The angle of the shot and the structure of the composition indicate a high level of stability. The density of the shot is average and the viewer can easily make out the two main elements: Mr. Woltz and the blood. With these two items taking prominence in the scene an appreciable amount of tension is created, which is enough to keep the viewer waiting for the next development.
The lines of the shot are almost fully horizontal, with everything except the beside-lamp in the background assuming a horizontal orientation. The character placement in the shot complements the shots stability. The shot is short and tightly framed with the main character occupying more than half of it. The placement of the character running across the bottom half of the shot makes the shot bottom heavy, which essentially makes it very stable.
The form of the shot is closed because the camera focus was fixed on a particular individual. Compared with the other elements in the shot, Mr. Woltz takes all the prominence in the scene making all other elements appear inconsequential. In addition, the staging position of the main character gives prominence to his individual personality, because we can see his face, which guides the viewer to draw conclusions about his character.
The eeriness of the moment is well presented by use of artificial lighting, which helps heighten the tension in the shot to almost surreal levels. The lens used is of the hard focus type and it helps the viewer identify with the main purpose of the scene from early on. The focus is deep and follows the natural way that the eye would have perceived things had the viewer been on the set.
In the party scene above , Vito Corleone is seated on one corner and an unknown person comes to whisper something to his ear, alerting him of some upcoming danger. In a shot from the scene, Vito appears to be keenly listening to the message being conveyed to him. In the shot, the Vito is dorminant and he takes up almost three quarters of it. The shot itself is very stable given that the characters in the scene are balance out the bottom and middle parts.
Artificial lighting was used in the shot to create the intense mood that the director wanted to bring out. The shot is also tightly framed, with the two characters having very little room to move in. Looking at the shot from the positions of the actors, Vito was taken from a full-frontal position, while the unnamed character is taken from a three-quarter turn, confirming his anonymity.
In summary, the shots under study have been of contrasts, with the elements contained in it bearing stark contrast. The strength of Mr. Woltz and the blood in the shot is contrasted with the dullness of the background items. The Thematic association of the elements in the shot is also in contrast. Woltz appears almost composed on face value but the way he handles the blood on his beddings seems to have given him some slight scare.
In the second shot, Vito Corleone commands a presence by occupying almost three quarters of the screen space. The other character has been subordinated by the amount of attention and screen space allotted. The lighting in shot has also been used effectively to create the desired mood.
As defined by this scene, the entire film underscores the strengths of the Godfather in a complex and ambivalent way. For this purpose, a background check was provided, with some of its key constituents evaluated. The discussion then shifted to the film the Godfather , where the presentation of the technique was highlighted.
It should be noted that even though the analysis was based on one shot, the same breakdown can apply in many other shots, like the ones attached below. Giannetti L. Understanding movies 12th ed. Toland, G. How I broke the rules in Citizen Kane. Popular Photography, 8 55 , Need a custom Essay sample written from scratch by professional specifically for you?
The black and white in this film helps to convey the primitive and chaotic world that the characters live in. It dulls the world that the characters live in, for colors often express emotion or feelings. For example, a director can use color in a fight scene to show a character's emotion.
If a character's face is red, it shows one's anger or fatigue from a fight. Black and white film does not allow that. Portrayal of emotion must be exhibited in some other way. I believe the main reason the director of the film decided to shoot the film in black and white was because he was showing the film through the eyes of Motorcycle Boy.
Motorcycle Boy could only see in black and white, and even though the film did not revolve around him completely, it was shown from his point of view. Another aspect telling that the film was from Motorcycle Boy's point of view was that in parts of the film, mainly the parts where Motorcycle Boy was in the scene, the sound would be blurry or murmured because Motorcycle Boy's hearing was the best either.
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