of sorts, we’re meant to see the obstacles between our protagonist and these men after him- it gives the viewer this idea of seconds to spare and great escape. He got away and they might be close but look at all there is between them. We’re meant to look down at these men because they’re just not going to reach our protagonist.

-Shot composition, direction, motion

The shot composition and the direction of this scene is following the z axis- we’re feeling these men get closer so that the anticipation grows but they’re far enough from us and the protagonists size wise in the shot just before this that we feel as if we might just make it. The way we’ve highlighted the top corner with people to show where we’re meant to look is to further prove the obstacles they have ahead.

-Lenses and other camera settings

The camera settings were likely 35mm focal length and f/32 this is so that we have a wide enough field of view and that our focus is on those directly in front of us as well as those men chasing our protagonist all the way in the back.

-Mise en scene (set, lighting, costume,makeup)

The mise en scene in the way these extras are placed is really separating our characters from the chase- even the fact that the waiters all wearing a bright white almost lead a white road between the viewer and the men in the back.



8.

-Shot size, angle, framing

The shot size is a shoulder level dirty single medium shot of the woman that leads into the reveal of our protagonist. We’re experiencing the reveal of our protagonist hiding with her, this is to make us feel like we’re in on the secret and part of the escape plan they have in place.

-Shot composition, direction, motion

The shot composition focuses on the falling from the y axis onto the screen from this little nook. This is to convey the stumbling onto the right path that our protagonist feels right now. The balance here is uneven as well, we have him squashed into the stop half of the screen in a cramped space meanwhile she’s on the bottom half taking up barely any space, he’s trapped himself in.

-Lenses and other camera settings

The camera settings were likely a telephoto lens at about 150mm to make that space feel much more small and confined than anything else. It’s all in focus as well so we’re looking at a likely f/16 to keep that focal point.

-Mise en scene (set, lighting, costume,makeup)

The mise en scene here is creating this divide between our characters with a green cushion- green is often an indicator of some sort of unease so as much as we can see she’s contributing to his escape it’s there to leave the viewer questioning the intention subconsciously.




9.

-Shot size, angle, framing

The shot size is a dirty single medium close up from eye level. This shot is specifically to confirm the suspicion that has been building on the actions of our leading lady. We need to see her face during this interaction so that we can see the body language that is absolutely screaming I AM UP TO NO GOOD!

-Shot composition, direction, motion

The shot composition here we’ve got a really great contrast of all the dark with her in the light so her face is the only thing illuminated- this gives the viewer a sense of introspection on the character- almost like we’re seeing her thoughts where he can’t because he’s off in his own world. The balance is absolutely off so we know that although he towers over her, he’s in the dark on the trouble afoot.

-Lenses and other camera settings

The camera settings were likely a focal length of 85 mm and an f stop of f/16 so that we can focus on our leading lady while everything else fades into the background and so that we can allow for more light into the camera in such a low light setting so that our aperture is bigger.

-Mise en scene (set, lighting, costume,makeup)

The mise en scene the placement of that light is strategic to just highlight the facial expression of our character while leaving everything else in the dark- this is meant to be a moment in her mind so we can see what she’s thinking visually.



10.

-Shot size, angle, framing

The shot size is an insert wide shot from eye level. This is so that we can see the approaching plan and how desolate this area is so that what happens next is much more serious- this wasn’t an accident it’s on purpose and certainly couldn’t be attributed to coincidence.

-Shot composition, direction, motion

The shot composition is interesting because we have this small plane in the distance in a mostly blue background so it feels insignificant until we see that it’s approaching. But the size stays the same. It’s meant to instill that feeling of “there’s no way that’s coming this way, look how empty it is here they couldn’t possibly be aiming for me.”

-Lenses and other camera settings

The camera settings were likely a telephoto lens at about 200 mm so that out planes are all flattened to one so the size of the plane continues on the same size despite getting closer as well as keeping that f stop at f/32 so it all looks clear as day- there’s no mistaking what’s happening it’s just disbelief in the probability of that being what happens that creates doubt.

-Mise en scene (set, lighting, costume,makeup)

The mise en scene does an interesting thing with how there’s this road we’re looking down but the plane is just off that path and everything is brown on the ground compared to that bright blue- it’s creating this almost illusion of security where there shouldn’t be.

[JuGamez20]

julian Gamez

1. Shot size: medium full shot, they're shown with them from the waist up to show that they are walking in this
2. angle: hip level, cause hips are shown fully to up to they're heads
3. framing: crowd shot a whole hoard of people with a two shot being the main characters in the picture.
4. Shot composition, direction, motion: shallow focus for the most part cause it's to emphasize that these two are the main focus. while thats happening its constanly moving backwards to show they are walking and focusing on their paperwork
5. Lenses and other camera settings: short lenses cause the shot is wide to sort of show how big of an enviornment they're in possibly around 70-80mm, normal length because not big wide zoom in shots to the point where you can see their skin flakes
6. mise en scène: the setting is in an big office building in the lobby with elevators. roger is wearing a gray suit and pants with a white buttoned shirt and tie to show he a pretty important and smart man. maggie is wearing some kind of uniform meaning she is probably the secretary who helps roger with his schedule

1. Shot size, medium close up shot= because roger is showing the waist up of his body
2. angle: eye level to show that this is just a normal shot of non action packed scene
3. framing: over the shoulder because roger is the main focus while the other two are in less focus
4. Shot composition, direction, motion: shallow focus because roger is the main center of attention cause he is talking. it's a straight foward camera angle cause it's looking at the z-axis straight ahead
5. Lenses and other camera settings= around 100-200mm because it's a much more closer in shot scene to show roger is the main person talking and we should focus on him
6. mise en scène= it's a more fancy sort of bar where people can just relax with friends after a tiring day. roger still has his suit and everything while the other two characters are wearing black suits they're ether friends or important people to why they are here

1. Shot size, medium full because we see from the waist up
2. angle,= eye level it's like we see them from our eyes in a way
3. framing: 4-shot frame because its with multiple people and they are the ones who are going to be talking
4. Shot composition, direction, motion: wide shot to get everyone in frame, and in the x-axis cause it shows their sides.. no motion from the camera for the time being as they are in the moment
5. Lenses and other camera settings:350mm one of the closest shot you can make with a crowd shot so that way they are the focus of the scene. they're in a still frame with no movement to mean that they are not moving at the moment until to scene is over
6. mise en scène= they are at the police station where it's all slightly dirty not exciting cause its not that exciting to be here with the dull lighting and everything. with the policemen wearing uniform for their work time.

1. Shot size: establishing shot because it's achange of scenery to show where the next few moments of the movie is taking place. not in the office building or the police station but on a train.
2. angle, i'm only saying eye level because it's not high or low but there's no humans at all in this shot
3. framing wide frame because it shows a wide variety of different enviornmental things around the train
4. Shot composition, direction, motion= 135mm because it shows alot but not too much to show enough of the enviornment, deep focus cause its showing everything in a clear view of the enviornment without having to blur anything. since the train is moving it's like we are moving along with the train along the z axis going to the x-axis inbetween the scene.
5. Lenses and other camera settings= 200-300mm you can see off into the mountains and a good chuck of details with
6. mise en scène= the lighting is in an orange-yellow color cause it's during the sunset before the moon rises, the train seems to be in an area of mountains far away from civilization

1. Shot size,master shot= we are in a new environment of the desert to show how huge and dry and empty it is
2. angle, high+low shot because it's at a normal eye level kind of length like we could actually be there
3. framing: establishing frame because of the world and enviornment around the area
4. Shot composition, direction, motion: its like this because they wanted a wide shot of the desert to show how dead and empty it is to show a new moment in the movie
5. Lenses and other camera settings: 70-85-100mm so that way you can see the vast emptiness that is the desert
6. mise en scène: nothing but dirt, dirtroad, big patch of long dry grass, with very few cars and people

1. Shot size, full shot, you can see all of him in this vast open world
2. angle, eye level to make roger a normal person basically and to show is is basically lost in middle of nowhere
3. framing: one shot to show that roger is all alone in the desert
4. Shot composition, direction, motion: 200mm to show that roger is very much is a land full of nothingness as of now there is no movement of the camera as roger is waiting for someone to pick him up
5. Lenses and other camera settings: 180mm-200mm for him to see that it could take a long time before someone to pick him up
6. mise en scène roger seems to never take off his gray suit which'll get dirty with the sand and other things, the lighting is bright meaning to show that it's hot in this area

1. Shot size,: pov shot because we are looking through a perspective looking at the photo of six men at a university.
2. angle, high angle because its above the head in a way to show that they have discovered something old and ancient like this wrinkled photo
3. framing: technally a crowd shot cause in the photo there're more then three guys in the shot. but at the same time its and over the shoulder because its over her head
4. Shot composition, direction, motion: 15mm the fish eye there is a close zoom in with the z-axis going foward to see the picture more clearly
5. Lenses and other camera settings: 400mm because the photo is the main focus at the moment with a very close perspective
6. mise en scène: not much is shown at the moment because it shows the picture only but the lighting is clear for you to see the photo

1. Shot size,master shot because the loaction is new and nothing like the past shots, it's to show new moments to come in the film. its in a parking lot to the mount rushmore
2. angle, the eye level camera is a little higher then normal no judgment is upon anybody that in this frame to show the new enviornment
3. framing: crowd shot to show many people walking in and out of the cars which is to show how busy this whole historic place can be
4. Shot composition, direction, motion: still frame to show the timelapse of sort of the people walking in and out of the frame. they wanted to use the front z- axis showing the cars back and sides with -z-axis
5. Lenses and other camera settings= 200mm to show a wide but not too wide shot to show how big the parking lot is
6. mise en scène= its in the parking lot to mount rushmore so it's in a forest with mosified civilization and they have a gated way up to the area for you to vieww mount rushmore.

1. Shot size, full shot= because they have all of they bodies shown despite roger and clara's knees and below are blockedd behind the sofa. it's done like this to show these are the main people talking in this scene
2. angle, hip level because's we are looking from staight into their hips and not at their eyes like we are sitting down in a sense
3. framing= three shot because three characters are in frame meaning thay are the main focus for this scene for the time being
4. Shot composition, direction, motion= its a wide shot from the x-axis and the characters are facing many different ways and its to show that clara is the less focus of attention and that its roger and the other character
5. Lenses and other camera settings= 200mm cause its the averege normal lenses to show a nonaction or estbalishing shot to show that we are going to be here for a while
6. mise en scène= it a bit a rich and sort fancy looking house living room with expensive trinkets and roger is always wearing his gray suit with the other character wearing a sort of blue shirt with clara wearing an orange dress. makes us see what time period we are in

1. Shot size, establishing shot this was shown to show this is pretty much the final scene to be shown with the top of mount rushmore so it's pretty going to be some sort of action scene to an extend
2. angle, high angle cause its high up above them to show how they are just small organisms compared to the huge monument that is mount rushmore
3. framing= sort of a pov shot because its a camera to show a huge surrounding shot of mount rushmore to get a good view of it
4. Shot composition, direction, motion= deep focus because it shows everything in a view of clearness so people can see mount rushmore in a more detail look at the time of the camera quality
5. Lenses and other camera settings= 400mm to show mount rushmore in a more astonishing new view especially for people who having been to the place
6. mise en scène= its nighttime with the presidents faces shown and it's because to show how big mount rushmore