You may chose any of these sequences for your analysis coursework - you do NOT have to just use for cinematography, they can be used for any aspect of film form, such as mise en scene, editing and sound.
The Godfather (Francis Ford Coppola, 1972)
Secrets are spilled and murder is plotted at the opening to Coppola's masterpiece. Note the extremely low-lit atmosphere as Marlon Brando's sinister mafia boss, Don Vito Corleone, offers a local undertaker his services in exchange for who knows what? The cat was a stray who frequented the set and Brando persuaded Copploa to include it to add a touch of lightness and informality to an extremely dark scene. The slow tracking shot away from Bonnasera's face allows us to establish the shadowy environment with the menacing edge.
Seven (David Fincher, 1995)
The opening sequence to Fincher's dark-as-black-coffee crime film, introduces us to the main characters of Detective Somerset (Morgan Freeman) and Detective Mills (Brad Pitt). Note how the mise en scene of Somerset's monochrome apartment clashes with the gruesome crime scene which follows. The battle for supremacy between the older and younger detectives is shown through the technique 'blocking', as Fincher does not cut between the conversation, yet has the actors swap place and space.
Saving Private Ryan (Spielberg, 1998)
Spielberg raises the tension of a sniper pinning down the small band of American marines, as they try to rescue a French family. The grim situation is accentuated by the diffused colour, the incessant rain and the pleading of Vin Diesel's character as he lies helplessly wounded in the open land. The use of the hand-held camera and high angle shots accentuate the realism and vulnerability of Captain Miller and his squad. The sudden violence of Diesel being shot is matched by the brutal assassination of the sniper through his eyesight.
