Initial Version

Victor Liu
Assignment #1: exploring Filmmakers' Techniques: Shot Size, Framing/Composition,

Movement and Shot Angles
New Media 11 2-1
February 12, 2024
Scene 1: Whiplash (2014)
Video Link: https://youtu.be/ZZY-Ytrw2co?si=8X17CgCtoQ83_rCf
The author utilized sophisticated camera language that vividly illustrate the character.
At the start of the film, the author utilizes a clean, single medium-full shot of Fletcher
in [0:07] which conveys rage, power, and the element of surprise, due to that in the context
of the movie, after a humiliation, Neiman quit playing as Fletcher tricked him into playing a
piece he never practiced. The shock is due to that Neiman returned for the second piece of
music.
As suggested by his facial expressions, mainly his glance along with the frown above his
eye, he is totally surprised by Neiman's returning in the final concert. The single clean shot
ensures that the audience will be focusing on the character Fletcher, not on other characters
or the surroundings.
The medium-full shot here supports the emphasis on the facial expression as the shot is
designed to convey the power and danger of a character, which in this frame fortifies the
character as a dangerous perfectionist.
The director employed an eye-leveled camera angle, which is more of a neutral,
comfortable angle instead of a low angle. The low angle suggests the power and superiority
of a character over another, and it is not utilized in this frame. An explanation for this angle
is to convey that Neiman is not afraid of Fletcher and he is ready to challenge his superiority
and sees Fletcher equally.
In the movie, Neiman abandoned things valuable in his life, such as his girlfriend to
engage himself with his music career. The angle here conveys rage, as Fletcher is surprised
that Neiman is determined to revenge himself in front of the oppression and deceit.
Victor Liu
New Media 11 2-1
February 12, 2024
In this scene [3:26], the director utilized a clean single medium close-up shot to
emphasize the change in emotions of the character. The techniques build the character of a
maniac that loves music more than everything else, and that even after humiliation, he is
still proud of the ability of his student.
As we can tell from the frame, a medium close-up shot is employed by the director to
reduce distraction from the audience. The color choices highlight the head of Fletcher, and
the rule of thirds is visible in the frame. These techniques are all utilized to let the audience
focus on the details of the character and to emphasize the pride and madness of music.
Close-up shot isn’t utilized in this scene as the medium close-up shot is better at
capturing the movements of a character and the change in emotions simultaneously. In the
scene, Fletcher is nodding to the rhythm, and the medium close-up is better in capturing
the movement as the nodding suggests that Fletcher is enjoying the movement.
As the movement and the facial expression are all portrayed in this frame, it allows the
audience to infer the thoughts of Fletcher in this moment. The frame displays the character
more vividly, emphasizing how music is important for the character more than anything
else.
Victor Liu
New Media 11 2-1
February 12, 2024
Scene 2: Inception (2010)

Video Link: https://youtu.be/7yshUmxuEjE?si=3f0g_ioRkrKrDFwj
In the scene of Inception, the author utilized sophisticated camera angles to display a
magnificent dream world that draws the attention of the audience.
[1:08] Ariadne here changes the laws of physics of the dream world and bends the
virtual reality on the streets with Cobb. Tilt is utilized in this frame to emphasize the
magnificence of the dream world. The camera angle reveals more information about the
dream world and presents its scale in a creative way. The grand visual effect will bring
elements of surprise and joy to the audiences in the theatre. The scene also combines Dutch
angle and low-angle shots. The Dutch angle in this scene creates absurdness, which is
associated with the context of the film. The low-angle shot conveys power and mutability,
which combine into a random, absurd world, which will bring curiosity and joy to
audiences.
The wide shot is utilized in this frame, portraying the scale of subjects in this frame
(the irrelevant people in the streets) which conveys an overwhelming atmosphere. The wide
shot helps the audience understand the geography of the virtual world and presents the
relationship between the characters and the dream they’re in.
Victor Liu
New Media 11 2-1
February 12, 2024
[3:39] The director utilized camera language to present a character’s panic, and creates
interest for the audiences.
A dirty single shot is utilized in this frame after Cobb sees his dead girlfriend in his
dreams. The pedestrians and the surroundings in this frame ensure that the scene is natural
and comfortable. As pedestrians were visible from the beginning, it is going to be unusual if
they’re removed in this scene. The frame ensures that the audience focuses on Cobb, looking
at his panic as he sees his wife, which foreshadows the subsequent plot. This creates
curiosity in audiences, which grabs interest as the movie progresses. The medium close-up
shot here prioritizes the details of a frame, in this case, the frown on the forehead with the
panic expression on his face. As this is a simulation of the real world, the eye-level angle is
utilized to create a natural feel for the audience. Tracking is used in this frame as the camera
follows the character, which will make the audience question his destination and conflicts
during his path to the destination. This further creates interest in the character.

Initial Version

Uploaded by

Copyright:

Available Formats

Initial Version

Uploaded by

Document Information

Original Description:

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Initial Version

Uploaded by

Copyright:

Available Formats

Victor Liu

Assignment #1: exploring Filmmakers' Techniques: Shot Size, Framing/Composition,

Scene 2: Inception (2010)

You might also like