AS Film - Cinematography lecture #2 12/10/12

In today's session we began by considering particular aspects of cinematography such as camera angles and movement (framing having been covered last week).

The following clips were chosen to distinguish how the camera has been positioned or moved to obtain 'meaning'. Remember, everything is there for a reason, so what do you think the respective directors were aiming achieve through their use of the camera?

Se7en: directed by David Fincher (1995)
The second sequence used from Fincher's crime/horror film in our studies. There is a variety of different shots used here to create tension, mystery and suspense, notably the long shot of the SWAT team entering the suspect's dimly lit bedroom, as if from his point of view (POV). The close up tracking shot of the decay happening to his body is also vital, in order for the audience to understand just how long he might have been tied to the bed - a year to the day, as it transpires. You might also want to consider elements of mise-en-scene, such lighting (the bright spot lights on the SWAT team assault guns, piercing though the dust of the apartment), the location (a dingy, rancid apartment, in keeping with the mood of the film) and props (the hundreds of air fresheners hung up to mask the smell of decayed flesh).

Cloverfield: directed by Matt Reeves (2008)
Effective use of the hand-held camera to represent 'reality' as a gigantic monster attacks Manhattan  announcing its arrival by launching the head of the Statue of Liberty down Fifth Avenue. Taken from the POV of one of the party goers, this remains a constant motif throughout the film, even to the extent of capturing the death of the character holding the camera at the very end. An 'amusing' moment in this sequence is some people's compulsion to film the iconic statue's head on their camera phones, rather than perhaps running for cover! Perhaps a rather telling indictment of our cultural times?

The Shining: directed by Stanley Kubrick (1980)
Kubrick employs a variety of cinematic techniques to convey, at first, the sense of normality as we follow Danny on his tricycle journey around the hotel's corridors. These shots were obtained through the deployment of the 'Steadicam', where a camera is fixed to the camera person by means of a harness, which allows for freedom of movement and vision. Then, as Danny has the hallucination of the twin girls, Kubrick switches to a mix of long shots, mid shots and close ups, to register the strangeness of the encounter.

The Dark Knight: directed by Christopher Nolan (2008)
The 'interrogation scene' is often widely praised for Heath Ledger's acting (something which Christian Bale as Batman is probably ecstatic about!), but Nolan's use of close ups and reaction shots are also a major feature for the success of the sequence. Note how he also places the characters on contrasting sides of the frame throughout to determine the change of dominance.

Raging Bull: directed by Martin Scorsese (1980)
Filmed in black and white by Scorsese to represent the 1940s setting, he keeps Robert De Niro in the centre of the frame at all times in this superb use of the 'continuous tracking shot'. Scorsese emphasises the importance of this world title fight for Jake la Motta (The Raging Bull) by not cutting away, but making the audience follow his journey from dressing room, passing through the cheering crowds until he reaches the ring. Scorsese keeps the continuous motion going by using a crane dolly to go for a slight high angle shot as la Motta enters through the ropes.

Compare how Scorsese uses the 'continuous tracking shot' from his 1990 gangster classic, Goodfellas.

In this sequence, based on the real life gangster, Henry Hill, the character of of Henry (played by Ray Liotta) is setting out to impress his new girlfriend, Karen (Lorraine Bracco), by going to the famous Copacabana nightclub in New York. However,  to really impress her, he takes her through the back way to show that this is something ordinary people cannot do, and only the well connected are allowed. It also helps that he belongs to the most powerful crime family in the city and can pretty much do whatever he wants. In order to show this, Scorsese tracks the couple as they travel through the kitchens without any edits, until they jump the queue in the main dining area and are given one of the best seats in the house. A complimentary bottle of champagne is also on hand from another high level gangster, as Karen cannot help but be impressed by the respect shown towards Henry, as "The He Kissed Me" by The Crystals is played out over the soundtrack, in keeping with the 1960s setting. Scorsese pulls us into Henry's world by this brilliant use of the camera and attention to mise en scene detail.

Another example of the 'continuous tracking shot' is taken from Alfred Hitchcock 1972 thriller, Frenzy.

In this sequence, the charming but completely psychotic serial killer, Robert (played by Barry Foster) leads his next female victim to his London apartment. In this three minute sequence, Hitchcock cuts the action twice up to the point when the couple enter his apartment block.  At 1.41, Hitchcock allows the camera to track Robert and his next unknowing victim up the stairs to his apartment door, all the time keeping Robert just behind so we are able to see his face, as he knows what he has planned once inside. Hitchcock then discreetly pulls the camera away as Barry leads his victim inside with the chilling comment "You're my kind of girl". The camera then tracks back down the stairs and out through the front door, leaving the audience to only imagine what is now happening inside his room, as London carries on, oblivious to what is about to take place. Certainly a case of 'what you don't see can scare you more'.