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Cinematography In Casablanca

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The cinematography in Casablanca overall directs the audience’s attention while skillfully revealing not only the characters’ emotions, but the audience’s as well. The element of close-ups in this film’s cinematography is something that stood out to me from the very beginning. Throughout the entire film the use of close-ups directed the audience’s attention to the speaker as it would take a major distraction to unglue the audience’s eyes from the character’s that are being emphasized. The audience gets drawn in to the subject of the close-up and the background fizzles away to unveil intense emotions and a restless tone that have been created by the cinematography. For instance, when Rick notices Ilsa in his saloon the camera closes in on the characters as the camera goes back and forth to each of there faces to create a tense feeling without the audience knowing of their history. Another element in Casablanca are camera angles. In the shot of Ilsa pointing a gun at Rick, the use of a low-angle looking up at Ilsa is ultimately applied to give her a power over him. …show more content…

The first example that popped out at me, while viewing Casablanca, was the scene in which Rick has a flashback of him and Ilsa driving through parts of Paris. The cinematography, in this case the characters filling the frame and having added highlight, creates a certain lightness and care free feeling to the mise-en-scène. This can be compared to the moment in which Rick wants to leave Paris with Ilsa. There is no highlight; thus, creating a sense of wary and disconsolation to Ilsa’s portrayed

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The crop duster scene, one of many notable sequences from this movie, uses: lighting, color, camera angles and distances, shot duration, continuity editing, and mise-en-scéne to provide suspense, desperation, and isolation to the character onscreen, and make the viewers feel the same offscreen. Works

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Similarly, the cinematography of Casablanca also strives to shape the viewer’s attention to the time and space of the story. The film employs a handheld movement of the camera in certain instances, to display the mise-en-scene in a genuine manner that emphasizes the setting and time of the movie. For example, evaluate the scene in the film when the camera sought to illustrate the workings of Rick’s establishment. The handheld movement of the camera explores the club in a manner that brings the viewer’s attention to the viewpoint camera. The point of view of the camera, at this point of the movie, demonstrating a human experience of observation, and fixates on investigating war uniforms of characters and their actions.

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These different lighting techniques are applied in the movie to help set the tone and mood for the film scene. The

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Camera Movement in Casablanca (ESSAY #3) (A-) It’s important to watch Casablanca while thinking about the context in which it was released. After the United States entered World War II, it was a little over a year before audiences saw Casablanca. It doesn’t take much investigation to see how the war plays a part in the storytelling, but certain film techniques helped emphasize messages the film wanted to tell its audience. Through the use of camera movement, the finale of Casablanca puts the spotlight on Strasser and Rick’s newfound relationship, which can convey a message about the United States and its allies.

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Narrative is generally accepted as possessing two components: the story presented and the process of its telling. A story can be presented in two basic ways, as a linear narrative and as a non-linear narrative. Linear narratives follow a straight line and non-linear narratives usually start at in the middle or in the height of conflict. Casablanca and Memento are two films which contrast in narrative approaches.

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Cinematography is critical to the success of any movie. Cinematography uses composition, lighting, depth of field, and camera angles to determine what the audience sees. Casablanca’s cinematography directs the audience’s attention, shapes the audiences feelings, and reveals the theme of the movie. Cinematography directs the audience’s attention and acts as the viewer’s eyes. The cinematography highlights Casablanca as a dangerous place filled with deception.

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One example is when they bring the Veldt Room to life by all of the mechanics that show the sound, smell, and even temperature. “The hot straw smell of lion grass, the cool green smell of the hidden water hole, the great rusty smell of animals, the smell of dust like a red paprika in the hot air. And now the sounds: the thump of distant antelope feet on grassy sod, the papery rustling of vultures.” This shows how realistic everything is and that you don’t have to leave your house to get an experience of an African Dessert, The way Bradbury appeals to all of the senses to give the reader the experience as if there standing next to George in the African desert, he gives something that is till and a place, a life and makes it seem so much more alive than it is. Bradbury uses the phrase “the papery rustling of vultures.”

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Many say the best aspect of this film was its cinematography which greatly affected the feel and look throughout. From the opening credits to the last scene of the film the Cinematography was very important, the first scene of the film Jake LaMotta is alone preparing for a fight in a smoky ring. While this scene was shot in slow motion, with its wide angle lens which enlarged the size of the boxing ring. The use of the close frame composition techniques makes the viewers notice that Jake LaMotta is completely

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Although most noir films include a few unusual angled shots, Casablanca maintains a style of composition that is most closely recognized as

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Tim Burton 's use of this helps show the contrast of the insider and outsider world. When the viewer is watching they get a sense of suspense and start to second guess whether or not they should trust the outsider. In Edward Scissorhands Burton uses a high-key low-key light contrast when Peg is in her car and sees Edward 's house in her side mirror. When the viewers are watching they get a frightened sense and wonder whether or not Edward or whomever is in the house will

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This creates a connection between the viewer and the characters in the film. In Lost in Translation, this technique is used to show the growth of these characters emotionally as they interact throughout the film. This is seen when the two characters just looked at each other as they sat in the hallway without talking to each other. In such a way, it shows the emptiness and loneliness in their

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Inversely daytime lighting is used to convey a realistic environment, like the scene in the film where the police, Chuck and Marshall arrive at the institute. b. A variety of shots are used in remarkable ways in the movie, as illustrated in the film, the wide shots are used to introduce the location of the film, Shutter Island. Another example are the close up shots on Daniels, specifically when he is at the sink looking in the mirror, this is used to show his dual

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Many of the camera angles used within the film gives us closer viewings and more emotion to the scenes, most of which manifested controlling power and views on challenges involving poverty. This relating us back to the theme “Brutality of Humanity”. With the camera angles making the poverty challenges further detailed, helps us to relate the film technique ‘camera angles’ back to “Brutality of Humanity”. The Rembrandt lighting and split lighting shows us the dramatic scenes of poverty challenges, where others help represent poverty and challenges within.

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For example, Gustave will be deep in thought having a mini monologue first then he will shout a name of another hotel worker. The camera will pan to show the next person on the other side of the room working. The zoom shot is used often in Wes Anderson films as well. The zoom is used in two ways throughout this film. The zoom in is used to show where different characters are in the universe.

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For example, during the book burning scene, a variety of high to mid-low shots are used to position the audience in the crowd or as one of the speakers up front. In addition, the way the objects in the scene are positioned and the frame are composed creates an intimidating effect. All the large Nazi flags are positioned symmetrically around the town square, yet the camera is framed slightly off centre, making the whole shot feel off and like something is wrong [Fig. 5]. This certainly shows that Percival utilizes Percival employs cinematic techniques such as camera angles and the framing of the shots used to communicate and allow the audience to explore the power of the human spirit when dealing with adversity in his film The Book

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