Fall 2024 | Watch with Purpose #2 - Fight Club

[Ashton koranek]

Act 1:

1. this is a one frame flash from the hospital that Tyler tries to get medicine to help with his insomnia. The size is what looks to be a cowboy shot of the doctor and for one frame Tyler shows up behind the doctor as a quick flash that is easy to miss. the angle being low can be seen as both the doctor being in a sense of power of saying how their is no way he gives Tyler something or as him feeling bad about it but sticking to his word. The rule of 3 could be seen in this show with tyler standing on about the 3rd and the doctor being in front of him. The F-stop is interesting here cause the doctor is in focus but Tyler is very blurry and while only showing up for one frame its not blurry to the point where you cant make out who it is. The mise en Scene is amazing in this shot specifically and is a hint to the plot twist of the movie. One thing I thought about that I think is interesting is later in the movie "Tyler" is said to cut porn into kids movies for one frame. This can almost be a prelude to that with "Tyler" appearing for one frame in the movie like how was described earlier.
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Act 2:

2.The size of this shot is a medium shot of Tyler in his work after running fight club for awhile. the framing of the shot is single that focuses on Tyler at his work with the angle being that of low as he probably feels empowered at fight club but also that fact that while he might feel powerful inside at his work he is still a wage slave that works for his boss. The composition of shot and the one before it shows both him and his boss on the right side of the screen fitting perfectly in the rule of 3's. The Mise in Scene of this shot is amazing with him saying that he has tuned everything else out besides fight club. I thought this was cool cause of him not hearing his boss but also everything being muffled like his boss and one thing I thought of is that the hearing damage could he a result of fight club and getting hit in the ear. In the end of the scene it cuts to Tyler and "Tyler" talking and audio of running water it heard perfectly in this muffled landscape before the cut which I found interesting as its him going back to fight club like he cant wait to leave work.

3. This would be a insert shot of his tooth spiraling down a drain. The direction and motion of the tooth is what I feel is the most important parts of this shot. The fact that the tooth doesn't just drop into the drain it spirals down it. I feel this was a intention choice by the director to show that well... Tyler is spiraling down into this new life as "Tyler". Its something that I feel adds to the plot twist while not being super obvious. most people could see that his life is going crazy with fight club but its also a sign that he is just going crazy and without his knowledge being "Tyler". The Mise en scene in this shot is also something that I find nice with the fact that not only is his tooth/life spiraling down a drain its a dirty filthy drain with no perfections. Its dirty like the life that he is living now.

4. This shot and well this whole scene is a little hard to watch cause of what is happening but this shot specifically I would say is a wide shot of Tyler and "Tyler" after "Tyler" acid burned Tyler's hand and just pored vinegar to put out the burn. The motion of this scene is very interesting with them moving from left to right of the table like Tyler is progressing into what "Tyler" wants him to become or "to hit Bottom". The Mise en Scene of this shot and whole scene is one of craziness. while Tyler is trying to cloud his mind from the burn and take it away "Tyler" keep dragging him back and trying to make it worse. It cuts back to a earlier scene of him in his cave before "Tyler" pushes him mentally and physically back to reality. This specific shot showing Tyler on the ground as "Tyler" looks down on him. "Tyler" looking down is a show of power over Tyler as right now him even doing that to himself shows that "Tyler" is not only able to control Tyler mentally but put him threw physical pain and still not disappear from Tyler's mind. The rule of 3rds is also being shown here with both of the Tylers being on a life relatively

5. The size of this shot is a medium shot at a high angle of "Tyler" in the basement of the house. The framing of the shot is that off a single. The motion happening in this scene is literally the door closing on "Tyler" while Tyler tries to hide is scar from marla. The composition of this scene and the Mise en Scene is one of the biggest points to the plot twist of the movie. This scene has multiple hints to the fact that they are the same with the biggest one being in this shot with Tyler copying "Tyler" after he says "this conversation is over". Not only that though before when Tyler was talking to marla he says that the relationship between him and "Tyler" is on the same level and Marla responds with "Who" which really had be questioning the first time I watched but it also transiting over to the basement door with him hearing fake drilling and that ends up with Tyler and Marla fighting over his burn.
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Act 3:

6. this is a shot that is panning up from tubs of soap bombs that is shot at a low angle and only focuses on Tyler as a character. The motion of this shot moving left to right as he seens all of the bombs is great and the scene of it all mid pan is great. Mid Pan showing shots of "Tyler" making soap with the line "with enough soap we can blow up just about anything". and with flashes of the inside of the tubs and "Tyler" saying it from a earlier scene. the Mise en Scene of this is of panic. He just found out the big plot twist of the movie and is now having to come to terms with the things he has done as well as the things "He" has planned. The music is frantic and almost scary as he walks threw this place. This whole scene of him finding out what "Tyler" has planned is with semi quick cuts to show the frantic nature of Tyler finding out what is happening.

7. this shot is a medium shot of Tyler after shooting himself to "kill Tyler". its a single that is really kinda gross to look at with the blood spurting out of his cheek. The motion of the scene is interesting cause the camera and Tyler move in a way that is able to show that while he did shoot himself he only shot threw his cheek. The Mise en Scene really is a climax to the whole Tyler vs "Tyler" that happened in the previous scene. It shows character growth with Tyler being able to confront what he sees as the "Cooler" version of himself and well shoot them. Specifically the shot where the bullet is shot and the close up of the flash in his mouth is really well done as well as the smoke coming out of "Tyler" face after the bullet. This shot specifically being the aftermath of that decision he made to shoot himself. When I first watched it I thought he shot himself and killed both but after re examining the scene it is shows threw this shot that the bullet came out of the side of his mouth/ jaw and wouldn't have hit any vital organs to have him die.

[bmlugo]

Bianca Lugo: Fight Club analysis: BiancaLugo_Fight Club Scene Analysis.pdf

[ChefBriller]

Austin Briller


Act 1: In this medium close-up shot, we see a woman smoking a cigarette, framed centrally against a blurred background. The choice of a medium close-up allows us to engage with her expression and demeanor, emphasizing her calm yet enigmatic presence. The framing draws attention to the smoke curling around her, creating an almost dreamlike quality that mirrors the Narrator's disorientation. The angle is neutral, placing the audience on equal footing with her, inviting curiosity about her character. Her attire is understated, yet elegant, contrasting sharply with the sterile environment of the corporate world that the Narrator inhabits. This shot subtly introduces the idea of rebellion against societal norms, hinting at the deeper connections and transformations that will unfold as the story progresses.


Act 2: In this Medium-close shot, we observe a group of men gathered in a dimly lit bathroom, positioned at eye level. This composition creates a sense of camaraderie among the characters, effectively establishing the cult-like atmosphere. The eye-level angle fosters a feeling of equality and shared experience, inviting the audience to empathize with their struggles. The mise en scène plays a significant role here; the low lighting and raw, unrefined space starkly contrast with the Narrator’s earlier corporate life, highlighting his search for authenticity and connection in a world that feels increasingly artificial.

Act 2: This long shot, captured from a lower angle, reveals the members of Fight Club gathered in a circle, showcasing the power dynamics at play within the group. The low angle elevates the characters, suggesting a sense of empowerment and unity as they collectively embrace their rebellion against societal expectations. The mise en scène in this shot features a gritty, industrial setting that underscores their raw emotions and the authenticity of their experiences. This environment starkly contrasts with the polished world from which they have come, reinforcing the film’s critique of consumer culture and the longing for genuine connection.

Act 2: In this intense medium close-up shot, Tyler Durden holds a gun to Raymond K. Hessel's head, capturing the raw emotion of the moment. The focus is tight on Tyler's face while Raymond's face is more blurred, allowing the audience to feel the weight of his authority and the gravity of the situation. The slightly tilted angle enhances the disorienting atmosphere that characterizes the film’s exploration of chaos and identity. This visual choice places the viewer in a position of discomfort, mirroring Raymond’s terror. Tyler's question, “What did you want to be when you grew up?”, challenges Raymond to confront his own mediocrity, forcing him to reevaluate his choices in a moment of extreme duress. This moment encapsulates the film’s broader commentary on purpose and the search for identity in a consumer-driven society.

Act 2: In this shot, the camera employs a shallow depth of field, presenting a close-up or medium close-up that focuses on pills and cigarettes in the foreground while blurring the figure in the background. This choice emphasizes the significance of these objects, suggesting a narrative deeply centered on substance use and its dire consequences. The slightly tilted or low angle contributes to a sense of disorientation, reflecting the character's unstable emotional state and inner turmoil. This framing likely highlights the implications of addiction and self-destruction. In the background, Marla, unconscious or engulfed in despair serves as a haunting reminder of the devastating effects of substance abuse. The deliberately cluttered composition, featuring pills and cigarettes strewn about haphazardly, symbolizes the chaos and disorder that infiltrate the character's life.

Act 3: This close-up shot of the Narrator captures a moment of profound realization. The straight-on angle creates a direct connection with the audience, emphasizing the emotional weight of his epiphany. This shot serves as a turning point in the narrative, illustrating his journey toward self-awareness and the acknowledgment of Tyler’s true nature. The mise en scène employs stark lighting that casts deep shadows across his features, symbolizing the internal conflict he faces as he confronts the darker aspects of his identity.

Act 3: In the wide shot of the city skyline, explosions light up the frame, captured from a high angle that offers a detached view of the chaos below. This perspective symbolizes the collapse of societal structures and the culmination of the Narrator’s internal struggle. The high angle suggests a loss of control, amplifying the sense of chaos that defines the climax of the film. The mise en scène is crucial here; the explosions against the urban landscape serve as a powerful metaphor for destruction and rebirth, underscoring the film's themes of nihilism and the radical change that arises from chaos.

[fellowghoul]

Trinity Torres


Frame One: Medium close up, low angle, two shot. The camera has a shallow depth of field, which is why the man in the background is blurry compared to the woman in the foreground. The bland color choices in this shot don't make the clothing stand out in any way, showing that the clothing is not of any importance, but the girl's blond hair and pale face stand out against the dark brown and tan tones. The empty room is also bringing more attention to the two people because they stand out more than if they were sitting in a room full of people.


Frame Two: Close up, clean single, high angle. The composition of this shot makes it so we are focusing on the man and also makes it look like he is looking up at us as if we are on the ceiling of his room. This shot signifies a meaningful moment, and focuses on the characters inner thoughts.


Frame Three: Close up, two shot, eye level. The majority of the top of the mans head is being cut off and he is looking towards the girl so we can't see his face, which brings the viewer's attention right to the girl. The way two other people are positioned in the exact same way symbolizes that it might be a meeting/public place.


Frame Four: This is a wide shot because it is showing us where the character is in the world. It has a low angle and it is a dirty single due to the officers face not being seen clearly. The composition of the flipped car contrasts nicely with the blank sky and horizon line. The ISO is higher to achieve a foggy texture in the back, and there is barely anything there which shows that the background is not important here.


Frame Five:This is an insert shot taken from where the characters face is, at a high angle because we are looking down at the sheet of paper. The background is completely blurred so the viewer knows they only have to focus on the burnt piece of paper.


Frame Six:This is a cowboy shot, two shot, low angle with emphasis on the right mans face because he is being illuminated by the light. Also, his pose with his arms crossed makes him appear to be more in a position of power, and therefore a bigger guide for the viewers eye than the man on the left.



Frame Seven:This is a medium close up with a crowd shot and a low angle to show the guy on the right is big and menacing to our character. The camera has a shallow dof, making the two in front stand out more. The light fixture is also helping to illuminate them and make them pop. Although the side of them that is facing us is not so well illuminated.

[MonsterMegalodon]

Cassandra Rebolloso Hanson


Medium Close Up, Low Angle, Dirty Single. The director wanted to place importance on Tyler in this particular moment who is still an unknown person to us. He is supposed to look out of place compared to the rest of the scene. The narrator is looking back expecting to look for someone, but the person that he was looking for isn't there, so he's feeling a sense of insecurity. This sense of insecurity is being shown by the low angle and the medium close up of the narrator to the screen.
Narrator is headed towards the left side of the screen after coming from screen right. This helps the viewer understand where the narrator's thought process is beginning to struggle. This scene is imbalanced since you see the narrator big in the front, but he is blurred so askews him from the eye. As the other guy in the back is crystal clear, but is smaller so he does not have as much significance.
In this scene we have the F-stop being a smaller number to be able to achieve the foreground of the camera to be blurry while the ISO is in the mid range. The focal length of the camera has to be longer as well to be able to capture the middle ground to be clear while the foreground is blurry. And the shutter speed having a higher number to give the shot a slightly blurry but less light feel.
Mise en scène. Taylor in this scene is supposed to stand out, which is why the director has given him a red shirt because everything around him is a more neutral to a dark color. Where he is wearing red, he is standing out. They don't show this part for long because they don't want him noticed so far, but just enough. The narrator she is blended into the background and foreground since he is wearing darker colors. The only reason you can tell that he's sort of the main character at this moment is because of the. Bright blue shirt that he is wearing.

Close Up, High Angle, Clean Single. The director wants to put and this is on the end narrator and on the situation that he is not empowered. you choose step to a close up to just have our reactions just on him and him alone. He does not want anything else in the scene to distract the viewer from the moment.
The narrator stays on screen left so it can signify a bit of a harder time that he is having. Along with him being the main focus, he's taking up half the screen to show that nothing else around him is important. The composition of the frame seems imbalanced since there is nothing on one side but everything on the other.
This scene have a very low depth of field so a low F-stop. This is to show that the background is unimportant and the sole focus is on the narrator. The ISO is on the lower side while the shudder speed is on the higher end since the narrator.
Mise en scène. The blue shirt in the scene that shows that he is a bit under the weather that he's not really sure what he's supposed to be doing. That he's not really feeling like he should be doing what he is. The background contains a bunch of lines and it's kind of it causes him to show that he is trapped.



Medium shot, Low Angle, Two Shot. The director wanted to show this as a medium shot. It could also be shown as a medium closeup. Depending on the character that you are looking at, but at the moment we are looking at the person in the back. This is a low angle shot because it's supposed to show that neither character so far is in power. They're both being talked down to in the scene. This is a 2 shot because it is focusing on. The narrator, but it isn't going to Hitler's view and what he's going to be doing at this moment showing that he is nonchalant, so he's not taking what people are saying seriously.
And in this scene, Tyler, who is in the back Is sitting by himself, he's going to be walking towards screen left, but at the moment he is standing still so there is no action being taken yet. Tyler is slowly becoming a bigger and bigger part in each scene since he is getting closer to the camera and getting. A little bit more clear, while the narrator gets a little bit more and more blurry. It shows that the tone has shifted between some of the characters.
In this scene there is going to be a very small aperture but a large focal length along with a big depth of field. This is to be able to blur the foreground, which the narrator has little control over at this moment Where as Tyler is the main focus, showing that his personality is standing out more. In this scene, the shutter speed is higher to mid range since they want not that much light, but just enough light to emphasize Tyler's personality. Along with the ISO being in the midrange to help counteract the narrator.
Mise en scène. The narrator is again a blending into the background while Tyler is standing out since he has a white shirt with a narrator homes like a tannish shirt blending in with the walls. This is showing that Tyler has is having more and more of an effect on the narrator from one, how they're acting, and two, he is coming out a bit more since he is becoming a bigger within each scene. So the balance is slowly becoming equal to becoming unbalanced again. Along with that, the walls and the arches within the scene hope encapsulate Tyler where they are kind of blended in with the narrator showing that he's blended in with the background and Tyler is standing out since he is framing.

Full Shot, High Angle, Crowd Shot. Before shots and you can see the whole body of the bars and of the narrator after the whole scene that he did. It is to show the advances disbelief in what is happening at the moment and the narrators infliction of pain that has happened upon him. And this shows that even though we are still looking down on both, the boss and the narrator. It helps convey that narrator got his point across and is a step ahead of the boss. We also end up looking down upon the guards that end up coming to the scene that we're called. We end up looking down at the security as well because he still has the upper hand in the situation and they are just playing into his hands.
The scene is showing total imbalance because the narrator was able to get the Boston play right into his hands and show that he has the upper hand. He holds the same going back and forth all the movements. It makes everything seem really sporadic. But then whenever the ends and the narrator and the boss land on screen right it is OK. Supposed to be a bit enjoying since we are not used to seeing things and on the right side and reading them the right.
The camera again has a high depth of the field and a low F-Stop. Showing that the police in this scene are not technically super important, but important enough to still be shown but not in focus. Having a long focal length helps with getting the police blurry but keeping the boss and the narrator clear.
Mise en scène. With the room feeling all white, it looks like it's supposed to be a bit dry when there is a fight and everything smashed up. Supposed to show that it is very corporate, very following the rules. Where everything in the room shows that it's supposed to be industrial And kind of tramps and there are a lot of boxes and lines. It's supposed to show that there really is no escape. What is happening? It's supposed to depict the narrator as weak since he is more curled up into a ball, whereas the boss's still standing upright is still in the box/line position Giving a bit more of a stickler type of attitude.



Medium Close Up, Low Angle, Point of view Crowd Shot. They wanted to provide that we are looking through the politicians point of view. So that is why there is a crowd around him, which is why I also say it's a crowd shot. Shot allows us to know that Tyler in this situation is the one that has all the power, not the person in the point of view. Let's close Medium close-up shot shows that this person has no way out, no place to go. So they are basically trapped within the scene.
The way the movement has been going has been pretty linear with a bunch of insert slots that come up to the scene. Where the movement of this shows that it keeps going from left to right, up to down, all over the place. This is supposed to be a very chaotic scene Since right before this people were watching from right to left, which is very jarring to the viewer since we don't look at things that way, so it gives a sense of uneasiness..
We have a very low F stop, so the background can be blurry and only the foreground can be. Crystal clear, it shows that Tyler is the shower house within the same compared to everyone else. Yes they are important but not important enough to be totally clear. sto They're going back and forth, which shows a lot of back and forth with the camera movements. The shutter speed should be pretty low, which allows a little bit more light to come in along with having A low iOS as well. To make this a bit clearer.
Mise en scène. In this scene there is a lot of white to show more of the characters going a little bit insane seeing you as one color along with it being industrial. There are several people with masks on their faces to show that they are doing something wrong but also trying to hide their identity to not be caught. We are seeing several different sides of each character because each mask is just slightly different. So people are not all the same. The director wanted to have each person have just a bit different of clothing.

Medium Close Up, High Angle, Dirty Single. The shot size in this one is a medium close up which is supposed to show the emotions of the Narrator, but also of Tyler, who has just been shot. This is showing that even though Tyler was a big part of the narrators life, he was in the end Destroyed by his creator. The high angle is to show that the narrator is at his lowest point as he's still clinging to life, while the. Other person, Tyler, has just had his life taken from him. This is now considered a dirty single, considering that Tyler is no longer important to the narrator. As we find out that he was just an alternate personality and not an actual person.
The narrator is in screen left, which is something we are more comfortable with and seeing. That he, even though he's still clinging to life, is still alive. Whereas the person on screen, right she had been shot in the head, so meaning that there is no more life for him. Seeing there is really no movement in the camera, showing that this is a very important scene where something is finally getting taken away.
F number is On the bigger side, and this seeing surprisingly compared to everything else having something blurred, it is having nothing really blurred at this time, meaning that there is no separation from the world. That he is actually in the moment, he's coming back to reality. The shutter speed and the iSO are on the pretty middle range, so that's not really standing out as much. The main focus in this scene is more of the F stop, with the camera work showing that. There is not any more disconnect from reality.
Mise en scène. Now. The colors within the secene make it so that everything is a bit more gloomy and depressing. Along with the shapes of the scene, there are. A lot of squares are rectangles which show that They were, they were trapped. And it shows that he is still trapped, but not as trapped as he was before because he was able to let go of Tyler.

Wide Shot, High Angle, Two Shot. Their scenes, it seems to be a sense of detachment, but also looking from far away, also from someone else's point of view. But not completely. The high angle makes it so that both people are. Not in power, but that they are both at a weak state. They are pretty balanced within the scene considering. That we don't know who is in power yet.
In the end though, seen both characters keep going back and forth. There are a lot of camera movements we're going from Each view of the person going outwards into this new scene. Other than the virus making it so that it seems that they are trapped, they are literally. Trapped with one side being open and the other side being blocked by a vehicle.
The number is on the bigger side considering that. Everything insane is clear. It might be a little bit lower considering that the front bars closest to the camera are blurred. Quick compared to every other scene in this Feels like it should be pretty important considering that they are focused along with the background, showing that the background is an important piece in the scene. There should have speed and the ISO's are on the mid range because it is letting in some light the shutter. Be might be a little bit higher considering the room is a bit darker though.
Mise en scène. The bars in the sea and make it as if the two characters are trapped, that they are not going anywhere else, that they are actually being almost squished together. With how close all the bars are being with all the squares that there are confining them into a smaller space. There is a bit more of a gloomy scene considering that the color within this shot is more of a darker color. It's still dulled out, almost Gray, but it is still something where you should be upset about considering. It is having a blue undertone to it.

[ChayaNF]

Chaya Fuller

• Middle shot, dirty single, Eye Level

• The framing for this scene has the main character set to the right side of the screen, making him feel imbalanced

• This scene seem sot be in a shallow focus, only allowing us to see that character and that it,

• The lighting and the of it shows off also have the character is truly feeling, the room

• Having the camera like this we can feel the emotions the main character is going thought, the distress and worry on his face, lets us know that everything isn't ok. The director chose a shot like this because it shows off emotion very early on, still being in act one and able to get a taste of who this character is and why he feels the ways he does.

• Medium close, single shot, Low angle

• The character is placed in the middle of the screen, it puts him as our focus, but in a way, he is being framed by the bus seats.

• The lens in his scene sense like a wide lens, since we are able to see almost his full body in scene while he’s on bus.

• The costume in this scene shows office his work out yet looks so defeated, almost like he is starting to question his life and the choices he’s made till now.

• The director shot this scene like this to give him a full of hopelessness and like how he set the lighting, and how there now else in scene but him.

• Medium close-up, dirty single, eye level

• This scene also shows the imbalance of character, showing how the main character feel like he doesn’t belong on this room

• Spilt diopter allows us to see the main character and the background characters in the same shot.

• The lighting in this scene is dark, almost foreshadowing how he’s slowly turning to the darker side of himself

• This scene set up the main character to that he has fully taken control. He minds set has started to change from the beginning

• Close up shot, single shot, Eye level

• The camera Lense in this scene in on shallow focus, since the background isn't as noticeable, we are only really able to see her on the screen.

• The fisheye Lense for this shot, allowing us to see the distress on her face and the amount of worry.

• The distressed makeup on the character, even us a taste on the kind of life she lives.

• The way the director set up this scene is to allow us to feel the following emotions on her face, and to get us to the mind set of this character and how her relationship is with the main character.

1. A full Shot, Over the shoulder, shoulder

2. this scene shows the main character framed in between the two officers, allowing us to focus on him but also the other characters too.

3. This scene messes with the z-axis mainly in the foreground and background, having it in deep focus only being able to see the main character and his boss.

4.This lighting in this room is dimmed, but in the sense where the room look a blues gray, with only yellow lights bring the lamps, it makes the room seem cold and boring, even though there is blood everywhere from the main character.

5. This frame is set up, like setup, with the two main focuses being in between the cops and with the main character on the ground. It shows the guy standing is one of our forces point and two the person in trouble on this scene. The way the light stays white and bright and not diming of changing color shows this as almost as an idea planned out kind of dreamy.

• Wide angle, dirty single, Low angle

• The way the director used the screen space in this scene is by setting our main character in focus in the center but setting the antagonist on the side, making us shift of focus from the main character to him.

• A wide lens must have been used for this show since we can see each character's full body in focus, having it be a split diopter.

• The way the background is set up gives us a sense of trouble, from how the character is tied up, to how everything in a trashed mess around theme, almost being like a simile to how his life is turning out now. The director has set up this scene like this it gives a sense of mystery like even know we have learned the character we still don't know what might happen yet, using lighting and framing to set up these emotions

• Wide shot, dirty single, full body

• The director uses the screen space here by putting our main to character in center screen to be sure that our full Fouse is on them and no one else. The lens used for this show was must likely a wide lens , which is able to get all the characters in frame for this and the depth of field to be a deep focus , allowing us to view the main characters but also the background in full force so we can see what about to happen next or witness what they are at the same time.

• The lighting in this scene being dark allows us to see what is happening around them and not just focus on the character even thought that are centered in screen, it almost tells us to look here at them before we notice anything else.

• The director set us this scene to show the feeling of success that the character does but also the relief and grief that is happening in this scene all at once.

[nick_fite]

Nicholas Fite

Act I

Maybe an odd shot to pick, but I found this simple shot of donuts, and the shots previously to be pretty interesting. In the shot, we jump between common items we find at support groups. Coffee, tea, creamer, sugar, and donuts. The donuts look like they’ve been sitting there all day. You can tell that there were more in the box, likely 12, but they’ve been taken. The chocolate donut looks like its frosting is melting off. There’s almost no power on the powdered donuts. They look dry. Even the box itself looks like it’s been bent and used. In the same way these donuts are substandard, the support the main character is getting from these groups is substandard. They shoot from a high angle and close up to show all the nooks and crannies on the donuts. Since the donuts are the subject it’s technically a crowd shot. There’s no movement, but by placing the crumbs and donuts in the way that they did it adds to the feeling of ordinary-ness. The camera lens is around 60mm with an f-stop around 14, giving a nice blur to the background. There is kind of a frame within a frame here, where the donuts are trapped inside of the box.

Act II


This shot helps show that Tyler is always in the mind of the main character. Even when getting stitches, something where he would likely be alone for, Tyler is still there and telling him what to do. This shot is interesting, as it’s a close up shot of the main character but a medium full of Tyler. It shows how Tyler is in a position of power, while the main character is not. The 2 characters are shown on opposite sides of the screen, they are literally on opposite ends. It follows the rule of 3rds, with Tyler in one third of the screen and the main character in the other. Tyler is also blurred, likely having a lens around 30mm and an f-stop around 3. This gives the idea that Tyler is not fully present, as he is just an idea. The lighting is also a lot harsher on the main character, while Tyler is shrouded in darkness.


This shot shows Tyler’s relative power over the main character. Tyler is looking over the main character, literally looking down on him, after he harmed him. This is a dirty cowboy shot, as we can see what one character is doing with his hands, his hand was burned, while we only see the back of the head of the other. This is shot from a high angle and with a wide lens, likely around 30mm. We get a good sense of what the floor looks like. This shot also follows the rule of 3rds, with Tyler being most prominently on it.


This is a high angle, wide, crowd shot. Likely uses around a 30mm lens with a high f-stop. The most interesting thing about this shot is the shapes within the frame. First, we have the triangle and the cone which gives the idea of aggression. One of the characters in the scene is purposely trying to start a fight so that he can lose, so this aggressive tone helps. Additionally we have the straight lines form the beams, which gives almost a calming feeling. While the character is aggressive, they’re almost peaceful with it. It’s aggression but with a purpose. It represents how they’ve created a religion out of violence. The characters are also shrouded in darkness, which could represent the secrecy of their organization. It follows the rule of 3rds, the beams line up with 3rds of the screen, and the camera doesn’t move. The character does move, but not in any meaningful way. Sometimes he moves left, sometimes he moves right.


This is a low angle, wide, single cowboy shot. Likely using a camera around 30mm with an f-stop around 8, as the background is not blurred at all. The character on the screen slides down on the floor. Interestingly, it’s showing the character in a place of power despite the fact he is currently injuring himself. He’s using his self harm to threaten somebody, so despite the fact that he is throwing himself through furniture he is in a position of power. There are the vertical lines in the frame as well, giving an idea of stability and calm. Despite this frantic self-harm, the situation is still under control. These lines also sit on the rule of 3rds.

Act III

This is a high angle, wide, dirty single shot. Likely using a camera around 30mm with an f-stop around 1. Since the shot is pretty dark it needs either a lower shutter speed or a higher ISO to see all the details in the shot. It follows the rule of 3rds, with both characters taking up opposite thirds of the screen. This is the first time that the main character realizes that he is Tyler. This character is obviously a part of the fight club. He is cut, bruised, and has a head brace. From the character's performance, you can tell that Tyler thought about what the main character would try to do and tried to prevent it. The character is also shrouded in darkness, with bits of light behind him. The truth that the character has to tell is dark, but it is in the right direction.


This is a low angle, medium full, single shot. The background is pretty blurred but we can see a lot of environment in the car. The camera is likely around 30mm with an f-stop around 4. Since the scene is pretty dark, either the shutter speed is lowered or the ISO is increased. The walls of the van line up with the rule of thirds. This has a shape within a frame, having the environment seemingly slope down to the character. It shows where the character needs to go. This also kind of gives a frame within a frame. The walls of the van corner the character. The clothing of the character is also interesting, he’s not wearing pants. Tyler literally caught him with his pants down.

[EvelyT]

Evely Torres


Act I_Shot 1:
This is a wide, single shot taken at a low angle in which the Narrator is in the lower right third while the apartment falls into the upper third. While a single character is in frame, this could also almost be an over the shoulder shot as the condo almost acts as a character, or at least is depicted as an extension of the main Narrator and is placed at a higher level of importance in this instance. This is likely using a wide angle lens (25 mm) with a smaller f-number (perhaps f/5) as to create a shallow depth of field to create the rack effect in this scene, as well as a lower shutter speed (1/8s) to capture more blur. The iso may be lower in order to capture more darkness in the scene than the previous settings allow for. The scene is mostly devoid of anything but the rigid buildings, the rectangles and squares providing an image of stability against the obvious chaos and disorder occurring. These elements create a feeling of helplessness towards the Narrator yet a level of dissonance between the Narrator and the event as he is not even the most important within the frame. He is out of focus and small, making the explosion to be much bigger than him and stand out on its own rather than an event that is exclusively tied to the Narrator, meaning that while this is certainly happening to him, he isn't really why this scene is important. This is representative of a destroyed sense of stability, and while his old life was literally and figuratively the highest point in his life given how high it is within the frame, the Narrator now is at an all time low. Given as the building and he are positioned in a hierarchy of left to right, yet top to bottom, this could be indicative of a downward descent that at first appears positive but will reveal itself to be disastrous.


Act II_Shot 2:
This is a wide angle single shot taken at a high angle, though this could also be classified as POV shot given that this is supposed to be the Narrator watching Marla leave. This appears to be taken at a focal length around 25 mm, though the f-number is a bit tricky since the background is artificially blurred by the stained glass window. However, these elements serve to show that Marla is almost a world away from the Narrator yet within reach. The window of the door acts as a framing device in creating a threshold between the world beyond and the world of delusion and isolation surrounding the house, and the glass adds a level of distortion between both worlds which causes further separation. In this way Marla feels far, but in reality she is still within reach of the Narrator. The artificial blur from the glass also adds an almost dream like filter to Marla, so perhaps this is also symbolic that while ugly and trash ridden, the world beyond is the ideal dream/reality rather than the life created in the torn down house. To back up these ideas, the colors of the house interior are various shades of browns and grey, creating a dark and dreary look, all while the world outside the window is brighter and even hints of other colors can be seen. Though the rectangle acts as a threshold, it can also indicate that Marla is somehow the element of stability/grounding that the Narrator will need.


Act II_Shot 3:
This is a close up clean single shot taken at what appears to be a very slight high angle, or at least at a downward tilt. This could also be a POV shot as this is taken from the perspective of the Narrator desperately pleading for Tyler to stop hurting him. While this is close up, the lens is likely around 150mm as the background is heavily blurred while Tyler remains in focus, and the f-number is likely around f5 to further supplement a shallow depth of field. His eyes also line up with the top third while his mouth lines more closely to the bottom third. These elements create a very stark focus of Tyler, the blurring of the background indicating that Tyler is all that matters in a moment of desperation. It could also indicate, based on what we learn later, that within the Narrator's tumultuous mind that struggles to grasp reality, Tyler is ironically the realest thing to him above all else. The color scheme of Tyler's shirt could also foreshadow his antagonistic stance as it is white with patches of red, meaning that while he appears good to the Narrator (white) there are traces of danger and /red/ flags that are beginning to creep in increasingly into Tyler's behaviors. His hauntingly neutral expression amidst the screams and pleading of the Narrator also indicate a sinister quality to his character, supplemented by the lighting that casts downward shadows that begin to shroud his eyes in shadow. The use of the close shot specifically is interesting as it allows the audience to see intricate expressions and skin details on Tyler which make him real and human, yet it will later be revealed that he is a figment of the Narrator's mind. This helps to put the audience in the Narrator's place and will make the twist bigger as the audience also fully believes that Tyler is a real life character within the world as he can be so clearly seen in such a detail that one can pick out the individual beads of sweat and even pores that make up his face. The framing also leads the audience to look directly into his eyes, creating a feeling as if we are directly conversing/listening to Tyler. Another element that brings him to reality is the clear scar on his hand as it is so specific that the audience doesn't suspect there is any way this much detail can be imagined.


Act II_Shot 4:
This is a medium close up two shot which is at a slight high angle, yet can also be classified as an over the shoulder as the characters are looking beyond into their reflection. This is taken at a wide angle (30 mm) with an f number of around f4 to be able to capture a shallow depth to capture a slight rack focus, which creates much less emphasis on the physical characters and instead focuses on the reflection. The mirror plays an interesting role as a frame within the frame in that it is the only way the characters are seen, yet again it is not about the physical presence of the characters but rather their reflection. The mirror reveals the true characters and their inner reflection, which is significant as the mirror is very dirty and cracked as opposed to the typical image of the clean and shiny mirror. While this could foreshadow the secret multiple personalities of the Narrator as broken glass is typically used in this way, this instead reveals that these characters are deeply flawed and broken inside. Despite this, they are depicted close together in the right third of the frame, which means that despite their flaws and fundamental instability, they are meant to be together and understand each other on a much deeper level than they think initially. Given the mirror is rectangular, this could also indicate that despite these characters finding hardship on their own, together they can almost form a sense of stability and keep each other grounded in reality. There is an interesting message as depicted in their clothing given that Marla is wearing black while the Narrator is wearing white, adding to their sense of balance together as these colors correspond to yin and yang. Yin is symbolic of femaleness and yang masculinity (among other things) and while unstable alone, together they bring stability and balance, which closely reflects the back and forth between Marla and the Narrator.


Act II_Shot 5:
This is a clean single full shot taken at a subtle low angle in which the Narrators eyes seem to line up around the top third of the screen. This is likely taken with a wider lens (30 mm) with a larger f-number (f20) for deeper focus yet to also capture the environment fully to emphasize a feeling of isolation. The Narrator (or rather Tyler) is positioned at the center of the frame, which is important as he is coming to terms with the revelation that he has been split between two personalities all along. Being placed in a barren environment, it is emphasized how he has been a single agent all along and just how lonely he is in this moment of realization. His placement between doorways, which almost appear as portals between good an evil as one is cascaded by bright yellow light and the other in a duller almost grey light from left to right, is indicative of his inner turmoil between personalities which are different as night and day. The way he is dressed in comfortable almost luxurious sleepwear as contrast to the crumbling environment around him symbolizes this almost dream like state he's been living in this entire time that is now being met with the crumbling and ugly reality around him now that he's "awake".


Act III_Shot 6:
This is a dirty single wide shot taken at a low angle, but it could almost be classified as an over the shoulder given the context surrounding this scene. This is taken with a lens at around 135 mm and an f-number around f8 which gives some depth of field yet still has a a blur the further back you focus on. Tyler is also placed at the upper third of the screen with the Narrator near the bottom. These elements create a power imbalance with the peak power going to Tyler as he stands above the Narrator. While the Narrator is the most in focus, it is more to show his pathetic state rather than to create a sense of close connection, and while splayed out randomly, it almost appears as if he is reaching to the audience for help. The rails help create leading focus up to Tyler and help emphasize the use of the Z axis in creating depth of field and size variance. The shallow depth of field as you move up serves to shroud Tyler in a blur despite being the most powerful, which emphasizes the fact that Tyler is a manifestation of the Narrators mind and not quite real, yet he is still in a position of power over the Narrator in a battle of mind over matter. The upward angle that looks up from the Narrators POV emphasizes how big a circumstance he must overcome and how it will be an uphill battle that places him at a disadvantage in the moment. While subtle, the white of the Narrator's underwear is in contrast to the black of Tyler's pants, which indicates that in the end the Narrator is the "good guy".


Act III_Shot 7:
This is a close up clean single shot taken at a slightly low angle below eye level. Similar to the close up of Tyler, the lens is likely around 150mm as the background is heavily blurred and the f-number around f5 to further create a blur due to shallow depth of field. These elements create a very intimate, yet tense feeling to the scene as this is the moment where everything comes to a head. His eyes line up to the top third with his mouth in the bottom third which is meant to place emphasis on his expression, specifically the look of resolve in his eyes, and also a focus on the words he will say. The close up aids in being able to see just how much tension he has built up, as evidenced from the highly detailed sweat and scars, which allows the audience to feel the same level of anxiety themselves. The emphasis here is on expression, which contrasts the anxiety that the sweat would indicate as he has a calm yet determined and strong look of resolve on his face. His positioning places him on the left third of the frame while facing the right, which could indicate that he is finally on the road to good and taking back control of his life, in contrast to the previous shots in this analysis in which he tends to be on the right in his low moments. In addition, his position to the left while facing the right, which leaves more open space in the frame, could indicate that he is ending his mental isolation and finally opening himself up to the real world. While the scene color is blue mostly due to the nighttime setting, this could also emphasize this feeling of serenity/acceptance yet resolve that has washed over the Narrator in his moment of final confrontation.

[adgarza8]

Adrian Garza

[MontseNavarro]

Montse Navarro

https://www.canva.com/design/DAGSTcCX5WA/47yUFCON8yCYAKKq5CJqZQ/view?utm_content=DAGSTcCX5WA&utm_campaign=designshare&utm_medium=link&utm_source=editor

[JoshR]

Joshua Rodriguez




Act_I Shot 1:
Close up, Dirty double, eye level, 20mm lens distance
in this scene the protagonist is trying to focus on his meditation,
but knowing another person faking disabilities to come to his therapy meetings bothers him,
he is in focus because he is trying to consent rate, whilst she is in the background out of focus because he is trying to ignore her,
the the fact she is visible, means he is aware of her presence



Act_II_Shot 1:
Medium shot, double clean, low angle, ~35-40mm lens
in this scene he is explaining the rules of fight club but the narrator character is in the shadow and out of focus
because he his not the personality in control at the moment, witch is a hint to the ending of the movie


Act_II_Shot 2:
Medium long shot, double clean, slight low angle, ~35-40mm lens
the shot is a medium long shot or "cowboy" shot because they fight each other in this scene so it is showing that they are both unarmed

Act_II_Shot 3:
close up and a medium close up shot, double clean, low angle, 20mm
this scene is framed the way it is because Taylor has a weapon to this mans head so we see more of him
and he is in power witch is why it is at a low angle, and the mans face is closer so we can see how scared he is in


Act_II_Shot 4:
Medium shot, dirty double, high angle, ~50mm
this shot is interesting cause he is hurting himself so it looks like his boss hit him, the shot is a high angle usually represent a position of weakness, but in this scene he is in control but making it look like he is weaker


Act_III Shot 1:
medium shot, single clean, eye level, 20-30mm lens
in this shot it was revealed that the other character was another personality, in this scene he is talking to himself,
he is in on of the rule of third spots and where his is imagining his alter is in the other rule of third spot,
to show what it looks like when he talking to his alter for an outsider perspective

Act_III Shot 2:
wide shot, double dirty, low angle, 50mm lens
this is the ending shot, he was able to clear things up in his relationship, killed his alter, and now watches as the banks project mayhem targeted fall, this feel more like a master shot being used to conclude all the plots points.

[DanielCabang]

Daniel Cabang



This is a POV shot and a crowd shot. This was done to peer through our protagonist, disillusioned with his everyday life. No one’s face in the shot is particularly in focus, as his life is becoming a blur from his insomnia and monotony. The composition is particularly straight forward, with the top of the ceiling around the top ⅓ of the frame and the shot being at or just below eye level from our protagonist’s POV. He’s sick of this life, so his view of it is going to be rather dull as well. The colors in this scene are all washed out hues of grays and beiges, perfect to highlight the numbing environment the protagonist desperately wants out of.

This is an over the shoulder, dirty single shot which is also a medium close up. Despite Tyler being blurred out, this composition clearly shows how it is Tyler and not the protagonist in control in this scene. We’re made to look down on the protagonist in this state of vulnerability, accentuated by the downwards camera angle. Tyler takes up the rightmost ⅓ of the frame, towering over the protagonist as he takes control.


This is a medium close up shot, dirty single, and over the shoulder. The protagonist’s boss is blurred out slightly compared to the protagonist who is in focus, showing how the protagonist is the one taking control in the scene. This medium close up also lets the viewer see the expression of our protagonist and how he’s become increasingly defiant to his boss, taking power for himself. Despite taking up ⅓ of the frame, the boss looks like he has been backed into a corner by the protagonist.

This is a two shot and is around or just under eye level. This is so the audience can view the drastic difference in Tyler and the protagonist in regards to the action being taken in the scene. The camera is in shallow focus, letting the viewer clearly see Tyler and obscuring the protagonist, letting the audience know that Tyler is in control of the situation while the protagonist can only watch as he does something he really doesn’t want.


This is a crowd shot and is just under the crowd's eye level and above the protagonist’s. The protagonist has just done something that crossed a line, and so we are meant to look down upon him in shame just like the crowd. The faces of the crowd are not blurred or out of focus, as it is important that the viewer understand that the crowd’s reaction to this event is important. This is corroborated by the fact the crowd’s faces are at the top ⅓ of the frame, making us look at their expressions.


This is an over the shoulder crowd shot and is for the most part a full shot, while the protagonist is in a medium shot. This over the shoulder look is meant to show how the protagonist is in clear opposition with everyone else, and how the protagonist’s view just isn’t getting to them. This is a visceral moment for the protagonist and as such everyone looks on in horror and shame while we do not see the protagonist’s expression as he is at his lowest. This shot also obscures the point of interest in the scene, showing how it was a shameful act and how the audience feels like they shouldn’t even be seeing it.


This is a dirty single full shot. The camera is at a very low angle. This shot frames the Tyler personality as the one on top instead of the protagonist, as the protagonist is still struggling in keeping Tyler in control. The low angle also lets the viewer see the protagonist roll downwards towards the camera, showing how he’s losing in this important confrontation, whilst Tyler is firm in the frame near the top.

[Melanie]

Melanie Alvarado

Act 1 - Shot #1:

• ( Shot Size - Close-up | Framing - Clean Single | Angle - Eye level) The director chose to make this a close up to bring us close enough to see his emotional response as this Durden feels like he's about to lose his sense of comfort. The Clean Single Framing shows that he is the most important character in the scene and that his emotion is what we should see. The Eye level angle is meant to make the audience feel empathy or understanding towards him.
• (Screen Direction | Shot Composition | Motion ) The director choose for the real Durden to be composed extremely close up to show the mental distress he feels at losing his "comfort" to Marla. He is also thrown to the right of the screen while Marla takes left, which creates a sense of tug-a-war in the composition. There is not much Screen Direction/Movement, but Durden whips his head around as he looks away from Marla offering a transition of focus from her to him as we see his distraught expression to her presence.
• (Lens/FocalLength - 35mm | Aperture/F-stop/F-number - f1.4 | ShutterSpeed - 1/125 ) These settings were chosen by the director to give a sense of closing in. The 35mm lens was to make the image look somewhat "fisheye" lensed to make his face pop out more to see the devastation on his face. The f1.4 F-stop gives a low field of view which indicates that this Durden is all that matters and also shows that he is in his own little world. The 1/125 shutter speed was chosen to decrease the motion blur during his head turn.
• (Mise en Scene) The director chose to have Durden's face lit to bring further attention to his expression. The audience can see his exhaustion and desperation through how red his under eyelid looks and the shadows or bags under his eyes.

Act 2 - Shot #2:

• ( Shot Size - Medium Close-up | Framing - Dirty Two-shot | Angle - Low Angle) The director chose to make this a medium close-up to display both Durdens interacting with each other and the world. A dirty two shot was chosen to show that the imaginary Durden is always in the back, obscured, in the real Durden's mind. While the real Durden has the camera on him in a high angle, the fake one has it at a lower angle which is to show the power dynamic between the two, where the fake is currently stronger than the real Durden and influencing him.
• (Screen Direction | Shot Composition | Motion ) The director chose minimal screen direction for this shot because the primary focus is how the two Durdens converse and not to show many actions. It was clearly chosen that each Durden would have one side of the screen at a single time, which is to show the duality of the two and to contrast their personalities. There is minimal motion from either of the main subjects, but the fake Durden does turn and answer as though he is giving permission for the real Durden to speak.
• (Lens/FocalLength - 70mm | Aperture/F-stop/F-number - f5 | ShutterSpeed - 1/200) The focal Length is 70mm and was chosen by the director to keep both Durdens in the frame but allowing the Depth of Field to be low. f5 F-stop is relatively low to blur the Fake Durden as he is not truly in the scene but a part if the real Durden's mind. The shutter speed was chosen at 1/200 in order to keep the image clear and lit enough to see both Durdens.
• (Mise en Scene) Although the real Durden is the brightest and biggest subject in the scene, he is important just as the fake Durden is. Despite the blurred background, the fake Durden is very visible. The fake Durden wears a bright reddish-brown suit that contrasts the white/gray background as though to say he is important and dangerous.

Act 2 - Shot #3:

• ( Shot Size - Medium-Full (Cowboy Shot) | Framing - Dirty, Three-shot| Angle - Low Angle) The director chose the medium-full shot size to emphasize the confrontational nature of the shot. The dirty, three-shot was chosen to give three different perspectives of the situation: the victim, the attacker, and the bystander. The camera is closer to the victim which obscured the other two slightly. With the low angle, the audience is given a "front-row seat" to see the emotions of all parties involved. With each face, the audience will feel terror, fear, and disbelief, all in one scene where we tense and wonder if he'll shoot.
• (Screen Direction | Shot Composition | Motion ) It was decided that both Durdens would be on the right side of the screen while the victim is on the left. This gives a sense of (intentionally) imbalanced Composition. The screen hardly, if ever moves here (not cuts), but the actor performances shine here. The victim moves minimally yet frantically so the audience naturally sympathizes with him, yet the audience also connects with the real Durden since he is also frantic and disturbed as he tries to reason with his imaginary self.
• (Lens/FocalLength - 50mm | Aperture/F-stop/F-number - f22 | ShutterSpeed - 1/125) These settings were chosen by the director to keep a sense of physical space between each plane using the lens/focal length. The f22 f-number was chosen to open the depth of field wide enough so that each character's facial expression was visible so the audience could feel empathy. The shutter speed at 1/125 was chosen to keep enough lighting for the performances to be visible and to reduce motion blur during this tense scene.
• (Mise en Scene) The victim has a bright white shirt and has the lighting hitting mostly him, which communicated to the viewer that he is where our eyes must go. The rest of the setting is rather dark including both durdens' clothes blending in to the background which makes it hard to see them and gives the impression of them sneaking around.

Act 2 - Shot #4:

• ( Shot Size - Close-up | Framing - Clean Single/Point of View | Angle - Dutch tilt/Eye-level) The director chose to make this a close-up to forces the audience to see how crazed and dangerous this version of Durden is. With a Clean Single, we have a close, complete, uninterrupted view of Durden which is the Point of View shot from the waiter, who's face Durden is currently in front of. The Point of View shot was chosen to put the audience in the same room as Durden so we could see the way people in the film do. The angle chosen was the Dutch-Tilt at an eye level. The Dutch Tilt tells the audience that something is off or wrong mentally about Durden at this point.
• (Screen Direction | Shot Composition | Motion ) The director chose for the screen to hardly move here, unless to emulate a POV shot. Fake Durden, however, does move closer to the screen until the audience feels discomfort from the encounter. The shot composition almost, if not entirely, consists of Durden. The extreme proximity tells the audience how big a threat he is and how intimidating he is.
• (Lens/FocalLength - 30mm | Aperture/F-stop/F-number - f2 | ShutterSpeed - 1/150) The Lens/Focal Length chosen was around 30mm, which was to give a minor fish-like view to cause a feeling of uncertainty or insanity to be expressed through Imaginary Durden. The depth of field was chosen to be small since in this shot, the background is not in view but Durden is. Therefore, the shutter speed would have to be 1/150 to serve the f-stop/f-number's lighting difference.
• (Mise en Scene) The only "set piece" in this shot is Durden himself. Aside from his size in screen, The lighting calls him out and illuminates his features, such as the near predatory stare he gives the waiter/audience.

Act 2 - Shot #5:

• ( Shot Size - Wide Shot | Framing - Dirty, Crowd Shot | Angle - Low angle(from ground) ) The director chose for this to be a wide-shot to emphasize the change in environment. He made this a dirty, crowd shot to show the following the fight club has gained while also obscuring their faces as they are all insignificant pieces to the puzzle. The angle when the shot is properly oriented, is low at about hip level, but from the original orientation, it would probably be a high angle. The low angle makes the audience feel trapped or feel like they look up to Durden. From the current Angle, the audience may feel "above" Durden morally. Similar to the stairs, it appears as though we are peering down at his further descent into the Fight Club or madness.
• (Screen Direction | Shot Composition | Motion ) The director chose to make the shot upside down to benefit the composition and on-screen motion of characters. The screen's direction rolls backwards until it is upside down (seen here), this rapid motion gives the sense of quick change as if falling into insanity. The upside down camera composition gives a sense of unease as the world has been turned on its head and communicates a sense of "evil". This is further supported with the ascent up the stairs now being a quick and easy descent to the bottom-right, away from the heavens, like a fall from grace.
• (Lens/FocalLength - 50mm | Aperture/F-stop/F-number - f12 | ShutterSpeed - 1/100) A 50mm lens was chosen to balance the openness and ability to collapse the background. The director wanted to capture the other men looking on as Durden, their leader, ascends the staircase further back. For this reason, a f-stop of around f12 was chosen to keep the background and foreground clear enough for the audience to sense the connection between the men. The shutter speed, while slow, allows for the scene to be a bit brighter and still maintains a decent lack of motion blur.
• (Mise en Scene) The director chose to light the stair case to bring our attention to their "decent" deeper into the mess.
• (Other) [Shape within a Frame] The characters ascending the staircase are inside a sort of frame with fake Durden in the middle

Act 3 - Shot #6:

• ( Shot Size - Medium-Full (Cowboy Shot) | Framing - Clean Single | Angle - Low Angle) The director chose a medium-full shot to show off the confrontation between the two Durdens, this shot size was also chosen to empathize the emotions during the twist. It makes the audience feel uneasy, seeing that the real Durden is leaning forwards while having an entire conversation with someone in his head. Similarly, the clean single was chosen to show that it was all him; there is no other friend or enemy. The low camera angle was chosen to give the real Durden a bit of power since he has figured out what happened to the other Durden. This is presumably also giving power to the fake Durden since he is technically a part of the real Durden.
• (Screen Direction | Shot Composition | Motion ) Throughout the movie, both Durdens were on screen together, one on left and the other on right. The director chose this shot composition to show the lack of the fake Durden and to emphasize that he is a product of the real Durden's mind. The screen direction is slight and in the z direction through a zoom in. The motion of the real Durden leaning in, reflects how the audience feels on the edge of our seats awaiting the answer as though we were in Durden's shoes.
• (Lens/FocalLength - 70mm | Aperture/F-stop/F-number - f8| ShutterSpeed - 1/125) The 70mm lens was chosen by the director to keep the background to focus on Durden as he is engrossed in listening to his imaginary version of himself. The F-number was chosen to be around f8 to keep everything in a decent focus including Durden's emotions on his face. This lens and f-number was also chosen to give a good view of the empty chair in the corner where the fake Durden "is sitting." The shutter speed is kept rather fast since this is an intense moment that doesn't include dark lighting.
• (Mise en Scene) The director specifically chose to include the empty chair where the real Durden is staring, since that is where he believes the fake Durden is. The lighting in the room is well lit, unlike some other parts of the movie with the fake Durden, so the audience could clearly see that he's not there. From this angle, the shadows or bags under Durden's eyes are noticeable which make him seem desperate or in great disbelief.

Act 3 - Shot #7:

• ( Shot Size - Wide Shot | Framing - Dirty, Single Shot | Angle - Low Angle) The director chose the Wide Shot to show both characters in their environment and to have them face off and to show their varying positions of power. The director chose to make this shot a dirty Single. Fake Durden is only considered a subject because his face is the only one present. The low angle was chosen to push the power dynamics further by putting Fake Durden towards the top of the screen and the real one to the bottom offscreen. This shot makes the audience understand who's in power and makes us tense during the climax.
• (Screen Direction | Shot Composition | Motion ) The screen hardly moves to exaggerate the current positions of the characters. The real Durden falls down the stairs after being "pushed" by the fake version, this is to show the dramatic change in power dynamics and control.
• (Lens/FocalLength - 35mm | Aperture/F-stop/F-number - f16 | ShutterSpeed - 1/70) The director chose the 35mm lens to push how massive the stairway appears and thus how far stronger the imaginary Durden is. The F-number was chosen to be around f16 to give a big depth of field for the stairwell but to keep a feeling of distance as the audience peers up at the imaginary Durden. There is a noticeably slower shutter speed here with the hand blurred, and this is because of the lighting.
• (Mise en Scene) The stair case immediately directs the eye upwards where the most light is. The "fake Durden" stands on the top in soft shadows, but "real Durden" is illuminated by the lights hitting his shorts and contrasting the stairs' color.
• (Other) [Shape within a Frame] At the top of the staircase, the fake Durden is in a frame formed by the ceiling, walls, and floor. This makes appear as though he is on a pedestal held in high regards, in this case its a show of power.

[Adham Aatiq]

--> Adham Aatiq


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1. This Frame is Master Shot, at Eye Level and a Crowd Shot. As the Narrator talks about his insomnia he sips from his coffee. You can then almost immediately see that everyone in the scene has coffee as they do monotonous tasks. The Compostion of the scene frames all the people in between the ceiling and a desk to make it feel more claustrophobic. Seeing everyone’s profiles in this shot really strips people of their personality, making them practically faceless. With the tinged lighting and the all encompassing beiges it really feels like a bland environment with a loss of life. The depth of field is a Deep focus with a lens that’s more than likely 30mm. Despite being an office the lighting isn’t bright so shutter speed must be on the lower end. It help the scene feel a tad more muted.

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1. It’s Close up Shot to show both the Narrator and Tyler’s faces, a Low angle since they are sitting down, and aTwo Shot. The camera lens is likely a 50mm with the F-stop being 1.4 giving the scene a shallow FOV. The shallow field of view blurs the foreground leaving Tyler’s face slightly blurred while leaving the Narrator’s face crisp. Interestingly enough the most interesting detail I noticed was actually from the background. Notice how the passenger on the plane all have empty seats next to them. The pattern would have you infer that the seat next to the Narrator would also be empty. Which it is since Tyler isn’t real.

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1. This is a Medium Close up shot with Over the shoulder framing and a low angle. As Tyler pours acid on the Narrator hands the scene has Tyler standing over the main character as he writhes in pain. The camera lens is around 70mm. With the low angle it clearly shows the power dynamic between the two and this frame in particular shows his face. It has a Shallow FOV blurring out the foreground because only the Narrator is important in this moment as he must accept the pain before Tyler pours vinegar on the wound. The scenes lighting is on the darker side and the background is so dim it’s almost completely black allowing the characters to pop. The camera remains close to the two in the scene as they struggle it really makes the whole moment uncomfortable.

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1. This frame is a Medium Close up Shot, Single Shot and at an eye level angle. The camera is a 45mm lens. It emphasizes the Boss’s reaction to the situation before him as his eyes follow the chaos as it unfolds in his office. The background is extremely bright as the Boss’s face is dark in contrast. He is in complete shock as he watches the Narrator beat himself up to a pulp, and the lightning reflects the darkness he’s witnessing.

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1. Medium Close up Shot, Low angle Two shot. Reds and Blues. 140mm Shallow focus. This Frame shows Tyler and the Narrator as Tyler just threatened to kill a store clerk if he didn’t pursue more with his life. Having the Narrator witness the actions like a bystander as Tyler acts seemingly against the Narrators will is shown clearly here. By blurring the Narrator and having him stand back at a distance it helps convey that. Also I would like to note the facts Tyler is wearing reds while the Narrator is wearing blues. Color theory would say that the reds give a much more violent tone as blue wouldn’t.

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1. This frame is a Wide Shot with over the shoulder framing, Crowd Shot. As all of the Fight Club members surround the corpse of Bob on the table dressed in black, the Narrator stands as the only one dress in any sort of color. This all helps highlight how the Narrator’s view of the situation do not align with the crowd. As he looks around in disbelief that they aren’t showing any humanity while everyone else stares blankly at the table with their fallen comrade on it.

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1. This frame is a Medium Full, low angle double shot that emphasizes the Narrator and Marla’s powerlessness in the situation unfolding before them. The use of the window perfectly providing a box for the each of them is also a nice touch. The camera more than likely used a 80mm lens allowing them to fully capture the scene. With the bleak lighting and silhouettes it creates a somber mood as the exploded buildings collapse outside the window.

[Meg Villanueva]

Meg Villanueva