Fall 2024 | Watch with Purpose #2 - Fight Club

[CKing]

Cara King
________

[uggievin]

Vinnie Melendez

[allyomelet]

Allison Maldonado

[Roberto]

Robby garcia

[BSmith01]

Blake Smith


Act I

Shot 1:

The wide shot in this frame emphasizes the literal and figurative distance between the two characters. It is a dirty single because they are in a public place, but all attention is meant to be on her. She stands out in the framing and in the narrators life. The angle is low, showing that she is comfortable with the situation and is where she wants to be. The shot follows the rule of thirds very nicely, emphasizing our two characters. The narrator turns his head from right to left in order to see her, creating some tension. The focal length is a bit short, emphasizing the narrator’s head in the frame. The f-number is likely low, causing noticeable blurring in the foreground and background, so our focus is on Marla. The color in this scene is already quite drab, but in the clinical setting of a tidy conference hall, Marla’s unkempt hair and smoking cause her to stick out like a sore thumb. She is framed by the doorway, creating a sense of intrusion on the Narrator’s safe space.


Act II

Shot 2:

The shot here is medium wide. It is difficult to call this an outright dirty double shot, because Tyler is so obscured here by the background blur, but we are definitely meant to be paying attention to him and his acting. The angle is low to show that Tyler has this situation under control even if it is an unfamiliar one for the Narrator. The characters are both placed in areas where are eyes are drawn to. The composition is very flat to emphasize the strange situation. The focal length is quite short, calling immediate attention the narrator’s head in the frame and pushing Tyler back, almost as if he is the devil on the Narrator’s shoulder. The f-number is very low, which leaves Tyler in extreme blur, likely to draw attention to how strange it is that he goes unnoticed. The setting is very clinical and blue, which causes the Red of Tyler Durden to pop in the scene. Tyler is also framed by the window behind him.

Shot 3:

The shot here is medium close up because we are meant to be completely focused on the mannerisms of the Narrator. It is a clean single, despite the office setting, drawing even more attention to him. The angle is low to create a sense of power. Drab office setting makes his acting stand out all the more. The focal length is a bit short and the shallow focus is placed squarely on the narrator. The narrator cuts his boss off from the rest of the scene, isolating him both in the shot and physically as he imposes upon him. The bosses stiff collar is clearly in frame, drawing more attention to how disheveled the narrator is in comparison.

Shot 4:

The shot here is a medium, which draws attention to Tyler’s body acting in the scene. The shot is a double, showing us the differing reactions between these two characters. Even though the narrator is much closer to the camera and the action in the scene, he is not the focus and goes entirely unnoticed. The angle is low to show Tyler’s confidence despite the tense situation. Composition wise, the shot places almost equal importance on the two characters, even though the Narrator is silent throughout, perhaps hinting that they are one and the same. The characters are both placed in areas where are eyes are drawn to. The focal length is pretty short, pushing Tyler back, while Norton observers. The f-number is low, blurring the foreground. Tyler stands out from the dark background with his white shirt, emphasizing his confidence and boldness.

Shot 5:

The shot here is wide, displaying the two main character’s reactions as Tyler’s victim runs away. No faces are shown in this shot, placing all of the importance on composition and body acting. Tyler takes center shot as he looks upon his work and what he believes to have been a good deed, while the Narrator looks on in horror. We are put over his shoulder to assume his point of view. The focal length is a bit short here, emphasizing the dynamic between the three characters in the scene. Tyler watches his victim, while the narrator watches him, almost as a bystander. The f-number is medium, which puts much of the focus on Tyler. Tyler’s red coat stands out in the otherwise dark scene. The narrator is cutoff from the rest of the scene by the truck, creating the sense that he had no choice, but to watch Tyler’s plan unfold from the background.


Act III

Shot 6:

The shot here is medium, placing emphasis on the disgust at the Narrator at the reactions of the gang around him. It is a crowd shot, as this shot revolves around the interaction between the main character and the others in the room. The angle is slightly high, showing Norton’s disgust and discomfort with the situation. He is entirely surrounded by the crowd and almost enveloped by it as they chant. The focal length is average, adding to the feeling of the narrator being surrounded by the crowd. He is ironically powerless here, considering the members believe he is their leader. The f-number is high, which gives a very broad focus. The Narrator’s saggy red plaid pajamas stand out in the crowd of sleek black t-shirts and leather jackets. He is surrounded, yet isolated.

Shot 7:

The shot here is medium wide. It is a clean single, placing all the focus on the Narrator and Tyler watching over him. The angle is extremely high, with Tyler at the top right of the shot and Norton at the bottom, displaying the intense power dynamic. The Narrator has lost all power here. The Dutch angle amplifies the direness of the scene. The focal length is low, making Tyler seem very large on the screen, once again displaying his power. The f-number seems average, and the focus is mostly on the Narrator as he falls backwards. We watch over Tyler’s shoulder, placing the point of view on him, as he presumably takes over the Narrator’s body.

[vbarajas]

Valerie Barajas

[Leopoldo]

Leopoldo Esquivel

Act 1


Shot Size :Master Shot Because it shows the relationships and characters in the scene.
Shot Angle:Over the shoulder/Low showing the confusion/discomfort in the men had when marla walked in.
Shot Framing:Crowd Shot is used here to show that all the men are in discomfort when Marla walked in.

Composition: The composition of the scene captures the discomfort that all the men have when Marla walks in.

Direction:The camera is showing the tense atmosphere staying still.

Motion: The men turning around shows their confusion on why Marla showed up .

Lenses and Other Camera Settings: 40mm since the shot is wide with many characters in it. A F-stop of f/20 since everything in the frame is being shown to have all the confusion shown on the men clearly. The focal length blurs out Marly showing that she doesn't belong there.

Mise en Scene:The lighting is coming from straight above focused on the men.

Other Relevant Info:No frame within frame but there is the men turning around showing that Marly shouldn't be here or their discomfort of her being there.


Act 2

Shot Size :Medium Shot.
Shot Angle:Low showing the power Tyler has.
Shot Framing:Single putting Tyler in the spotlight of attention.

Composition:The composition of this shot captures the power Tyler has.

Direction:The camera is orbiting around Tyler while he is explaining the rules of fightclub.

Motion:From left to right and is ascending showing the rise of power Tyler has at this moment.

Lenses and Other Camera Settings:45mm with a F-stop of 1/5.6 showing a shallow depth of feild focusing on Tyler to empazie the focus everyone has on him at the moment.

Mise en Scene:The lighting is focused on Tyler where everywhere else around him is dimmer. It makes the audience have their full attention on Tyler.

Other Relevant Info:No shaping but Tyler is moveing from left to right then right to left showing that a fight is about to start.



Shot Size :Medium Close Up is used here to show the emotions of the main character.
Shot Angle:Low showing confusion.
Shot Framing:Single Clean He is the only character in frame with his face shown.

Composition: The composition of this shot has Tyler in the background and the main character moving around to focus more on him in the end of the shot .

Direction:The camera is following the main character. Focusing on him to show he wants nothing to do with Marla.

Motion:From left to right to show his concern on how she found him and why she is calling.

Lenses and Other Camera Settings: 50mm with a F-stop of 1/2.8.

Mise en Scene:The lighting coming from the sun is focused on Tyler but there is other light coming from above that is more focusing on the main character.

Other Relevant Info:The fact that Tyler is blured in the background is showing that he is a distraction.



Shot Size :Medium-Full.
Shot Angle:Low for the main character and high for Tyler.
Shot Framing:Over the shoulder showing their relationship.

Composition:The composition of this shot has both Tyler and the main character in frame displaying their relationship.

Direction:The camera is following Tyler.

Motion:The camera is moving down showing the inevibility of what has happened.

Lenses and Other Camera Settings:40mm with a F-Stop of 1/focusing on Tyler in the center.

Mise en Scene:The lighting is coming from the sun. The clothing is casual for the main chatacter and for Tyler he is wearing a bathroab to emphazie what happned last night with Marla.

Other Relevant Info:This shows their relationship and how they think of eachother internaly.




Shot Size :Close Up Shot showing the time of anxiety he has when getting a call from the police.
Shot Angle:Low to show his vunerabilty.
Shot Framing:Single Clean.

Composition:The composition of the shot is just the main character deoicting his confusion.

Direction:At first it shows him descending to grab the phone showing that him getting this phone call is inevitable and next right after he picks it up the camera rises showing that he is working against the odds even after his condo was destroyed,

Motion:From left to right following the main character.

Lenses and Other Camera Settings:45mm with a F-stop of 1/5.6.

Mise en Scene:The light is mainly coming from outside. He is wearing casual clothes.

Other Relevant Info:The converstation is giving a hit/forshadowing that he was the one who blew up his how condo.


Act 3


Shot Size :Medium Full Shot.
Shot Angle:The main character has a low angle while from the perspective of his other half who has the control is looking down on him from a high angle. This is used to show who is in control/power.
Shot Framing:Over the Shoulder.

Composition:Both Tyler and the mc are in frame with the focus on the main character realizing that he is both himself and Tyler at the same time.

Direction:The camera is still showing the tenstion he has now with the relization of what he has done and who he is.

Motion:The motion is the abrupt head turn after he ends the call with Marly to see Tyler behind him.

Lenses and Other Camera Settings:45mm with a F-Stop 1/5.6 the focus being the main character not Tyler.

Mise en Scene:The lighiting is mainly coming from the lamp. The second lighting is coming from outside.

Other Relevant Info: The abrupt change in perspective from the last shot to this shot gives off the feeling of him going more and more insane/impatient.



Shot Size : Wide Shot.
Shot Angle:This is a high shot because he has come to terms with Tyler and finally erased him to go back to his normal self.
Shot Framing: Two Dirty Framing is used to show the relationship with Marly at this point in the story.

Composition:The composition is the main character and Marly. The focus being the city getting destroyed.

Direction:Moving into the character closer to show that they have gotten closer.

Motion: They are moving to look at eachother solidifing that they are closer.

Lenses and Other Camera Settings:50mm with a F-Stop of 1/22

Mise en Scene:The light is mainly coming from the lamps and city lights.

Other Relevant Info:The fact that he survived and was able to still speak after shows that he didn't shoot himself he shot Tyler killing him and freeing himself from the creation he made Fightclub and able to make a proper relationship with Marly.

[benvaz722]

Benjamin Vasquez

Act I:
This frame is a full shot of Marla in the street with passing cars around her. It is a dirty single as you can see the people in the background, but the faces are blurred, focusing on Marla. The angle of the lower shot so and the framing place her face on the top line in the rule of thirds; this allows the audience to put more focus on her while leaving the background people in the middle with no importance to the story. To blur the faces the director might have gone with a longer lens of 150 and a smaller f stop of 5. To compose for the night scene, they would have to get a slower shutter speed of 1/200, which explains the blur of the cars, and an iso of 1600. The disheveled city at night, cars speeding past the character, and her rough-looking appearance further sell the idea that this character doesn’t care much about living.

Act II :001
This Frame is a two-shot of Tyler and the narrator behind a bar at night. It is also a cowboy shot best to show the hands since the narrator is getting ready to punch Tyler and it is also enough to see their faces. The camera is in a lower position making the audience look up to these characters both literally and metaphorically. The heads match the upper two connection lines of the rule of thirds. It looks like the background is brought in the director probably used a longer lens of 160 mm to frame the narrator under the light bulb kind of foreshadowing the twist that Tyler and the narrator are the same person. This also while Tyler is left in the dark and the door of the bar acts as a barrier of separation. This scene is also in the dark so a lower shutter speed of 1/125 and iso of 1600 should get better quality. A f-number of 6 should blur some of the details but not too much.

Act II:002
This is an establishing shot that introduces the house that Tyler stays at and will eventually become a base of operation for the project Mayhem. The camera slowly pans up giving the house a lot of attention signifying its importance. The angle is low making the house feel larger and important. This could be a longer lens of 200 mm, and a higher f stop of 15 to bring in the detail. The house in the dark and looking rundown further characterizes Tyler as the house is grand like him but also broken to show his belief that nothing matters. The shot is in the dark so a lower shutter speed of 1/150 and iso of 1600 can be used to take in more light from the several little light areas.

Act II: 003
This is a dirty two-shot since it has a third character, but we only see the faces of the Tylar and the narrator. This shot is a direct or slightly lower angle still framing our characters as heroes. The size of the shot is a close-up of the narrator, and a cowboy shot or medium shot. These sizes allow the viewer to see what is happening to the narrator as he is lying covered in blood at a hospital and to read the body language of Tyler with his arms crossed and not caring. The heads of both characters line up with the rule of thirds that tells the audience where to focus. The lens is probably 40 mm with an F-number of 5 to get that nice blur of Tylar. This is important because the line between Tyler and the narrator begins to blur with the narrator being a subconscious vehicle for Tyler. Since the scene is indoors the shutter speed can be higher about 1/250 with an ISO used for inside shots like 800.

Act II: 004
This is a three-shot at a low angle that allows the viewer to see all three characters. The shot size is a medium shot for the store clerk and a cowboy shot for the narrator and Tyler. These attributes combine to help the viewer to see the facial reactions of the characters with the clerk being scared, Tyler being serious, and the narrator worried that they are going too far. This also allows us to see the hand of Tyler which has a gun. The director used a lens of 50 with a narrow f-number of 10 to get all three with detail but also blur the background. The scene is outside in the dark so a lower shutter speed of 150 is needed to minimize blur it helps that they are not moving much. The iso used for the night is 1700 to bring in more light need to bring in some of the detail.

Act III: 001
This is a two-shot of both characters in a medium shot at a slightly lower angle. This scene has the light of 18-Wheeler illuminating the faces of Tyler and the narrator acting as sort of a white light of the afterlife. Tyler accepts death and encourages the narrator to let go, but the narrator is holding on fighting to turn the wheel. This is probably a shorter lens of 30mm with a narrow f-number of 6 to bring greater focus on both characters. The director wants the light to be of symbolic importance so the shutter speed shouldn't be too fast like about 150 and a iso of 1500.

Act II: 002
This is a two-shot of Marla and the narrator holding hands at a slightly lower angle; both being in their own boxes that are shaped by the windows, but then breaking that barrier with their handholding. This is also a wide shot with a camera lens of 45 and a larger f-number of 15 to take in the city also. The shape within the frame leaves out the city but they inside they are together. This is a darker screen so a slower shutter speed of 150 and iso of 1000. Both being with large coats almost leaves them looking the same possibly signifying unity.

[SamseraiLopez]

Samserai Lopez

Act 1


1.

• The shot is a close up that starts as a dirty single but switches over to a two shot that’s shot from a low angle. We’re meant to see their facial expressions here, we don’t need to worry about body language or performance in movement. We want our view of Tyler to shift, hence why we switch our focus as well. We now look up at him the same way our main character does.
• The shot composition has our main character covering Tyler until he peeks into frame then ends up taking up a third of the frame with our main character leaving two thirds of that frame space open yet he’s directly on top of him invading his space. We need to feel the attachment that’s almost claustrophobic that’s happening here. Almost like a parasite- it’s uneasy and entirely unbalanced and the viewer needs to see that.
• A higher f number that they’re using to frame Tyler but later use a rack focus to bring our main character back into focus and a difference in depth of field, as the viewer we’re literally seeing Tyler’s importance appear- it’s meant to metaphorically portray the way Tyler just… shows up in his life.
• The lighting here is used to highlight who is important right now, it’s dim and shows Tyler in the dark at first then switches to have him illuminated almost as if he’s just appearing into focus. His clothing and color palette are direct opposites of our main character as well.
• In this sequence we have them boxed in by those lines of the environment in the back that is furthering the idea that these characters are now linked and stuck in a tight space together. Having them fit into this square where there’s rigidity and such contrasting characters, we’re foreshadowing into the nature of this relationship.

Act 2


2.

• The shot is a medium full two shot seen from a low angle so we can see the tension of the two as he invites him to invite himself to live with him. It’s an interesting dynamic happening because we almost feel as if there’s an impending doom with the way we’re looking at them through a cowboy shot like one of them is going to pull out a gun but instead we have the MC opening himself up and letting Tyler in.
• The composition here is boxing both of our character in and later in the sequence pulls them each into a half of the door frame so we’ve got a lot of squares to depict these two as if they’re trapped together but then split in the middle so we can see they’re just two sides of the same coin.
• The f stop here is on the lower side like f/16 to show them in focus but everything past the doors is a blur because it’s not important but we still see the phone booth. The ISO is also lower to really push that darkness in the lighting here to emphasize the dark sides of both of our characters. We’ve also got a 55mm focal length to really flatten that background and show those boxes we’re framing our characters with.
• The lighting is sparse to highlight the things we’re meant to see, the faces of our characters slightly but mostly the box they’re framed within as well as that phone booth on the side to illuminate Tyler’s side asif to say that he’s the brighter side, there’s more to imbalance here so of course our MC has to let him in, he’s illuminating “the way” so to speak.
• We’re following the same pattern of these rectangular shapes within frame to push our characters closer and closer together to unify them and entrap our MC.

3.

• This is a medium full shot that transitions from a crowd shot to a dirty single from shoulder angle to show the environment around but still be able to see body language.
• The shot composition here is to make Tyler the biggest character and focal point for the shot so we know his importance in this interaction. We’re also meant to learn the dynamic of the soon to be “Fight Club.” The motion here is intended to portray this sense of de escalation leading us down the rabbit hole so to speak.
• The focal length is shallower with the fstop used to rack focus from Tyler to the MC- we’re setting this rack focus from each of them as a habit at this point almost as if they're blurring together into one.
• The lighting is sparse to highlight the things we’re meant to see, the faces of our characters slightly but with only Tyler illuminated- this is a descent into darkness, everyone is blending into the dark. We’re in hell now so to speak and Tyler is the ring leader in this.
• We’ve got this power play being depicted in this frame to show that although the MC is taking up a large space he’s insignificant in this even with Tyler small we know who is leading this. .

4.

• Technically this is a medium close up at shoulder level. The shot itself is focusing on the MC but we want to see Tyler’s full body in the back just out of focus. A focal point but not the main idea here, just a whisper really.
• The shot composition here is interesting- we’re framing this as if Tyler is the devil on his shoulder- they intentionally placed this so it’s like he’s still here even though he’s not as important in the actions but rather we are shown that he’s ever-present.
• Here we have an f number closer to f 2.8 or so so we have a clear view of the procedure taking place but can see Tyler in the back unphased by the chaos he’s created and to have him look so close but far we definitely used a longer focal length.
• The lighting here is blue and illuminated to give us this sense of calm despite the actions afoot- we see that the MC has accepted his fate and is playing into it despite the contrast of the chaos surrounding this sequence of events to end up at a hospital.
• There’s still a clear power dynamic being depicted- despite being further Tyler is still framed in that box and yet he’s above our MC. He’s got control and event when our MC isn’t trapped with him in a box there’s always a bigger box to contain him and he’s close enough to stay in control.

5.

• This is a close up single shot that’s from a low angle- this is to really have that Alice in wonderland moment where everything is about to go wonky. We’re meant to feel uncomfortable with this close up.
• The camera movement here is very trippy where it’s hazy and moving around back and forth almost like how they depict when a character is on hallucinogens in film which is trying to introduce the idea that maybe… things are not what they seem especially when we break the fourth wall and change narrators. The show we thought we were watching is over, now reality is broken and the real show begins especially with the film that ends up showing on screen.
• The f number here is low so we have a fuzzy background and the focal length is around 50 since we can see the dimensions of his face here almost like he’s coming at us but not quite a fish eye yet. I’m sure there’s some shutter speed changes used to show that jitter/fuzziness in movements from our character.
• Our lighting is so low here and our character looks sweaty and crazed almost- we’re setting the scene for what’s to come.
• We’re setting up this view of that is depicting how the story just collapsed and now the chaos is taking on a form of its own that’s outside of the MC control, although we knew Tyler was in control here now we see what that was leading up to and all the visual cues are clicking together in this moment to reveal the things that have been there the whole time that we missed and the story now has a mind of its own and isn’t pretty and now we just have to watch it unfold.

Act 3


6.

• This is an wide shot that’s at a dutch angle from a birds eye view to show our MC in his environment now that things are spiraling out of control we’re meant to see that this is the sequence of events that are going to lead to no good, the dutch angle is making us even more uneasy on what’s to come. We’re meant to see the state of the MC and the destruction around him. His world is literally crashing down.
• The shot composition here is still framing our character in a square stuck together with them taking up a third of just a corner of the screen with… nothing else in view of importance.
• The ISO here is much lower- we can barely see what’s happening on screen- you really have to strain to see especially if you’re watching this in the light- good luck. The higher f number so they’re all clear.
• The way the characters are placed and framed with tyler in dark clothes so he fades into the darkness but the MC has this white shirt that’s bloodied to really show the last pieces of sanity are muddying into the darkness as well but contrast enough to show the light and dark on his shoulder so to speak.
• The movement here is meant to take in the destruction but focus on the downfall of our character- a descent into insanity in this fever dream or hellscape of reality- who knows.

7.

• This is another wide shot from eye level that’s a dirty single. We’re meant to see the MC in relation to Tyler and the power dynamic still at play.
• The shot here it split with a beam to separate our characters with Tyler taking up most of the first third and our MC in a small corner so we see who is in control here.
• We’re using a high f number here to show both of our characters clearly despite the distance. They’re both important in this shot. The focal length is shorter to create that distance and size difference.
• We’re using the building here to indicate those separations and cages that’ve been depicted periodically through and we still have that light illuminating Tyle similar to the phone booth from earlier. We’re still showing that difference in control and who is carrying the light so to speak. Those square shapes that are highlighting our characters have become very indicative of who Tyler is to the MC and how they’re connected which is really interesting to see and how quickly he’s lost into the abyss.

[JocelynHop:3]

Jocelyn Hopkins

Act I

Shot 1


1. These are to show that the Main protagonist is focusing on the tie, which correlates with the script, but it also doesn't show the character's face as if he isn't important in this moment.
a) Shot size: Medium Shot
b) Shot angle: Low Angle
c) Shot framing: Single

2. These decisions were chosen to enforce how the protagonist is only focusing on the blue tie, however, the environment hints at an uncomfortable state he's in at work with the tint making the scene feel gross or groggy along with the blur.
a) Shot composition: Shallow focus, color is a greenish dull while also blindingly bright, somewhat like an overbearing hospital.
b) Shot direction: The character in the frame is Screen Left to Screen Right
c) Shot motion: Camera quickly pans from down to up

3. Lenses and other camera settings: The focal length is likely 10 mm - 15 mm, the Shutter Speed is about 1/60 - 1/125, and the F-number is about 6 - 10. These settings were chosen to emphasize the distortion the protagonist is feeling at this moment due to his insomnia.

4. mise en scène (set, lighting, costume, makeup, etc.): As said previously, the greenish gross lighting in this shot adds to how the protagonist is feeling in the moment with his insomnia. The costumes they are wearing and the set establish the location of the protagonist at his job, with the lighting showing that his job isn't a very fun one.

5. Other relevant information: This shot, because of the cubical and the lines of the ceiling and wall intersecting so close to each other, makes this frame and space feel very boxed in, along with the character in frame blocking the exit to the cubicle makes the space feel extremely trapping and stuck in.


Act II

Shot 2



1. These were chosen to show the entire scene and the relationship between the characters. It also allows the audience to see how Tyler, the second personality, is attempting to change and get through to the protagonist.
a) Shot size: Full Shot
b) Shot angle: Low Angle
c) Shot framing: Two Shot

2. These decisions were made to Compare the characters, specifically with the lighting, but also to show how important the characters' relationships with each other are, along with keeping the importance of the location, as this ends up being the start of the Fight Club.
a) Shot composition: The shot is very dimly lit, Deep focus
b) Shot direction: Tyler is moving SL to SR while our protagonist is moving backward from Sl to SR
c) Shot motion: Camera pans from Screen Left to Screen Right

3. Lenses and other camera settings: The focal length is 15 - 35 mm, the shutter speed is about 1/900 to 1/1000, and the number is about 22. These settings were chosen to allow the audience to see a clear picture of the entire scene along with the background as this location becomes the beginning of Fight Club, so the entire shot is important.

4. mise en scène (set, lighting, costume, makeup, etc.): The lighting is extremely dark as it is nighttime, but it also helps to signify the relation between the characters, how Tyler is in the light, and the protagonist is in the dark. The set up of the actual set along with the lighting, shows Tyler as open, free, bright, and tall, while the protagonist is small, stuck, dark, and closed off with nowhere to go, this also adds to their dynamic and how each character is portrayed to the audience.

5. Other relevant information: There is a clear rule of thirds with Tyler on the left and the protagonist on the right as Tyler walks toward the protagonist showing the focal points in the scene.


Shot 3



1. These were chosen to emphasize the new importance of this character, at first, she was a nuisance and a temporary obstacle, but now she is a permanent and more important obstacle to our protagonist. The High Angle also showcases how she is a seemingly powerless character despite being the reason the protagonist cannot sleep.
a) Shot size: Close Up
b) Shot angle: High Angle
c) Shot framing: Single/Insert

2.
a) Shot composition: Yellowish tone and contrasts with her blue dress, light shows off her face
b) Shot direction: Diagonal from Sl to SR and somewhat upside down
c) Shot motion: No Motion

3. Lenses and other camera settings: The Focal Length is about 300 mm - 400 mm, the Shutter Speed is about 1/900 - 1/1000, and the FNumber is about 1.4 - 5. These settings were chosen to prioritize the character and her facial expression fully.

4. mise en scène (set, lighting, costume, makeup, etc.): The Lighting is to show the audience to look at her face because that is the most important part of this scene.

5. Other relevant information: She covers the entire shot to show she is the only important thing in this scene.


Shot 4



1. These were chosen to show the strong importance of him getting his hand chemically burned and how he can only focus on the bubbling of his skin and flesh.
a) Shot size: Insert Shot
b) Shot angle: High
c) Shot framing: POV

2. These were chosen to show that even though this situation is harmful and gross, he is technically on the path to being the personality he wants to become (Tyler) even if, in the end, the actions he commits aren't what he wants, but the personality and character is. So the fact both hands are in straight lights shows connection and how he's on the right path to becoming that personality.
a) Shot composition: greenish-yellow coloring, dull but not dark, but also not bright
b) Shot direction: Straight line vertical
c) Shot motion: No Motion

3. Lenses and other camera settings: the focal length is 300 - 400 mm, the shutter speed is 1/1000, and the F-number is 1.4 - 3. These settings were chosen to add to how the protagonist can only focus on his hand and the chemicals burning his skin and flesh.

4. mise en scène (set, lighting, costume, makeup, etc.): The sound in this scene is quite loud and chaotic, and you can clearly hear the sizzling of his hand, which all enforces how the protagonist can only feel, hear, and see his hand being burned. The color in this scene is also a greenish yellow, which indicates how he is feeling at this moment, likely nauseous and in pain.

5. Other relevant information: Tyler may have his hands where they are to keep the protagonist from moving or running away, but they're also framed way to box off his hand as the center of the attention and signifies that Tyler now truly has the protagonist in control so much so that he traps him even if he doesn't know it yet and physically harms him.


Shot 5



1. These were chosen to encompass how important Tyler is to this group however, it also shows how the people are not important to Tyler. The low angle and the way everyone is positioned show how powerful Tyler is in this large group.
a) Shot size: Full Shot
b) Shot angle: Low Angle
c) Shot framing: Dirty Single

2. These were chosen for this scene because the lighting emphasizes Tyler as the most important, but along with that and the other settings, it shows how Tyler is in power here, considering he just won a fight and allowed the right for the Club to stay at this location. It also adds to the fact that Tyler and the protagonist are going on the right path and becoming more powerful to reach their goal.
a) Shot composition: The lighting directs the eye to Tyler
b) Shot direction: Vertical Straight Lines
c) Shot motion: No motion

3. Lenses and other camera settings: The Focal Length is 10 - 20 mm, the Shutter Speed is 1/900 - 1/1000, and the FNumber is 8 -15. These settings were chosen to emphasize the importance of Tyler in relation to the group but also to allow the audience to focus solely on Tyler.

4. mise en scène (set, lighting, costume, makeup, etc.): The lighting is a more greenish and quite dim color except for on Tyler. Along with the lighting and him being all bloody, this showcases how Tyler likely feels in this moment, all messed up and gross, while the lighting only on him showcases his importance to both the audience and the group. The light and blood also hint at the violence he creates and how the group will follow him no matter what.

5. Other relevant information: The way the people are lined about surrounding Tyler could showcase that they are surrounding him to harm him or they're surrounding him to protect and listen to him.


Act III

Shot 6



1. These were chosen to emphasize the protagonist and how currently his mindset is completely different or upside down like a shot. He's becoming a lot like Tyler in this scene, and on top of that, it shows his mental state, along with the fact that he was upset.
a) Shot size: Full shot
b) Shot angle: Low Angle but upside down
c) Shot framing: Dirty Single

2. These were chosen to show that the protagonist is changing rapidly from where he used to be to who he wants to become (Tyler), and based on the direction they're moving, indicates the strength of the inner conflict he has with himself. They also indicate that this situation is both good and bad.
a) Shot composition: The shot is extremely dark and spins quite fast when it changes the angle of the shot to upside down.
b) Shot direction: They start up the stairs going from SR to SL then when it goes upside down, they end up going SL to SR.
c) Shot motion: The camera starts right side up and spins, going up and ending upside down.

3. Lenses and other camera settings: The focal Length is 15 - 35 mm, the shutter speed is about 1/800 - 1/1000, and the F-number is 3 - 6. These were chosen to emphasize the protagonist but also to show how everyone is looking at him, confused as to why he hurt the guy so badly.

4. mise en scène (set, lighting, costume, makeup, etc.): The lighting is extremely dark, with the protagonist barely lit up to show that he's the only important aspect of the scene and is the focus of the group within the scene. During this shot, the sound was also silent despite hearing the rain slightly outside and hearing them go up the stairs, establishing the mood and tension in this scene.

5. Other relevant information: All of the characters create a path toward the center where the main characters are to show their sole importance within the scene. The people and the structure of the building also create a somewhat frame within a frame to focus on the characters but also may emphasize how he's still trapped in himself and his character.


Shot 7



1. These aspects were chosen to show the relationship between the characters while also showing off the environment, as it seems they are trapped together and can only go in two directions. It also shows how both the characters aren't in power of each other despite one pointing a gun at the other.
a) Shot size: Full Shot
b) Shot angle: High Angle
c) Shot framing: Single

2. These were chosen to show the drowning and bad situation our main character is in and how he cannot escape it and is going backward.
a) Shot composition: The color is a bluish-green tint
b) Shot direction: They are going from Screen L to Screen R with the main character walking Backwards
c) Shot motion: No Motion

3. Lenses and other camera settings: The Focal Length is 15 - 35 mm, the Shutter Speed is 1/900 - 1/1000, and the F-number is 18 - 22. These settings were chosen as both the environment and the characters and their relationships are important to this shot to show how they are trapped with each other in a seemingly large area.

4. mise en scène (set, lighting, costume, makeup, etc.): The sound is extremely echoey but silent, with us only hearing them as they are the focus, but the echo causes somewhat of a distortion to this shot, as this scene is quite unsettling and nerve-racking.

5. Other relevant information: There is a strong Frame within a Frame in this shot ( the two bars in the foreground), not only does it focus on the characters, but it also points in a direction. Despite the protagonist walking backward, the direction of the frame shows that his path is toward that van and what Tyler has done while he hasn't realized. That is the path he will go on, and he cannot escape it, which is emphasized by the walls behind him colliding and creating a box that he cannot escape from.