Announcement

**Sebastian Jurado** · 09-27-2024, 06:23 PM

Sebastian Jurado

Frame one:
This frame has a medium close-up shot size with a clean single-shot framing and an eye-level shot angle. The director made these specific types of cinematic choices in order to make the audience empathize with this character, especially after seeing his somber facial expression. The director most likely intended for the audience to gain a deeper understanding or visualization in regards to the character’s current emotional and mental state during that scene and just generally at that point in his life. Regarding the shot direction, the focus is horizontal. The focal length of the frame is most likely a telephoto lens with a fast shutter speed and a low f-number which creates a shallow focus. These camera setting choices were made in order to make the audience forget about the surrounding environment and really immerse them only in this character’s interaction and emotions and nothing else. Regarding the choice of costume and lighting, the character is shown to wear a casual outfit under soft yet gloomy lighting. The director most likely made these choices in order to really convey the gloomy mood of the scene and in some ways the relatable position that the characters found themselves in, particularly of struggle, hopelessness, and feeling lost.

Frame two:
This frame has a medium close-up shot size with a dirty crowd shot framing and a eye level shot angle. The director made these specific types of cinematic choices in order to help the audience better understand and visualize the character’s commitment and participation in these support groups that he is attending. In this frame, being so close to his face, we can almost feel how he is feeling and almost know what he is thinking. This is clearly a very pensive moment and the director most likely intended for the audience to immerse themselves in this moment of group meditation that the character is participating in. Regarding the shot direction, the focus is horizontal. The focal length of the frame is most likely a telephoto lens with a medium shutter speed and a low f-number which creates a shallow focus. These camera setting choices were made in order to help the audience get more intimate with the main character and not only more physically close, but in a way more emotionally and mentally close. Regarding the lighting, the character is shown with high contrast lighting, with parts of his face in darkness and other parts in light. The director most likely made these choices in order portray the character’s state of mind, being somewhat lost and confused, or in other words partially “in the dark” and struggling.

Frame three:
This frame has a full shot shot size with a dirty single shot framing and low shot angle. The director made these specific types of cinematic choices in order to showcase this character’s power pose. The director specifically intended for the audience to see this character’s entire body to see her relaxed and nonchalant pose as she is in the middle of the road. The director wanted to emphasize this character’s careless and free-spirited personality as she talks to the other character in the scene. Regarding the shot direction, the focus is horizontal. The focal length of the frame is most likely a telephoto lens with a somewhat slow shutter speed and a higher f-number which creates a deep focus. These camera setting choices were made in order to draw focus on the woman in the scene and her place in the environment. Regarding the costume choice and set, the woman is shown to have messy hair and bland clothing style. The director most likely made these choices in order to further highlight the character’s careless and impetuous nature.

Frame four:
This frame has a medium close-up shot size with a dirty single shot framing and eye level shot angle. The director made these specific types of cinematic choices in order to highlight the character’s serious and perhaps confident demeanor. The director most likely intended for the audience to better understand the character Tyler Durden’s personality as someone who is level headed and calm. Regarding the shot direction, the focus is horizontal. The focal length of the frame is most likely a telephoto lens with a fast shutter speed and a low f-number which creates a shallow focus. These camera setting choices were made in order to isolate the character in the scene and force the audience to focus on this character’s actions and words. Regarding the costume and lighting choices, we are shown Tyler’s interesting clothing style with a red leather jacket and bright shirt under soft lighting sitting on a similar red seat. The director most likely made these choices in order show the type of person Tyler is, particularly someone who has confidence and is generally unbothered. His pose and style portrays him as a versatile and flexible person who can both blends in with his environment and stand out at the same time.

Frame five:
This frame has a medium full shot size with a two shot framing and low shot angle. The director made these specific types of cinematic choices in order to visually convey the relationship between these two characters, particularly as being equal to each other or as two friends which can be seen by their similar height and short distance between each other. Regarding the shot direction, the focus is horizontal. The focal length of the frame is most likely a telephoto lens with a fast shutter speed and a medium f-number which creates a softer focus. These camera setting choices were made in order to have the audience focus on the connection and familiarity between the two characters in a way that is not too intimate yet not too distant, almost perfectly conveying the friendship between the two. Regarding the costume choices, we can see a personality contrast between the two characters, with Tyler wearing his red leather jacket and the character on the right wearing a professional suit jacket. The costume choices made here show who Tyler is someone who is unique and unusual where as the main character is someone who is typical and still in some ways a normal guy with his business suit.

Frame six:
This frame has a close-up shot size with a dirty single/over the shoulder shot framing and a eye level shot angle. The director made these specific types of cinematic choices in order to prioritize the facial expressions of this character as he is talking to the man in front of him. In this scene, the main character is in a position of power and confidence as he essentially talks down to his boss with sharp eye contact. This relationship between the two characters and the power dynamic between the two is very important which is why the director chose to show the main character’s face so close as they interact. Showing his face is crucial to help the audience understand the change or evolution that the character has gone through, particularly from a unsure and perhaps timid man to someone who is gaining more confidence and power. Regarding the shot direction, the focus is horizontal. The focal length of the frame is most likely a telephoto lens with a fast shutter speed and a low f-number which creates a shallow focus. These camera setting choices were made in order to focus only on this character’s words and thoughts at this very moment in the scene as well as to help the audience immerse themselves in the conversation between the two characters. The lighting choices in this scene are very interesting as it has the main character in light and his boss in the dark, which creates a juxtaposition between the two characters. The director intended for the lighting to portray the main character as someone who is confident and strong being in the light and the other being not confident at all and weaker being in the dark.

Frame seven:
This frame has a medium full shot size with a crowd shot framing and a low shot angle. The director made these specific types of cinematic choices in order to establish the situation, relationship between these characters, and their roles, particularly as an intense event with a perpetrator, victim, and witness. These roles that the characters are taking in this scene really contribute to their personalities, showing that Tyler is someone who takes control and has dominance and the main character is someone who is more of a bystander that has no control. Regarding the shot direction, the focus is horizontal. The focal length of the frame is most likely a wide lens with a medium shutter speed and a medium f-number which creates a soft focus. These camera setting choices highlight the characters as a unit or group by somewhat blurring or flattening the view which in a way merges them together and makes them seem closer to each other as they interact. The lighting choices for this scene are mainly very minimal and soft with a sharp contrast of darkness and shadow. This type of lighting seemingly conveys a sense of uncertainty as most of the scene is dark, which makes the audience feel uneasy or perhaps anxious and creates an intense mood as we wonder what will happen next in the scene. It makes the audience wonder "Will Tyler actually kill the man or not?".

**dogma2026** · 09-28-2024, 02:29 PM

Roger Gonzales Jr

Act-I
The shot is predominantly a close-up, focusing intently on the two characters. This choice emphasizes their facial expressions, heightening the emotional intensity of the moment. By isolating the characters within the frame, the director draws the audience's attention to their interaction and the underlying tension. The camera is positioned at eye level, which fosters a sense of realism and intimacy. This angle allows viewers to engage directly with the characters’ emotional states, creating an immediate connection with their conflict. the tight framing serves to create a sense of claustrophobia and urgency, reflecting the charged atmosphere of the scene. The characters occupy the center of the frame, with minimal background context, which further isolates them and emphasizes their emotional confrontation. The lack of negative space contributes to a feeling of entrapment, both physically and emotionally. The use of a standard lens captures the scene with a naturalistic quality, enhancing the authenticity of the moment. The shallow depth of field blurs the background, further focusing attention on the characters and their expressions. This choice heightens the emotional stakes by isolating the characters from their surroundings. Lighting: The harsh lighting creates stark contrasts, accentuating the characters' features and expressions. This choice not only highlights their emotional states but also contributes to the overall tension, casting shadows that may symbolize inner conflict or hidden intentions. Costume: The woman’s provocative attire contrasts with the man's more subdued clothing, suggesting a power dynamic within their interaction. Her outfit indicates confidence and defiance, while his attire may suggest vulnerability or submission, complicating their relationship. The director's meticulous choices regarding the close-up and eye-level angle foster intimacy while highlighting the emotional stakes of the confrontation. The static nature of the shot underscores the tension, suggesting a moment of reckoning between the characters. The scene encapsulates themes of desire, conflict, and power dynamics, compelling the audience to reflect on the intricacies of human connection and confrontation.

Act-II
The shot is a medium to medium-close shot that centers on the characters, allowing a closer examination of their facial expressions and body language. This choice fosters a sense of intimacy, inviting the audience to connect with their emotional states. The angle is likely slightly low, which can elevate the characters, casting them in a position of power or dominance. The characters are positioned centrally, but the use of negative space around them can signify their isolation within the chaotic environment of the scene. This directional movement suggests tension and urgency, reflecting the characters' motivations and the narrative’s pacing. Diagonal lines created by the corridor’s architecture, leading the viewer's eye toward the characters. This directional movement suggests tension and urgency, reflecting the characters' motivations and the narrative’s pacing. A wider lens may distort the space slightly, contributing to a feeling of disorientation, which aligns with the film’s themes of chaos and identity crisis. The setting—a dimly lit corridor—evokes a sense of confinement and decay, reinforcing the characters' psychological states. The director creates a palpable tension that resonates with the audience, prompting an emotional response ranging from intrigue to discomfort. The characters' costumes—bold, flamboyant choices—reflect their rebellious nature and challenge societal expectations. The contrast between their extravagant outfits and the drab environment intensifies the theme of individuality clashing with conformity.

Act-II
The shot is likely a close-up or extreme close-up, focusing intently on the character's hand, which emphasizes the tension and emotional stakes of the moment. This choice brings the audience into an intimate space, compelling them to confront the character's psychological state. This perspective suggests a power dynamic; the viewer is positioned beneath the character, evoking feelings of vulnerability and unease. The character’s hand occupies a prominent position, dominating the frame this framing choice draws attention to the act of clenching the fist, symbolizing anger, frustration, or a decisive moment of confrontation. A standard lens, allows for detailed focus on the hand, enhancing the emotional weight of the gesture. This choice can create a shallow depth of field, blurring the background and isolating the character's action, thus intensifying its significance. The sterile, clinical environment suggested by the ceiling tiles can evoke feelings of confinement and coldness, reinforcing themes of entrapment and mental distress. The character's costume—a disheveled shirt—reflects their inner chaos and lack of control, further emphasizing their emotional state. The visual emphasis on the clenched fist becomes a powerful symbol of conflict, suggesting imminent action or confrontation, which creates anticipation. The director's choice using this shot transcends mere visual representation, engaging viewers on an emotional and intellectual level. The interplay of these elements evokes a visceral response, prompting reflection on themes of conflict, identity, and the human condition.

Act-II
The shot likely employs a medium shot that captures both characters in the act of exchanging an object. The angle may be slightly elevated, allowing for a view of the characters at the top of the fence and enhancing the sense of tension associated with their precarious position. This perspective suggests a power imbalance; the character on the fence appears to hold a position of control over the interaction as the use of the fence creates a physical barrier that underscores themes of separation and confinement. The framing also emphasizes the object being exchanged, drawing attention to its significance and the stakes involved in this moment. The composition of the shot is dynamic, with the upward action of one character reaching over the fence the direction of movement—the upward reaching towards the object—conveys urgency and desperation. A wide-angle lens could distort the scene, emphasizing the distance between the characters and the barrier that separates them. Depth of field may be shallow, focusing sharply on the characters and the object in their hands while blurring the background, which can symbolize the emotional focus on their exchange amid a chaotic world. The lighting is likely dim and stark, casting shadows that heighten the tension and create a foreboding atmosphere. The director’s visual emphasis on the exchange underscores its significance, prompting viewers to reflect on themes of sacrifice, hope, and the human desire for connection despite the barriers imposed by society.

Act-II
The shot is a shallow depth of field, with a close-up or medium close-up that focuses on the foreground elements—specifically, the pills and cigarettes—while blurring the figure in the background. This choice emphasizes the significance of the objects, suggesting a narrative centered around substance use and its consequences. The angle may be slightly tilted or low, contributing to a sense of disorientation and reflecting the character's unstable emotional state. The foreground objects dominate the lower part of the frame, drawing attention to the implications of addiction and self-destruction. The blurred figure in the background, possibly unconscious or in a state of despair serves as a haunting reminder of the toll that substance abuse takes on her. The composition is intentionally cluttered, with the pills and cigarettes arranged haphazardly, symbolizing chaos and disorder in the character's life. The direction of the visual elements guides the viewer’s gaze from the foreground objects to the blurred figure, creating a narrative flow that underscores the relationship between substance use and identity. A standard lens, combined with a shallow depth of field, creates a sense of intimacy while isolating the character from their environment. The lighting is likely dim and moody, with harsh shadows that evoke a sense of despair and hopelessness. The cluttered table, adorned with empty pill bottles and cigarettes, creates a visual metaphor for the character’s chaotic mental state and societal neglect. The director’s deliberate manipulation of shot size, angle, framing, and mise en scène creates a rich visual representation, engaging viewers on both emotional and intellectual levels. compelling contemplation on themes of addiction, despair, and the human condition.

Act-III
The shot is executed as a medium shot, effectively capturing both characters in a single frame highlighting the tension between them. The angle is likely straight-on, which invites the viewer to engage directly with the characters. Framing with one character positioned in a more dominant stance at the table while the other sits lower and further away. The framing also employs negative space, particularly the area around the seated character, Tyler seated at the table, dressed in a bold outfit, occupies a more visually commanding position, suggesting confidence and control. Use of a standard lens allows for a realistic portrayal of the characters and their environment depth of field may be moderate, keeping both characters in focus while allowing the background to recede slightly, which emphasizes their interaction. The lighting is soft yet strategically placed, highlighting the textures of the characters’ clothing and the setting, while also casting shadows. The hotel room setting is sterile and impersonal, the decor, characterized by neutral colors and minimalistic furnishings expresses the characters' inner turmoil. The soft glow from the lamp creates a warm ambiance that contrasts with the emotional coldness of the characters’ interaction. The contrast between light and dark adds to the tension, making the audience acutely aware of the psychological stakes at play. the director creates a rich tapestry of meaning that deepens the audience's understanding of the character's struggles and the broader narrative context.

Act-III
The director's shot is executed as a close-up, to emphasize the character's emotional state and internal conflict, allowing the audience to witness the nuanced expressions that convey fear, confusion, and realization. The angle is likely slightly tilted or high, creating a sense of disorientation and emphasizing the character's vulnerability. The character's face occupies a substantial portion of the frame, drawing the viewer's attention directly to characters loss of control as he appears to be peering into a profound and unsettling realization. The direction of the gaze, likely directed downward or towards an unseen object, creates a sense of anticipation and dread, inviting the audience to ponder what lies beyond the frame. The use of a standard lens allows for a realistic portrayal of the character’s emotional state while maintaining a sense of intimacy. The dim, greenish hue creates an unsettling atmosphere that reflects the character's psychological distress. This setting mirrors the character’s internal chaos, suggesting a disconnect between their mind and the physical world around them. The contrast between light and shadow in the shot reinforces the emotional stakes. The unsettling lighting and sterile setting create an atmosphere of dread, compelling the character's psychological struggle. The director’s visual representation, portrayal of psychological distress, visual representation of trauma invites the audience to empathize with the character deepening the emotional impact of the scene.

Attached Files

**B.Rocha** · 09-29-2024, 12:18 AM

B. Rocha

Act I Shot I:

This is a medium size, clean single frame, overhead angle shot that utilizes the Z axis depth of field screen direction. The frame composition includes brightness, color, and size in this shot as this is a dim, nighttime lit shot with Tyler in a white shirt against a muted, largely gray, environment for a bedroom. His sizing is kept small in this shot to convey his current state of feeling bored, inadequate, and inundated by the world and his life. This is likely a small aperture lens, a wide focal length with little to no distortion, in deep focus with lower ISO given the darkness. The mise en scene for this scene includes bedroom furniture and items like a phone, drinks, snacks, magazines and books. This shot was chosen to convey information about Tyler's insomnia and his efforts to try and sleep. We are also meant to understand his mental state given how small he Is framed with his environment to prove how helpless he feels against his insomnia as well as his true attitude about his place in the world. He feels insignificant, alone, and in a dark place in his life at the moment.

===

Act II Shot 2

This is a master size, two shot frame, high angle shot that utilizes the Y and X axis screen direction. The frame composition includes brightness, direction and size that implies visual directionality pointing towards the Paper St. House. Setting the house during the evening, and emphasizing the height of the house to seem grand and looming, is a visual signal for the audience to know that this new location is important to the narrative but ominous and unnerving to approach. This is likely a smaller aperture lens, with a wide focal length between 30-50mm, in a split diopter focus as both the street sign and house are in focus. The mise en scene for this scene includes a street sign, border fencing, littered sidewalks, a parked vehicle, street light posts, some steam powered factory in the background and the paper street house with a side yard of dirt and concrete with more litter and leaves. This shot was chosen to introduce a new location into the narrative but frames it against lighting and set decoration that implies the house is in a poor condition and lies in the outskirts an otherwise poor neighborhood. It also was chosen to imply that the house is going to be revisited several more times so its silhouette and location are important to remember.

===

Act II Shot 3

This is a Medium Full size, crowd shot framing, low angle shot that utilizes the Y and X axis screen direction. The frame composition includes brightness, size and shape in this shot as there are strong contrast elements used in the shadows, and sizing of characters compared to the man on the floor as they form an encircling shape around him. This is likely a smaller aperture lens, with a wide focal length, in deep focus. The mise en scene for this scene includes the basement of Lou’s bar that is concrete and metal pipes. There are several fight club members present in casual and work clothing. This shot was chosen to depict the growth of the fight club membership amount as the movie has progressed but also the unity the members have grown with one another as the seeds to forming project mayhem have begun planting. It is also a visual nod to show how the members are slowly coming to think and act as a collective, guided by Tylers assignments and teachings, and how they are assimilating into their roles as workers always acting together as one. The angle looking up at the members enhances this nod, as the audience is supposed to feel small compared to the largening collective of the project mayhem group.

===

Act II Shot 4

This is a Medium Full size, clean single framing, low angle shot that utilizes the XYZ axes screen direction. The frame composition includes size and direction as we are visually guided towards Tyler in the center of the frame but he is far away from us, framed by the bus surroundings. This is a smaller aperture lens, in a focal length between 30-40mm in a soft Tilt Shift focus as the focus is on Tyler. The mise en scene for this scene includes Tyler in jeans, a button-down shirt, and an overcoat. He has a duffel bag and is sitting in the interior of a bus fitted with brown faux leather seats and white metal paneling. This shot was chosen to depict Tyler's growing indifference to the world but his inevitable part in it. Despite his attempts to find peace Tyler knows he will be needing to continue his role in society in order to see his inner plans to fruition. This shot serves is a visual to his thinking space, where he is alone with himself physically and mentally but shows how bleak and lackluster his perception of the world is.

===

Act II Shot 5

This is a Medium Close up size, point of view framing, low angle shot that utilizes the Y and Z axis screen direction. The frame composition includes size and color as the members of Fight Club are in different depths of field in the frame, and the use of primarily black and white in the costumes and environment help depict the parallel the members run by where they run around being bad guys under the influence, they are actual liberators doing good. This is a larger aperture lens with blurring for background characters, in a focal length between 30-50mm in a shallow focus. The mise en scene for this scene includes the members of fight club in formal waiter outfits, balaclava masks, and the interior of a fancy bathroom in all white tiles with fluorescent lights. This shot was chosen to best portray the bewilderment of this scene as the politician is held captive and threatened by the fight club members. It is also a visual signal to show Tyler's alternate personality in control as he is the only character in frame as partially upside down and the others are at normal orientation.

===

Act II Shot 6

This is a Full size, clean single frame, low angle shot that utilizes the Y and X axis screen direction. The frame composition includes direction and color as we are given the color difference of both Tyler's personalities as the light shines through the doorways in orange and blue. We are also visualizing Tyler's mental struggle as he accepts the presence of his two personalities in his life given his position standing in an open area surrounded by doorframes with two main frames shining brightest but is not taking action towards any one. This is a smaller aperture lens in a focal length of 30-50mm in deep focus. The mise en scene for this scene includes Tyler in a robe and house sandals, the interior of the Paper St house that is largely a wood interior severely dilapidated and dirty with peeling paint and mold staining. There are light fixtures, staircases, door frames, a fireplace, and windows with warped blinds. This shot was chosen to depict as mentioned previously Tyler's split personality, with the open area serving as Tyler's neutral mental ground as he becomes aware of the two temperaments as seen in the two doorway options brightly lit. The set design is also a visual representation of Tyler's mind as the worn down, rotting interior reflects how his mental state is slowly unwinding and driving him mad the more he fights to learn the truth of what is going on around him.

===

Act II Shot 7

This is a close up size, clean single frame, ow angle shot that utilizes the Y axis screen direction. The frame composition includes size and brightness as the dim lighting accentuates the seriousness of the situation and with how close Tyler is to the camera, his concern over the wrong bomb wire being tripped. This is likely a small aperture lens with little to no blur, a focal length between 30-40mm, in deep focus. The mise en scene for this scene includes the interior of a van and Tyler in a leather jacket. This shot was chosen to show the contrast between Tyler's one personality fighting to stop Project Mayhem and the other fighting to keep it in production. Given that this Tyler is wanting to keep the project underway, we are also shown how this Tyler loves to mock and play with the real Tyler so this shot helps to show off the fact that this temperament is likely faking concern and stress over the situation. This shot helps to aid this narrative but also adds some comic relief as this Tyler's temperament tends to create jokes and exaggerations that starkly contrast the actual Tyler's.

===

**Nathan Garcia** · 09-29-2024, 01:06 AM

Nathan Garcia

Shot 1

Shot Size: Close Up - Because both characters are sitting, more importance is placed on not only the 2 characters, but the interaction between these 2, if it were more spaced out (Medium-Close), there would not be impactful enough, and with the setting being in an airplane, the characters would get lost in the scene, as well as there being no need for any other characters to be present in the scene

Shot Angle: Low - Both characters are in control, though Tyler’s (Imagination one) has a much more dynamic angle due to the fact that his head is looking down on the real Tyler.

Shot Frame: Dirty Single - The importance of this scene is on the fake Tyler, and allow the viewer to focus on fake Tylers dialogue to his real self.

Composition: The scene is well lit, if a but dull in color, with mostly round squares/rectangles for shapes outside of the faces, which help the less important objects to disappear and leave focus on the characters faces/heads

Direction: The direction of this scene is shown by the fake Tyler being on the right of the screen and the real one on the left, this is meant to foreshadow that the fake Tyler is going to become to main villain of this story, and due to the way his face is, despite the eyes of both characters being on the same horizontal line, it looks as though the fake Tyler is further up, showing that the real Tyler is going to be fighting a losing battle for majority of the story

Motion: Though extremely small and subtle, the camera is moving in this scene, mainly by moving closer to the two characters in this particular scene, making this small action feel more impactful.

Camera: The lens is roughly standard 50mm, as there is a tiny amount of DoF, with the aperture being f/8 and shutter speed around 1/48s due to the lighting being on the darker side, this is all done to give a more lighting on the important parts of each characters face/head, and help drown out the less important objects in the set

Shot 2

Shot Size: Close - The focus is on the real Tyler and his emotional state to the phone call he is on, his facial performance is important and is being focused on in this scene.

Shot Angle: High - The fake tyler is at a low angle, showing that he is in power and in control of the situation, while the real tyler is under duress, though trying to remain calm, which shows in the angle as it is very slight raised up from his eyes in this scene by the tiniest amount.

Shot Frame: Double - Though the fake tyler is out of focus, we can still see the rough impression of his facial features, as although his performance is not particularly important in this scene, we still need to see something from him, particularly his calmness and ability to control the situation, as well as showing his presence and power he has over the real Tyler

Composition: the scene is bright in the background, but out of focus, and on the inside, although well lit, is noticeably darker inside, which shows that the house is somewhat symbolic of Tyler being trapped by himself, the fake Tyler blending in with the surroundings helping foreshadow that he is a figment of the real Tylers imagination.

Direction: When looking at it in a 2D space, the real tyler is on the left of the screen and above the fake one, showing that he is in more power despite the duress and the fake one still having massive influence on the real tyler.

Motion the camera is in one place during this scene, though it follows the fake Tyler, despite the real Tyler being in focus, this style is very well executed, as it shows that the fake Tyler is having massive influence on the real tyler, though the real tyler is in more control of himself and the situation in this particular scene

Camera:the lens is likely a longer lens at 150mm, with the Aperature being f/16 and the Shutter speed being 1/15s, this helps put the focus on the real Tyler and make everything else stay out of focus so the viewer can leave his eyes on the real tyler

Other: Most of the shapes in this frame are squats, with a few rounder shapes (outside of the faces and bodies) in the background to help show that although he should feel trapped, there are things in this house that provide comfort and familiarity to tyler.

Shot 3

Shot Size: Close - The focus is again on the real tyler and his reaction to the owner coming down to the fight club area, his body is not important to the performance or impact of this scene, and would likely take away from the impact that the scene has at this moment.

Shot Angle: Low - Both characters are in a low angle, showing they are both in control and acting as a single person rather than fighting with each other like so many other scenes in this movie where they are fighting against each other.

Shot Frame: Double - This is a brilliant piece of storytelling, as the camera shows they are both acting as one, and that their reactions are identical.

Composition - The background of this shot is nearly filled with darkness, with the fake tyler being the only thing in the background that can be noticed, the colors are muted outside of the fake tyler who looks colorful, and the only shapes visible are the two Tylers.

Direction Both characters are facing the same way, making it clear they both have the same goal and mindset in this one particular shot.

Motion: The camera starts with the fake tyler, but moves to show the real tylers reaction, his being a mirror of the fake Tyler.

Camera: it is a long lens at 150mm, with an aperture of f/16 and shutter speed of 1/15s, this allows the real tyler to be the dominate character in this shot and focus on him, as well as take out any other part of the background not needed for this shot.

Other: One of the best foreshadowing moments is in this scene, in my opinion. The Fake Tyler is the only thing that does not belong when you take the context of the scene in mind, he is the only one that has the most lighting, the only one visible in the background, and the object to the right of him gives off a ghostly effect to the fake Tyler, showing that he is not a real person.

Shot 4

Shot Size: Cowboy - This is to place emphasis on the power dynamic between the three characters in the scene, as the fake Tyler is the one in power and is the main focus of this particular shot

Shot Angle: Low - This is meant to show how both the real and fake Tyler are the ones that have the power in this scene, though the fake Tyler is the one with the most power in this shot, with the real one being in control, but mostly an observer.

Shot Frame: Triple - Though you cannot see their faces, the acting of the characters, alongside the dialogue given is the main focus, as the reactions would not tell the best story possible in this scene

Composition: The scene is very dark, and with dark colors as well, the only sources of light, outside of the one coming from the store, shows that they are in a very dark part of their lives, yet since they are standing in light, they feel as though they are doing alright despite the darkness around them.

Direction: Both tylers are looking to the left as Raymond is running left and up the screen, this shows that Raymond is running to safety and trying to leave the darkness and get back on track.

Motion: The camera is still during this particular scene as Raymond runs, as the director wanted us to ensure we saw the reaction and performance of each character. This was also to make Raymond running feel more impactful as nothing is following him and he is on his own.

Camera:The lens is slightly long at around 85mm, and the aperture is roughly f/4, with the shutter speed being 1/125s, This was to keep much of the shot dark while the lighter parts made the the Tyler’s more dynamic with the lighting, as well as allow Raymond’s running to remain clear and visible so the audience doesn’t get confused

Other: The vehicle acts as a barrier, as the Tyler’s remain on one side of it and Raymond is on the other side where the street is more visible, showing Raymond is going on a different path

Shot 5

Shot Size: Cowboy- although the focus is on Tyler, we are meant to see his members reaction, the reason he chose to use this size is because not only he wanted us to see most of the members bodies, but also show they still have personality (Before they become more or less followers of Tyler).

Shot Angle: Low - This is showing that all of the characters are in control and in power of the situation present.

Shot Frame: Crowd - This was used to show how big the fight club had gotten, and allow the audience to see how the members are slowly turning into Tylers minions that will follow his command

Composition: The lighting is bright, with mostly dull colors, this was used to show how everyone in the fight club is starting to become more or less the same, but still have differences between each other.

Direction: Both tylers are looking left (though the real one is looking at the fake one), and both are screen right, showing they are both about to cause a lot of trouble as they look for a resolution to their obstacles and to further their chaos.

Motion: The camera is still during the entire duration of this scene, though it does cut from time to time, the main focus is on Tyler and his fight club members, and their facial performance as they look at Tyler.

Camera: It is a slightly longer lens, around 85-90mm, with an aperture of f/11 and shutter speed of 1/15s, this was to blur some of the faces, as not all of them are needed to be in focus for the scene, and to make the scene look more deep in terms of the amount of people, as you can much more easily tell there is differences in positioning for each character present.

Other: Lighting is used perfectly in this scene, as the only 2 characters that have no light are both of the Tylers, which helps with foreshadowing that there is only 1 Tyler present.

Shot 6

Shot Size: Medium-Close - The focus was on the actions of Tyler and the fight club member, and a power dynamic is established by not only the facial expressions of both characters, but the body language that both of them have, this scene would not be as effective if the only thing we would be able to see is their faces

Shot Angle: Low - The real Tyler is in complete control and has all the power in the scene, as both the member is at a high angle and the fake tyler is more or less eye level.

Shot Frame: Three Shot - All of the faces need to be seen, not only to show the level of discipline that the member has, but the calmness of the fake tyler and the authority of the real tyler.

Composition - The scene is well lit outside the interior of the house, with darker hues that still manage to be very dynamic and bring more attention to each character

Direction - Both tylers are looking left, while the member is looking right while screen left, this shows that the member is heading down a darker path (literally and metaphorically (As the interior when shown from the angle presented is very dark)) but thinks they are reaching a place that is good for them.

Motion - The camera is still, though does cut during the scene, this is to help show Tyler’s power over the member, and also help show that the member is going to remain disciplined,

Camera: The lens is likely a short one around 20mm, as the background and foreground seem to blend together, though there isn’t much distortion of the faces, with the Fstop being f/4 and the shutter speed being 1/60s, this was used to help show that Tyler is (although angered) more calm and in control of the situation than previous ones.

Other: There is a shape within the frame caused by the door, looking like a portal into darkness, furthermore, the real Tyler looks more as though he is the bridge/obstacle to the door. What I find very interesting is that the fake Tyler is well lit despite being at the door, helping show the audience that he doesn’t belong in the shot given the context of the lighting.

Shot 7

Shot Size: Medium-Close - This was to show the body language of both the characters as the fake Tyler is shot, his language of confusion and losing himself needs to be shown, alongside the real tylers body language to show that it is the end of the road for both of them, although the real Tyler ends up living and seems to be relatively safe from death, as the real tyler looks at the fake one.

Shot Angle: High - Both of them are at the lowest power level in the entire movie at this point, as the real tyler is looking to see when the fake one dies,while clinging to life. All the while the fake one is confused and knows he is going to die.

Shot Frame: Dirty Single - The fake tyler is no longer important to the real tyler, and he is looking at the death of his own alter ego.

Composition - The lighting is more noticeable in the background, with the foreground having less dynamic colors, more or less looking as though there is only one light source, and all of the colors are varying shades of blue, this is showing that they are both at low points, and there is only 1 hope for Tyler, and that once he leaves and escapes from the fake tyler, he will be more free rather than a slave of his alter ego.

Direction - The real tyler is SL and looking SR, while the opposite is true for the fake tyler, the fake tyler is taller than the real tyler, showing that he is clinging on to his last amount of power left, while the real tyler is powerless and having to hope that the fake one falls before he does.

Motion: The camera is still, to allow the impact of this scene to sink in as effectively as possible as the gunshot is shown at the back of the fake Tyler’s head.

Camera: the lens is a standard 50mm lens, with a shutter speed of f/7 and a shutter speed of 1/125s, these are used to show that in the grand scheme of this shot, no one stands out anymore, and that even the background, though distant and separated, is undisturbed by the actions of these two (at least for the moment).

Other: there are shapes within this frame, with many, many squares, showing that they both feel trapped in this moment, and the 3 windows nearest to them acting as barriers that they are both crossing.
image widget

**Lgcastro** · 09-29-2024, 06:31 PM

Lourdes Castro

Shot One:
This is a medium shot, a single clean shot of the character with a low angle looking up at the character, showing us the vulnerability, the prop he is holding, and capturing his body performance. The composition of this shot tells us that he is in some trouble, doesn't know how to feel in the moment, and calls the person that seems like his last and only option. The direction of this shot is along the y-axis directing your eye to be looking up and down at the character, what he is talking about, and what he is holding in his hands. The lens used for this shot is most likely a telephoto lens at about 150mm to keep only the character and the telephone box that he is within focus, and everything else out of focus. There is a shallow focus with a lower F-number of about f/2.8. A faster shutter speed lets in less light surrounding the character and all of the light that is directly on him. There is a shape within the frame with him being framed within the square borders of the telephone booth.

Shot Two:
This is a wide shot but can also be considered a medium shot. A wide shot captures the placement of the characters and where they are in relation to each other. this shot shows the size and distance between the characters. this is shot at a low angle to show that Tyler has this sort of power over him. This is a crowd shot implying that we are supposed to be looking at one character but we can also see the emotions and reactions of the other characters within the scene. The composition of this scene creates a sense of unbalance with Brad Pitt and the whole crowd of people from the fight club looking down on Edward Norton's character, but it also directs the eye toward Brad Pitt's character even though he is out of focus. The direction of this shot is along the x-axis using the depth of field to show the size of Edwards's character compared to the others within the scene. The lens that was used for this shot is most likely a wide angle at about 35mm with a shallow focus and an F-number of about f/4 to still have Edward's character in focus but everything in front of him out of focus. The lens captures light with a faster shutter speed so that the scene is pretty dark except for the single light over Brad's head.

Shot Three:
This is a close-up shot that allows us to see Brad's emotions and inner feelings. The director chose this shot to show his anxiety and what he was going through at that particular moment. There is an eye-level angle on this shot, which is very natural for the audience to be looking at him struggle through this moment viewing him from eye level. The shot framing is a clean single we are only viewing one character and there is no one else within the scene. The composition of this shot can be interesting we are kind of hardcore being stared at, the director wanted to give a sense of uneasy feelings with the dark lights and only the character is in focus within the scene. The lens used for this particular shot is about 150mm and has an F-number of about f/5,6 to get the perfect balance between what needs to be in focus and what is okay to be out of focus. The screen direction of this shot is along the x-axis looking from left to right, the director wanted to get the point across of how anxious the character is pacing his eyes back and forth. Left and right across the screen. The mise en scene within this shot is very loud a lot is going on with the lighting and the makeup and costume of the character show his sense of urgency and anxiety very well.

Shot Four:
This is a wide shot in this case not showing his full body but it is implied that his full body is present. This shot allows us to see where the character is concerning the new environment they have come across in this case on the bus in the very back all alone. The director wanted to make a statement with the distance and size of the character compared to the environment he feels very small within this large new place. He is implied to feel a sense of defeat, laid back all stretched out like at this point there is nothing else that he can accomplish. The shot is at a slightly low angle implying that he is at a disadvantage in the situation and feeling of being powerless. A single clean framing for this shot brings out the loneliness and how alone at the moment that he is. The composition of this shot directs our eye to the single character in this wide view of the entire environment, once again wanting to show that he is the only one on the bus at this moment. The lens used for this shot is about a 35-50mm wide lens with a larger F-number at about f/22 with the character and everything around him being in focus. The mise en scene in this shot with the lighting gives a very somber feeling with cool tones of light, his costume is very wrinkled and looks like he had been wearing it for multiple days on end.

Shot Five:
This is a close-up shot giving Brad Pitt all of the power within the situation. We are seeing the thoughts, emotions, thoughts, and decisions that are being made by looking at him that close. This is a crowd shot Although only two of the faces are within focus it still allows us to see that there are multiple people within the scene. Thinking about it this can also be considered just a two-shot because those two faces are the only ones that we see and that we first look at. The POV angle is from the older man that they drag into the bathroom in the scene before this one. We can see what he is seeing and feeling all of it during this scene. The composition of this frame shows so much that adds to the story, we are seeing these masked men that have kidnapped this older man just to blackmail and threaten him into doing what they want, but we are seeing a very different side to the characters. The limited change of emotion and lots of camera movement implied that the POV character is terrified. The lens used to get this shot is most likely a 28-35mm with an F-number is about f/13 to still have the characters closest to the camera in focus but everyone else in the back of the scene out of focus. The direction of this shot can be alone the x-axis horizontally while the eyes of the characters are pacing back and forth looking at everyone that is surrounding him in terror. The mise en scene of this shot has a lot to do with costume and lighting. The lighting is quite dark and mysterious and the costume choice shows that they posed as waiters just to get this guy in the bathroom alone to threaten him.

Shot Six:
This shot is a wide shot which is in a way establishing the new environment that the characters have just stepped into, showing the full body of one character and a close-up of another. There is a very strong statement being placed across the screen with the depth and size of the characters in relation in each other. This shot is from a low angle but in this case, shows the power of Brad Pitt's character he is standing over the character that he just beat up. Then it also shows the vulnerability of Edward's character. This can be considered a dirty single because we can really only see one face of the character but even then it is very much out of focus. The composition of this shot is in some way balanced with one character at the top of the screen and another character at the bottom of the screen. The direction of this shot is along the y-axis traveling in a straight line vertically across the screen. The lens used for this shot is most likely a 120-135mm with an F-number of about f/5.6 with the character at the bottom of the stairs in full focus and Brad Pitt at the top of the stairs out of focus. The mise en scene in this shot is interesting with the lighting choices it is framing Brad Pitt at the top of the stairs. The lights are leading the eye up the stairs to see why we see a character on the floor after he just got pushed down the stairs.

Shot Seven:
This is a wide shot showing the environment in relation to where the characters are and where they are in relation to each other. Showing the full body of both of the main characters allows us to see their compassion towards each other. We are looking at the characters in this shot at about eye level and over both of their shoulders. This is a two-shot framing because we can see both faces of the characters within the scene. The composition of this shot is one of my favorite scenes there is so much to dissect about this shot. There are shapes within the frame with each character being framed within the squares of the windows and then them holding hands. I believe that the director chose to film this scene to show how the characters are their own and are separated but can still be connected in the end. The direction of this shot is along the x-axis from right to left. The lens used in this shot is most likely a 55-60mm with a F-number of f/22 everything within the scene is in focus but we are still able to keep our eyes focused on just the characters.

**ruthpliego** · 09-29-2024, 09:11 PM

ruth pliego :3

Act I : Shot 1
This shot is a dirty single, close up, eye level, 50 mm, with likely an f2.0 aperture distance, a medium to low ISO, and shallow focus. Marla is shot at a slightly off center composition, she is The Narrator's (Edward Norton's) opposition, she is the bad guy at this point. The reason for directing the camera like this is to make her appear more menacing and evil. Most of her face is in shadow, her accessories, dark clothes, and dark makeup emphasize this point. As well as her being dimly lit, with a fill light just barely letting us see her face, the background light breaking her away from the wall behind her. The background dull and beige, making her be the darkest and most interesting point of all the frame.

Act II : Shot 2
This shot is a single shot, close up (or perhaps a medium-close up, I cannot see whether or not his head is chopped from the frame), high angle, 50 mm, with a f5.6 aperture distance, and a high ISO, and a 1/500s-ish shutter speed (there was fighting in this scene). The faster shutter speed would allow for a cleaner capture of the commotion happening in this scene, the high ISO would capture more light, combatting the capture of the shutter speed's light. The interesting thing about this shot is that, despite that Tyler is getting beat up, and is getting shot from a high angle, we actually see the lower side of his face more, making him appear strong and unbothered. He is at the top of the world, despite literally being knocked down to the floor.

Act II : Shot 3
This shot is a wide shot, low angle, 35 mm, with a f8 aperture distance, and a medium ISO, and a 1/200s shutter speed, and deep focus. These settings show our establishment, after Tyler had assigned the homework or starting a fight anf losing we get shots of exactly that. We get to see everything, our setting, our perpetrators, and the victims. There is an incredible use of lines in this frame, from the ones we, the viewer are standing behind, to the ones in the dealership. I think there is this also this interesting parallel over the prestigious and luxurious Cadillac and the harshness and depravity of starting fights.

Act II : Shot 4
This shot is a medium, single shot, low angle?, 50 mm, with a f4 aperture, medium ISO, and a 1/200s shutter speed. Again, the fighting, and abrupt movement in this scene was the reason behind the use of the shutter speed, there was also some slight motion blur used in this segment thus my reasoning behind the number. There is a "softness" in this scene, with the use of shapes, to the evenly lit space, and yet The Narrator has purposefully injured himself in this setting. It is such a great display of how The Narrator/Tyler has turned every safe space he could find into one where harm could come his way. I think there is also this guiding idea of motion with the use of horizontal lines in the scene, causing this drive to have The Narrator move forward.

Act II : Shot 5
This shot is an extreme close up, single shot, eye level, 20-30 mm fov, with a f2.8 aperture, and a medium to low ISO. There is more post effects added in this sequence but without it, take the FOV for example, there is still a subtle distortion happening around Tyler. He has pushed Project Mayhem into affect and he is just as distorted as his plan is. I also appreciate the fact that we get other references to the person that Tyler is with the film edge showing in the corner. He is changed, the film roll was changed from this point on and everyone has noticed.

Act III : Shot 6
This shot is a medium full shot (for the most part), over the shoulder, 3-4 shot, low angle, 45 mm fov, with a f8 aperture, and a medium to low ISO, and deep focus... I also would like to point out, that the Narrator is cropped at the knees in this scene (not just this frame).... I think there is an interesting choice to how every character is positioned here, not only is Jack framed between two of the detectives, but the detectives themselves make the shape of the rest of the walls in the room, closing in on him. He is trapped. There is also a use of lines in this shot, from the physical ones being the corner next to The Narrator, and the detectives standing rigid (and not collapsed like The Narrator), to the imaginary diagonal lines all pointing at the The Narrator. These being made with the darker areas being on the top right and left corners of the frame to the ones directed with the detectives' eyes.

Act III : Shot 7
This is a wide shot, frame in frame, prop lens(?), insert shot(?), with the security camera probably being a 15-20mm FOV, high angle shot, more of a faster shutter speed given the lack of motion blur from The Narrator throwing himself down the stairs. There is a heavy, heavy use of lines and rectangles in this shot that in more ways than one are meant to signify danger, stiffness, and harm. I also find it interesting in this shot that we are meant to be looking at a security camera, who is in turn also looking at another security camera jus a few feet behind? Horrible world building for an incredible shot. I also love that the lights on the wall do a great job at lighting The Narrator all the way down those steps.

**Sen07** · 09-29-2024, 10:43 PM

Yessenia Montalvo

Act I

This is a wide, Two shot to establish the characters and the new location they are entering for the first time. The low angle to show who right now is in power or is perceived as “good”. The main character is walking on the sidewalk while the other is walking directly in a puddle. They are physically separated by that sidewalk. The camera moves from left to right. This combined with the dark lighting that shadows the supporting character and sort of highlights this dilapidated house. This seems to be some foreshadowing for the main character's state of mind at the time. Since most of the background is in focus but the exposure is dark this indicates the use of a smaller aperture with a f stop of F/11.
__________________________________________________ __________________________________________________ __________________________________________________ ____________________________

Act II(A)

This is a Medium, Three shot. This low angle shows the main character in relation to the rest of the people in the scene, he’s physically showing that by facing a different direction. It’s almost as if there is a wall between him and the rest of the characters. The character is lit in a way that shows maybe he feels enlightened by his new hobby in comparison to everyone else in the room. While on the outside people see that he is devolving by the bruises he and his change in attitude. This was a shot with a medium aperture, an f/5.6.
__________________________________________________ __________________________________________________ __________________________________________________ ____________________________

Act II(B)

This medium, two shot focused the audience on the two characters and their expressions while still showing the environments around them. The Angle seems to be an eye level that shows that the two characters are equal, also showing a sense of unity between the two. Tyler is closest in the frame while the main character is looking on; this could reflect Tyler’s influence over the main character; this is further shown by the red leather jacket he wears that is reflected on his rebellious personality. The lighting is dim and has a sickly hue that gives a sense of discomfort or unease, even while in public sounded by people they seem distant and isolated. This is enhanced by using a shallow depth of field, with a medium aperture and a medium to low f number.
_________________________________________________ __________________________________________________ __________________________________________________ _____________________________

Act II(C)

This is a close up shot of Marla. The angle is from above this gives the audience a direct view of her expression and emotional state while on the phone. This overhead shot enhances intimacy from being so close to her, while also feeling an unsettled disconnection. This close up focus has Marla on the left side of the frame allowing the audience to see that she has the phone cord wrapped around her throat like a noose, this physically showing her emotional state. This is further enhanced by the wide aperture and low f number used to show her face sharpened but her body out of focus. The bright dress is in such contrast in comparison with her detached expression which helps further show her detached sense of self.
__________________________________________________ __________________________________________________ __________________________________________________ ____________________________

Act II(D)

This Medium Close-Up shot on capturing the expression of the boss is shot over the shoulder almost from the Mc point of view. We can see from this the power dynamic. The boss is the main focus that symbolizes authority.This shallow shot and with soft lighting just enhances the corporate environment that the MC is so desperately trying to get away from. They used a medium aperture and medium low f number to help emphasize the concern and fear in the bosses eyes from the devolution of the main character.
__________________________________________________ __________________________________________________ __________________________________________________ ____________________________

Act III(A)

This Medium Fullbody single shot shows the audience a physical representation of Tyler's realization. It shows that everything was in his mind he was/is Tyler. This is also added to the imbalance of having Tyler on one side and an empty chair and still lit cigarettes as if there was a person sitting there. The use of the negative space emphasizes the MC's overall sense of loneliness and turmoil. The lighting on the character's face is lit to emphasize his growing realization or .While the shadows might represent the shattered remnants of his psyche. They used a wide angle lens with a narrow aperture to allow the audience to see his overall emotional and mental state upon realizing he is Tyler. The camera is moving between the two characters to show the duality of the two characters. The aperture they would have used is small since we are able to see the whole frame in focus.
__________________________________________________ __________________________________________________ __________________________________________________ ____________________________

Act III(B)

This wide shot shows the main character in relation to the environment and the internal battle he is fighting physically and mentally. The view through the distorted camera helps to emphasize Tyler’s growing mental instability and the conflict he is currently battling. The use of a prop lens is interesting because it’s almost as if we are getting a view of the main character's distorted point of view. The lighting is dark and gloomy to indicate the serious tone and overall sense of self destruction. The use of a small aperture large f number helps show the audience decaying mental state of the character and environment while still making the focus the main character.
_________________________________________________ __________________________________________________ __________________________________________________ _____________________________

**Aaliyah Mickle** · 09-30-2024, 01:37 AM

Aaliyah Mickle

Act I:

This shot is a medium-full, over-the –shoulder, crowd shot from a low angle. Two of the protagonists are cut off at the knees in this particular frame but it’s still a cowboy shot. A cowboy shot can typically be used to show weapons like in the showdown in The Good, the Bad and the Ugly. Here it serves to do the opposite. We see all these men in the support group disarmed as they hug and cry together. The crowd shot helps us understand how Ed Norton as the Narrator embeds himself into this group. This scene is then interrupted by the introduction of Marla. This low angle is actually at Marla’s eye level. She’s the smallest one in this group of men but all the attention, even of the audience, is taken control of from her low angled eye-level. Looking over Marla’s shoulder here gives us some perspective of what it would be like to walk into this room like Marla. Walking into a room full of men hugging and crying feels too intimate, like you’ve seen something you shouldn’t have. Marla doesn’t let that stop her from entering anyway. In this frame, Bob is the largest person in the room but Marla is closest to the camera. This actually makes her the tallest person in frame. It shows that the power has shifted to her and the Narrator’s insomnia coping mechanism is compromised. She stands apart from this group in every way but is still the most important in this frame. The lens is a wide-angle lens with a focal length of 30mm because we can still see the background characters’ reactions as well as see their environment. The F-Stop is f6 because it’s not a deep field of view. We can see most of the background characters’ faces but not the ones furthest away, because they’re not what’s really important anyway. We want to be able to understand the scale of the group and the scene Marla has just walked into. But the only reactions the audience really needs to pay attention to are the Narrator’s and Bob’s, not the slightly out of focus other characters. The first thing I noticed was that no one was really wearing full dark black except for Marla. The support group becomes a mass of hugging as they are all dressed in muted colors. Marla comes in with a huge black fur coat, dark sunglasses, and a lit cigarette. It shows how much Marla stands out in this crowd but also in this world in general. Brad Pitt’s Tyler is put in red a lot and Marla is put in black, especially when she is most estranged from the Narrator. In this frame, they’ve also placed this open gym door flooded with light on a line of thirds. This draws our attention to this square of light, but also to the two characters separated by it; Marla and the Narrator.

Act II:

This is a medium-close, dirty-single shot from a low angle. The only face we can actually see is the Narrator’s. The doctor is left anonymous, and Brad Pitt is just an out of focus Tyler Durden blob in the background. So, while we see Tyler’s face, we can’t see any discernable expressions or features. This gives most of our attention to the Narrator. We can only see to about his shoulders; just enough real estate to observe the blood on his shirt. We are looking up at the Narrator ever so slightly, looking up even more at Tyler in the background. It shows this internal power struggle of who the Narrator is and what his own alter ego is projecting. Here the Narrator is talking about how sometimes Tyler would talk for him, but as we later find out, it was always him. In this framing in particular, we can see how Tyler just represents his subconscious thoughts, or that little voice in your head telling you how best to respond. I also believe the doctor in this case is like the angel on one shoulder stitching him up, and Tyler is the little red devil on the other side making up excuses like, “He fell.” Fincher uses these bright lights all throughout the film to show which Tyler is really in control (along with many other signs like color, perspective, and framing of course). Whichever one is closest to the light in frame seems to be the one making conscious choices like when Brad Pitt is centered under the kitchen light in the lye kiss scene. Here in Act II, the doctor’s work light serves to show us that the Narrator is still in control here. The lens here is slightly longer than the support group shot sitting at around 45mm. The focal length is long to see these three people in the room but not enough to really show their environment. That’s because it’s not really important, all we need to generally understand is that they are in some kind of emergency room or hospital room. The F-Stop here is at f4 because the depth of field is so shallow. Again, this is done to focus attention on our Narrator while still knowing that somewhere back there Tyler is pulling strings. Pitt’s Tyler is in his classic coded red here. The red is bold, powerful, and still stands out if it’s blurred into the background. It reflects the rebellious, dangerous, unrelenting side of Tyler. The Narrator is usually dressed in light blues and muted tones to really show his neutrality as what we assume to be an average guy. That red has started to seep into the Narrator as we see the blood drips down into his shirt.

This is a medium-full single shot from a high angle. This shot is also over the shoulder with the use of a prop lens. We see enough of the Narrator to understand how aggressively he is brushing his teeth, putting his whole body into it. He’s angry with Tyler and Marla and feels uncomfortable in this space. The angle isn’t high enough to be visceral, but it is high enough to give this ominous perspective to the Narrator. We have this villain underlighting too. Here it doesn’t necessarily read villain, but it does feel intimidating and angry for this character. Our view of the narrator is skewed in a lot of different ways here, making it a very unique single shot. We are looking over the Narrator’s shoulder into a prop lens to see the dirt clouded expression of his face. It speaks to the skewed emotional reality of the Narrator even as we see him “alone” with his thoughts here. Again, we also have this harsh bright light pointing at him. This part of Tyler is still in control because the alter ego Tyler is off on autopilot with Marla, while the Narrator stews. He’s in the light and Tyler is just off camera, audible but not visible. This vanishing point of this frame actually vanishes in the direction of Brad Pitt Tyler Durden. We try block out the sound of Marla and Tyler much like the Narrator focusing only on the task at hand. But the audience’s attention is nagged to look away with the dripping of water into the pot, the blue light spilling out from screen right, the openness of the hallway as compared to the confinement of the sickly yellow bathroom. The lens’ focal length is shorter, giving us this slightly distorted hallway at around 15mm. The camera also has a larger F-Stop of f10. Not much light is being let in except for that super bright spotlight we have pointed up at the Narrator. Here we see a change in the Narrator as Marla and Tyler begin to form some kind of relationship. Now he is in red. The Brad Pitt part of Tyler that unashamedly wants to be with Marla is suppressed and taken out of the spotlight. We also have a frame within a frame. The Narrator is seen through a small dirty mirror. Only the reflection of his head is in the mirror. His mind is what’s trapped in a small dirty frame.

This is a medium, low angle, two-shot. We come in closer here with a medium shot to focus on the gestures and interactions between the Narrator and Tyler in this moment. Up till this point, the Narrator and Tyler are still pretty much on the same page about the fight club. But we have this clever reveal of Tyler’s green arms and the passing off of the beer. From this low angle the audience can shift attention from the green paint and beer up to the characters' expressions. You can see the confident almost boastful energy of Tyler coming down from the adrenaline high and the confused blissful ignorance of the Narrator before seeing the beginnings of Project Mayhem’s scale. After watching the movie all the way through, the significance of this scene to the next is more jarring in this context than just what we see as an audience. Tyler has just vandalized a skyscraper; a dangerous and messy task. And then he walks into room with the other members watching the event reported on the news, calmly bringing in the beer. What this shot shows us is the passing of the consciousness from Tyler to the Narrator. The Narrator walks toward the light of the living room, and Tyler hangs back in the kitchen some more. The camera moves to follow the Narrator in this frame, but it still isn’t a longer cut. This passing of the torch as I think of it is all about how fast Tyler is able to switch between these personalities to think that he is two different people. There are no crazy focal shifts or skewing here with the camera. The focal length is a wide angle of around 30mm and an F-Stop of f10. There is nothing out of the ordinary about this camerawork and that creates the calm before the storm. Up to this point we shouldn’t suspect anything, the Narrator still isn’t suspecting anything either. The subtle acting here grounded in ordinary camera work sets up the shock that is Project Mayhem’s latest stunt with the skyscraper.

This is a full two shot from a low angle. The full shot helps us understand the state of the Narrator at this point. He’s in pajamas, dragging his feet, lugging a huge container of liquor, and smoking a cigarette. This disposition seems more likely in Brad Pitt’s Tyler, but we see the deterioration of the walls between Tyler and the Narrator. He is even wearing Tyler’s blood red color in this robe. The low angle is subtle, but it gives a sense of the Narrator’s dejection. In this shot we also see the face of one of the Project Mayhem members. All these members have to wear all black and buzz off their hair. It makes them one unified identity of Project Mayhem; that being the same reason they take everyone’s IDs when they become a member. So, in this frame, even though we can see his face, who they are doesn’t really matter. In this time of frustration, the Narrator just recognizes him as another member in the way as he rakes the gravel behind his steps. As dejected as he is he is still in power over all the people in the house. In this moment, the Narrator is surrounded by lights, but none of them point at him. Following my logic about light before, we find the narrator here in the darkest of places lost even in his own reality and splintered consciousness; he is there but not quite anywhere. He walks up to the edge of the yard and right before stepping over that invisible line, he stops. Even as he talks to Marla, he stays within reach of the property, within reach of Project Mayhem. For this shot, the focal length is 50mm. We are able to see all of this busy movement of the Project even outside the house. That also means that the F-Stop is f7. Nothing is really out of focus until Marla and the Narrator start talking.

Act III:

Here we have an over-the-shoulder, full, dirty single shot from a low angle. This is a dirty single because we can’t see the Narrator’s face. As the Narrator shoots the gun through the van, Tyler reacts immediately saying how crazy the Narrator is for shooting at a truck full of nitroglycerin. It’s Tyler’s reaction here that means more than the Narrator. We are seeing this part of Tyler protecting this van. Yes, as a means for survival, but also protecting Project Mayhem. We are looking past the Narrator’s shoulder to see the full embodiment of this alter ego and his plan come to fruition. He knows the truth now of what Tyler Durden is, of what he himself is in all this, but he wields the knowledge very haphazardly at first. From this low angle we can still see the full body shot (minus the awkward feet cut off). We see this unstable stance he has shooting the gun; Tyler is the spitting image of confidence, and the Narrator has been running around in underwear. It shows us that even though he has taken power, he has not taken control. He cannot control himself, Tyler, this gun, any of it. The lens here looks similar to the previous toothbrushing scene with a focal length of 15mm and F-Stop of f10. We get this skewing/pulling feeling again moving from the Narrator to his gun, past Tyler, and through the van. I believe the subtle distortion of the shortening focal length creates these diagonals that pull our eyes. The overall frame is tinted with this desaturated blue, a color motif following the Narrator much like Tyler’s red. Their entire world (or the part of the world we see anyway) is blue now, this is the Narrator’s reality. Even then, there is one red-coded man wreaking havoc in his mind.

This shot is a low angle, full dirty-single. Here we are at a low angle to look up at the way the Narrator does, though we really get that extreme angle up a few shots later. The subtle low angle here still gives us that affects while still establishing these characters in the setting. They have front row seats to Project Mayhem and it is back dropping this final showdown. The whole premise of this movie is like one big metaphorical dirty single; the Narrator and Tyler. The frame makes it seem like the end is near, Tyler has won as we look up to him. On a macroscale, this is the showdown between man-vs-society as they look out over the city they mean to change. But on a micro level, this is man-vs-self as we see the resolution of this struggle. The shades are harsh, creating this rim light that highlights Tyler’s silhouette in this power pose. It also highlights the Narrator ‘s submission in the moment within his inward turned knees flooded with the blue light. At around 40mm, the camera allows us to see both characters’ silhouettes clearly while keeping the background cityscape slightly blurred, focusing our attention on their internal struggle. This shot is where we have the deepest depth of field in this scene at around f7 for the F-Stop. We can see the cityscape slightly in focus, but enough to take away from the protagonists. The vertical lines of the buildings do, however, create a sense of structure, bureaucracy, and rigidity, contrasting with the crumbling control the Narrator has over himself and his psyche.

**Venerable_Wolf** · 09-30-2024, 03:40 PM

Nicholas Wolf -

ACT 1

Shot size, Framing, Angle: The overall composition of the scene is a medium, two-person, Low-angled shot which helps in establishing an unlikely friendship between ‘Narrator’ and Tyler as they bond over a fistfight. The director also set up the scene to make both characters shown to be equal by having them be at similar heights and share a drink. While also being at a low point, but hopeful for what their future may hold.

Shot composition: The shot composition, while not making explicit usage of the rule of thirds does help in showing the blooming friendship between the two men and their casualness with each other. This is contrasted later on with both the revelation that Narrator was talking to himself and that Tyler was but a figment of his imagination making this scene eerie in retrospect.

Direction: The movement of both men implies a level of friendliness between the two despite barely knowing each other, which could also be a foreshadowing that Tyler was just a part of Narrator all along, making their near-intimate connection more believable.

Motion: The camera not moving around helps ground the audience and also allows the characters time to establish their relationship and not disorientate the audience in the process.

Lenses and other camera settings: The camera settings lend themselves to being shot at a mild 40mm focal length with a f-stop of 2 for emphasis. These camera settings help the viewer understand the close relationship between Tyler and Narrator, with the f-stop making the two men the main focus of the scene with everything else being irrelevant.

Mise en scène (set, lighting, costume, makeup, etc.): The lighting of the scene also helps in establishing the dire straits that both men find themselves in at the moment. Narrator with his blown-up apartment, and Tyler with his one-sided rebellion against society.

Other relevant information, (e.g., shapes within frame, frame within frame, relevant movement): The symbolic gesture of sharing a beer from passing it to one another and then the whole scene turning out to be all fake is a good representation of their relationship as it was all built upon lies.

ACT 2

Shot size, Framing, Angle: This scene is shot at a medium close-up size, low-angled, and with a blurred crowd shot framing. This was done by the director to quantify the growth of Fight Club throughout the movie from two buddies to a sizable group. The Director also blurs the crowd to make them blend into one another into one singular unit, foreshadowing the climax of the movie, and how there is no individualism among their rank and file, only one mass of men.

Shot composition: The composition of the scene puts the focus on Tyler while allowing the audience to show the increasing size of Fight Club while not taking the attention away from Tyler.

Direction: Tyler stands tall and motionless to signify strength and integrity, while the fighters are fidgeting in the background, making them seem not as confident as Tyler, and making him seem stronger in comparison.

Motion: The camera does not move during this shot to show Tyler's confidence, authority, and presence in the scene, showing the one in charge while all the other members are moving, showing anticipation and anxiety at the same time.

Lenses and other camera settings: This scene was likely shot at a focal length of 50mm with an f-stop of 2 for the focus. This puts Tyler at the center of attention of their formation both in terms of the scene, but also through the camera work done to ensure the viewer's eye is placed on Tyler.

Mise en scène (set, lighting, costume, makeup, etc.): The lighting of the scene highlights the bare and dirty state of the basement, along with the things that are done in that basement not being suitable to be done in the light.

Other relevant information, (e.g., shapes within frame, frame within frame, relevant movement): The scene fully focuses on Tyler and Tyler alone as he is the clearest person in the scene, and thus draws the most amount of attention from everyone else. This helps establish Tyler even early into his exploits as being an incredibly charismatic leader who does not need to say that he is the leader to be one.

Shot size, Framing, Angle: This scene was shot with a medium shot at a low angle with a singular clearly defined character. The size and framing of the shot lend themselves to making the pills the main focus of the scene over Marla with forced perspective also lending itself to make the drugs appear to be bigger than her, implying a problem that requires drugs to fix.

Shot composition: The composition of the scene frames Marla and her medicine using the rule of thirds which adds both emphasis to her and also to her medicine, making it an important component of the story and a plot device that would lead to her and Tyler meeting up.

Direction: The direction of the scene is fairly still as Marla appears to be bedridden and her medicine is still, leaving it to the camera to both introduce the audience to the scene. But to allow the audience to come to their conclusions on their own without the story or narrator telling the audience what to think.

Motion: The camera panning out to reveal the drugs helps both set the mood for Marla’s reappearance in the film, and her eventual retrieval by Tyler and reintroduction to the story as Tyler's girlfriend.

Lenses and other camera settings: This scene was likely shot with a 35mm lens with a f-stop of 1 or 2. The director created a rack shot by going from the sleeping pills to Marla to emphasize both things in the scene and their importance to the overall story. Marla's reliance on these drugs is what caused her to become bedridden, causing Tyler to answer the phone and leading their relationship to truly blossom.

Mise en scène (set, lighting, costume, makeup, etc.): The lighting of the scene helps punctuate an almost sterile feel of the room as Marla starts withering away due to the medicine. This is further enhanced by her costume change from that of a pseudo-Cruella de Vil at her introduction. To that of your local mental case which deeply humanizes her to good effect, as well as creating the expectation that she’s a basket case, when she turns out to be the sanest and most level-headed person in this entire film.

Other relevant information, (e.g., shapes within frame, frame within frame, relevant movement) While there isn’t any notable movement in the scene, nor no artistic framing, this scene helps both reestablish Narrator and Marla’s relationship and later introduce her as Tyler’s girlfriend when Narrator leaves her on the phone.

Shot size, Framing, Angle: This scene was shot with a medium-sized shot at a low angle, from an over-the-shoulder shot. This scene both fully displays the confusion on Marla’s face, while obscuring the narrator’s face so we cannot see his reaction as it is not needed, showing the audience that Marla is being completely serious. He should know why Marla suddenly appeared back into his life, yet not only does he not know when she arrived, but he somehow that exact morning had an explicit dream about Marla makes the audience begin to doubt ‘Narrator’ as being an unreliable storyteller. And that he is either willfully or accidentally withholding crucial information which is reinforced by the fact that the scene’s shot size only gets smaller as it progresses, reflecting Marla’s increasing worry and confusion.

Shot composition: The shot composition utilizes the rule of thirds to put Marle and Narrator on opposing sides of the scene to illustrate the conflict and also uses camera angling to create dramatic irony as it puts Marla in a spot of superiority as she knows why she’s able to be in Narrators house, but narrator himself does not seem to know even though Marla’s expression says otherwise.

Direction: The movement of Marla going from casual to quickly tuning around in confusion clues the audience onto the fact that something is wrong in addition to her outburst afterward as she looks as if she is the one who has been wrong and not the other way around, which becomes true later on.

Motion: The camera stays still in this scene much like it will later on when Marle also confronts Narrator about his increasingly distinct mood swings to the point of completely disassociating and having an out-of-body experience.

Lenses and other camera settings: This scene was made with a 45mm lens with a f-stop of 5 to allow the scene to be readable, but concise. The focal length helps frame both characters into the scene and makes the scene look almost unnatural with how much disconnect there was between the scenes that came before and the scenes we are experiencing.

Mise en scène (set, lighting, costume, makeup, etc.): The lighting in the scene makes the scene look more dreamlike and unreal as if whatever is happening, and even makes the audience wonder if there was an accidental cut in the movie as Marla suddenly is living at Tyler's house and almost seems offended by the fact that Narrator is questioning why shes there.

Other relevant information, (e.g., shapes within frame, frame within frame, relevant movement): There is not any shaping in the scene, though the scene does frame the Narrator as being in the wrong rather than it being the other way around as we are not clued into how Marla appeared, and it is later implied that Tyler picked her up and make her his girlfriend in the down time when that, later on, proves to be false.

Shot size, Framing, Angle: This scene is shot in another medium full shot, at a low angle with a single dirty shot with Tyler being the focus of the scene, while all the other faceless goons are not even shown in frame making them look like headless servants. The scene shows Tyler's cult-like fanatic followers who do as they are told in a hive-like reverence for Tyler with the character only needing to put a cigarette in his mouth and his subordinates will fight it without a word. This makes Tyler seem more sinister than he initially was introduced as even when he got severely beaten within an inch of his life, he not only was able to turn the tides he freaked the owner out by just how crazy he really was.

Shot composition: The composition of the scene uses the rule of thirds to help frame Tyler as a leader in his own right, and make him the main focus of the scene by cropping out all the irrelevant characters in the scene. This also becomes the point of no return as it is from here that Tyler starts assigning missions to the members of Fight Club and truly becoming a terrorist as the store owner beating most likely knocked the few bits of sanity that Tyler had remaining.

Direction: The scene shows little movement from Tyler with him not even needing to light his own cigarettes which further enforces the crime boss look that he was beginning to adopt. Even when he was just beaten senseless in the previous scene, he still came out the winner and established himself as the king of Fight Club. A king who would willingly sacrifice his pawns, and whose pawns would do anything and everything for their king.

Motion: The camera barely moves and only pans onto Tyler as he is the focus of the shot, and including anyone else in that shot would not be as appealing. This also foreshadows the cult of personality that Tyler cultivates at Fight Club to the point where people flock to his Club to be beaten within an inch of their life and would still pledge undying loyalty to him.

Lenses and other camera settings: This scene was made with a 55mm lens with a f-stop of 5 to create a compelling scene. The f-stop being that way helps make all of the Fight Club members and Tyler important to the scene, while at the same time making Tyler the main and only focus of the shot.

Mise en scène (set, lighting, costume, makeup, etc.): The lighting of the scene helps paint Tyler as being a crime boss with how submerged in the darkness he has truly lost it from this point forward. The blood and clothing make Tyler look as if he survived a rabid attack from a crazy person, even when that crazy person was him.

Other relevant information, (e.g., shapes within frame, frame within frame, relevant movement) The only other thing of note would be how the only light in the scene illuminates Tyler, making him look like the ray of light in these poor people’s miserable lives.

ACT 3

Shot size, Framing, Angle: This scene was a close-up shot at a slightly high angle with a single clean composition, making Marla’s breaking point painfully clear. This helps make the whole scene about her and ‘Narrator’ and her now realizing that he has serious problems mentally. To the point where he is like night and day to her and she realizes that even with all her issues, Narrator’s problems are not something that she can realistically deal with. The high angle also helps her realize how she may be in over her head in dealing with the Narrator and his issues.

Shot composition: The composition of the scene captures Marla’s facial expressions perfectly and the color of the scene emphasizes her face over her black hair and dark blue scene.

Direction: The stillness of the camera in this scene helps illustrate the seriousness of the situation and that there is something deeply wrong with Narrator and Marla’s relationship, but the audience cannot 100% tell what the issue is until the big reveal.

Motion: Marla stays perfectly still emphasizing the seriousness of the situation and how even without a Dutch tilt, the scene reads as there being a crucial piece of evidence that both the Narrator and the audience alike are not aware of, causing conflict to occur.

Lenses and other camera settings: This scene was made using a 45mm focal lens with a f-stop of 3, which creates emphasis. The emphasis shows Marla’s face while also blurring the background to emphasize Marla’s expression further.

Mise en scène (set, lighting, costume, makeup, etc.): The lighting and the acting of Helena Carter give Marla a thousand-yard stare as she becomes freaked out by Narrator's terrible mood swings. This moment clearly shows that she wants out of this relationship and wants nothing more to do with the Narrator.

Other relevant information, (e.g., shapes within frame, frame within frame, relevant movement): Marla’s hair helps frame her expression as it is the only clear thing in the frame that isn’t dark, making it pop as it shows a face of defeat as there nothing more that she can do to fix Narrator, as he was now truly unfixable.

Shot size, Framing, Angle: The final scene of the movie is shot in a medium-full shot at a low angle with a double shot. This scene creates both a satisfying and unsatisfying ending as the city is blown to pieces with absolutely nothing that the narrator can do to stop it as the screen fades to black showing that Tyler has won and that's that.

Shot composition: The shot composition utilized the rule of thirds to place both Narrator and Marla in the center of the scene, showing the closeness that the two share in the final moments of the movie, showing that they are willing to reconcile with each other despite the city blowing up around them. The scene also shows both characters being much smaller than the buildings blowing up to signify how powerless they are to stop Project Mayhem from going through.

Direction: The direction of the scene is that of stillness which further emphasizes the powerlessness of the situation and puts the audience in a similar state as we can only witness as Tyler's ultimate goal is achieved.

Motion: The only motion in the scene is the camera’s slow panning out to show the destruction that Tyler has caused the city and the buildings crumbling down to ashes.

Lenses and other camera settings: The focal length for this scene is likely shot on a 60mm lens with an f-stop of 16 due to how clear the building in the background looks while maintaining the focus on Narrator and Marla’s final moments of the film.

Mise en scène (set, lighting, costume, makeup, etc.) The lighting of the scene makes the scene appear depressingly bleak with only the silhouettes of Narrator and Marla being able to be seen. The set piece also reflects the fractured nature of Narrator's mind as he recovers from purging Tyler from his mind for good.

Other relevant information, (e.g., shapes within frame, frame within frame, relevant movement): The windows help create emphasis from the square windows frame the explosions and devistation that Tyler has wrought onto the city, as well as emphasizes the silhouettes of Narrator and Marla as they hold hands and watch the explosions in complete silence as the credits roll.

**JuGamez20** · 09-30-2024, 06:03 PM

julian gamez

act 1

Shot size, angle, framing= establishing shot in a sort of high angle with a pov shot because it's about how the disease of tuberculosis is infecting people and this pamphlet is going to show to fight this epidemic cause the director wanted to show that it's a bad disease and they need to know what to do and to see the way we would see as an averge person
Shot composition, direction, motion= shallow focus so that way we will only focus on the pamphlet to know what the next topic os going to be about theres no motion in the frame so that way we can see that the pamphlet is the one we should focus on and not other things yet
Lenses and other camera settings= 600 mm close up because its very close to the pamphlet showing we need to focus on the pamphlet to understand whats happening for the time being
mise en scène= it's in a hosptial where you get these kind of pamphlets in a dark and grimy sort of area in this world
Other relevant information= framed in center to show the pamphlet is the main focus of the frame also a rectangular frame to show because thats the way the camera is at

act 2

Shot size, angle, framing= medium shot, two shot, eye levell because it shows that the two people are there to be the main focus and interacting with each other and this is more of a casual conversation on the sidewalk
Shot composition, direction, motion= moving foward in the z- axis kind of way, shallow focus to show that they are the main focus to pay attention to so they can carry out their scene
Lenses and other camera settings= wide angle, 400 mm kind of thing to get a bit of a closeness shot to see a much more focused clear view of the two main characters talking
mise en scène (set, lighting, costume, makeup, etc.)= its in a rough area with smoke, grimy buildings, at night time in a sort of shady place to be
Other relevant information= triangle because it seems to be in an aggressive enviornment while also having a possibly aggressive of sort interactions

Shot size, angle, framing= close up, single shot, eye level. to show an intense stare down to show ether he is intimidating and or scared in this scene to show a powerful scene
Shot composition, direction, motion= shallow focus, z- axis foward, no motion= the camera is focusing him in a clearer view to show he is the main focus for us to listin to
Lenses and other camera settings= 450mm possibly with aperture being faded in more in the back to more focus on the main character
mise en scène (set, lighting, costume, makeup, etc.)= in some sort of house with the lights turned off with a greenish black kinds of colors
Other relevant information= triangle because it shows us that this is an intense to be watching

Shot size, angle, framing= medium close up shot, single, and eye level= because we see his shoulders up to show an introduction of some kind because he was called by another person so this is an introduction to this person for possibly the first time,
Shot composition, direction, motion= deep focus, z-axis foward, no motion= while its not shallow focus it will still show us that he is the main character to pay attention to and the enviornment we are in at this moment
Lenses and other camera settings= 400 mm possibly with apreture being pretty small to get a clear view. to show this is not a big place so theres no need to make it blurry in the back
mise en scène (set, lighting, costume, makeup, etc.)= it's in a boring office setting with grays and whites and we have our main character with a cigarette to show this was a different time to have smoking problems in the work space
Other relevant information= circular and or square because it's both direct that he is being called and square because it shows that time is passing by in this conversation.

Shot size, angle, framing= wide shot, three shot/crowd, eye level, because theres a whole crowd of people in the background and at eye level to get normal with these characters, and three shot because we must pay attention to the characters in front of us
Shot composition, direction, motion= deep focus, z-axis with the x-axis moving right because it showed them walking from the point a to point b at the cashier. to understand where they are going
Lenses and other camera settings= 350-400mm because the aperture is mid-sized to show the enviornment the characters are in and who to focus on
mise en scène (set, lighting, costume, makeup, etc.)= it's in a mall with a more musky kind of look to it like a mall in the 90s sort of with the makeup department. with everyone wearing a suit and tie cause thats mostly the norm back then
Other relevant information= circle cause it's more of a passive scene with nothing much happeing to show this is a scene we can just watch in general

act 3

Shot size, angle, framing= close up, single, eye level= to so he is the main part of attention to the audience, and to show this is a very serious scene so the audience has to pay attentionto what is happening and to get up to eye level like a normal person
Shot composition, direction, motion= shallow focus z-axis forward, y-axis down, to show who is clearly the one to pay attention to and to possibly move the camera from up to downwards.
Lenses and other camera settings= the aperature must be smaller with 300mm to show he is the one we should be focusing on and not the background
mise en scène (set, lighting, costume, makeup, etc.) it looks like the backrooms to an extend because of the pale walls and darken environment with two light sources. he is wearing a big coat.
Other relevant information= triangle because to show a very slightly aggressive and important part of the film

Shot size, angle, framing= medium close-up shot, two shot, eye level, because two people are the more important characters at the moment, the mid chest begins and up to get both the people in shot on the table
Shot composition, direction, motion= rack focus, z-axis and -z-axis back and forth= because to show when they talk the camera switches between the one that talks for us to focus on them to put our attention to.
Lenses and other camera settings= 400mm-450mm the aperture must be pretty small for the audience to be focused on the two main characters for them to do their conversation
mise en scène (set, lighting, costume, makeup, etc.) a resturant of some kind with plants tables with the slightly dimmed lighting, with the main characters wearing casual clothes for this lunch
Other relevant information= mainly square because to show us they are having a direct conversation at this resturant table

**hmdavis** · 09-30-2024, 07:52 PM

Hailee Davis

Attached Files

FightClub-HaileeD.pdf (95.7 KB, 3 views)

**ediValle** · 09-30-2024, 09:46 PM

Ediza Valle

**AllenSalvador17** · 09-30-2024, 10:45 PM

Allen Salvador

Attached Files

AllenSalvador_VNC_FightClubSceneAnalysis.pur (6.90 MB, 2 views)

**NearSharp** · 09-30-2024, 11:06 PM

Nathan Munoz

Act 1: Shot 1

Shot size: Medium Close shot to focus on the dead stare the Narrator has in the beginning of the movie thanks to the lack of sleep.
Angle: Eye level shot used to show the dullness of the Narrator's life. He holds no power and is in no state of vulnerability. His life is just the same boring thing everyday.
Framing: Clean Single in the middle of the frame.
Shot composition: The Narrator takes up the center of the frame. He is the only thing in focus as the background is out of focus. As a result, he appears dissociated from the outside world.
Direction: The Narrator remains still as he tries to stay awake at what seems like a dead end job to him. He’s unhappy and tired. He stays in the middle of the frame motionless as different people walk back and forth in the blurry background. He is stuck.
Motion: The Camera remains stationary as the main focus is on the Narrator of the film.
Lenses and other camera settings: 85mm- 100mm, f stop is 2, shallow focus
Mise en Scène: The Narrator takes center stage and looks tired beyond belief. The blurred background helps separate him both physically and mentally from the surrounding area. A blue hue lights part of his face from screen left as he disassociates until a yellow light flashes and lights most of his face.

Act 2: Shot 1

Shot size: Master/Wide Shot to establish the area and the one in charge.
Angle: Slight High Angle to convey the power Tyler holds above all of the other people in the frame.
Framing: Crowd shot with the main focus being on Tyler who is in the center of the frame and holds the most power in the scene.
Shot composition: Tyler is in the middle of the frame taking up all of the attention while the Narrator stays off on the side of the frame following the rule of thirds. In addition only their faces are visible as everyone else is facing them although the narrator is far more obscured compared to Tyler. Tyler holds the most power in this scene as he is out in the open while the narrator is somewhat blending in with the crowd.
Direction: Tyler moves left and then right as he tells everyone the rules, his face is fully visible. The Narrator remains still and only runs his head towards tyler. Everyone else shuffles in place getting ready to jump into action.
Motion: The camera remains stationary and within the crowd of people as if the viewer was standing along these other people. The camera's main focus is on Tyler.
Lenses and other camera settings: 15mm - 35mm, f 22 - f 32
Mise en Scène: Low lighting adds to the secrecy and grunginess that is the basement where the Fight Club is taking place in. The lighting that is there shines on Tyler, as he is the only notable person there as everyone else blends into the darkness.

Act 2: Shot 2

Shot size: Medium Shot to show the intimacy that is sprouting up in the middle of an odd suspenseful moment.
Angle: Eye Level to put us right there in hiding with them. They are at a place of refuge and not completely vulnerable as they do have a chance to fool the people searching for Marla and evade them.
Framing: Clean Two Shot that has Tyler and Marla cloaked in a shadowy foreground that helps hide them and stand out at the same time.
Shot composition: The shot follows the rules of thirds as Tyler and Marla fall on the imaginary lines. Tyler and Marla are these clear shadowy figures in the foreground as the background is slightly out of focus which helps lead the eyes to these two silhouettes in the foreground.
Direction: Tyler is on the left in an easier position compared to Marla who is trying to hide on the right side while pointing the people who are looking for her to the left side of the screen away from her.
Motion: By keeping the camera stationary, we are placed in the suspenseful moment and seem to be hiding along with Tyler and Marla.
Lenses and other camera settings: 50mm - 85mm, f 11
Mise en Scène: Tyler and Marla are these two harsh shadowy figures in the foreground with slight rim lighting that reveals a bit of their face. This works well to help them stand out in the shot but also helps communicate the idea that they are hiding from the people running past them.

Act 2: Shot 3

Shot size: Medium Shot/Medium Full Shot. The Narrator is framed in a medium full shot, while Tyler is framed in a medium full shot. Tyler takes up most of the frame and is interacting with the Narrator in the background. The Narrator takes up less of the screen and is listening to both Tyler and the policemen.
Angle: Low Angle to show the power that Tyler has over the Narrator's mind. Despite being on the phone with someone else all of his attention is on Tyler.
Framing: Clean Two Shot that shows the entirety of Tyler’s face and the obscured side profile of the Narrator. Tyler is up front as the Narrator's attention is squarely on Tyler.
Shot composition: Both characters fall within the rule of thirds. Tyler is in the foreground taking up most of the screen and attention. This also puts suspicion onto him as the Narrator glares over at him from the opposing side of the screen. Tyler is at the front of the Narrator’s thoughts.
Direction: Tyler is on the left while the Narrator is on the right. Two sides of the same coin and yet the suspicions only slightly begin to creep up from the narrator who is fighting an uphill battle for dominance in the scene and movie.
Motion: The camera remains still to allow the Narrator to look back and Tyler for a quick second and allows Tyler to try and regain control and trust from the Narrators wandering mind.
Lenses and other camera settings: 50mm, f 11- f 18
Mise en Scène: The Narrator is well lit while Tyler on the other hand is covered far more in shadows. Both are kind of an inverse of each other, Tyler is covering up his shoulders but exposing his chest while the Narrator does the opposite. Tyler is well rested and looks clean while the Narrator looks exhausted and bruised up.Tyler wants to brush off the police while the Narrator wants to hear him out and cooperate. Both on opposite sides.

Act 2: Shot 4

Shot size: Close up Shot that is from the POV of the Narrator and is used to show the audience and the Narrator that Tyler also chemically burned himself. It’s supposed to ease the Narrator into believing what Tyler does is in his best interest.
Angle: Low Angle that helps show the tiny bit of vulnerability that Tyler is showing to the Narrator to reassure him of his methods.
Framing: Clean Single where the main focus is on Tyler’s face and hand.
Shot composition: Tyler's head and hand follow the rule of thirds as his eyes and chemical burn fall directly on the lines of interest. Tyler's head takes up most of the shot as his hand takes up one third of it. The focus isn't necessarily on Tyler's hand but rather his face as it gives reassurance and understanding to the Narrator.
Direction: Tyler’s hand takes up the left side of the screen as his head takes up the right. It directs the eye from his chemical burn that leaves you feeling unsure, to his face that helps the Narrator feel reassured.
Motion: The Camera stays still as the Narrator soaks up the information that Tyler had done this to himself before.
Lenses and other camera settings: 70mm - 100mm, f 8
Mise en Scène: Low lighting with most of the light revealing the left eye of Tyler as well the sweat that's dropping down his head in this tense situation. The rim lighting around his hand helps it stand out next to Tyler's mostly shadowed face.

Act 3: Shot 1

Shot size: Medium Full Shot to illustrate the realization that Tyler was nothing more than a figment of his imagination that he still continues to humor.
Angle: Eye level Shot that is used to ground us in the reality that Tyler was never real and that all the acts committed by him were the doing of the Narrator.
Framing: Clean Single of the Narrator alone in a frame that holds the empty space for someone else to take up and yet they are missing.
Shot composition: The narrator takes up one third of the shot and the other side is empty leaving it feeling incomplete and imbalanced. The eye is led to nothing, something is missing.
Direction: The Narrator takes up the right side of the screen while Tyler used to take up the left side. Now nothing is on the left side leaving the Narrator to look off towards space.
Motion: The camera remains still to revel in the plot twist.
Lenses and other camera settings: 35mm - 50mm, f 32
Mise en Scène: The Narrator is alone in a scene that was previously framed for two people. The only thing with any sort of movement on the left side being the smoke from a cigarette that “Tyler” was smoking.

Act 3: Shot 2

Shot size: Wide Shot that is used to capture the awe and powerlessness the characters feel in the moment. They have lost.
Angle: Low Angle to illustrate the lack of power they both have in this situation. The Narrator has made his bed and now he must lie in it.
Framing: Two Shot that shows the backs of the two characters with the main focus being the buildings falling down in the background.
Shot composition: The Narrator and Marla are both in the middle facing towards the destruction that is occurring outside. We don't see their faces because nothing they do or say can stop what was already in motion.
Direction: The Narrator is on the left while Marla is on the right, the Narrator is at peace while Marla will need more time to understand what exactly happened.
Motion: The camera pans in as the two look at each other and the building around them implode.
Lenses and other camera settings: 35mm, f 32
Mise en Scène: the Narrator and Marla are both shadowy figures with slight rim lighting that reveal other colors in front of a blue night sky that is being lit up by bright explosions. The blue color carries across the idea that things are bleak while the bright explosions reveal the true damage the characters have received and have dealt.

Announcement

Fall 2024 | Watch with Purpose #2 - Fight Club

Fall 2024 | Watch with Purpose #2 - Fight Club

Comment

Comment

Comment

Comment

Comment

Comment

Comment

Comment

Comment

Comment

Comment

Comment

Comment

Comment