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Continuity And Discontinuity In Film

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When analyzing the spatial relations of The War on Drugs’ “Holding On” and Sherlock Jr., the audience can explore the continuity and discontinuity within each film that will later suggest different messages and ideas. In “Holding On”, there is a clear line between continuity and discontinuity. There are many instances that the film offers continuity between shots by utilizing the 180-degree line and eyeline match. The 180-degree line can be seen by the audience when the man in the film walks from the left to the right side of the frame when in the pasture headed toward the woods. Then later in the film, the camera makes the 180-degree turn, making the man go from the right to the left side of the frame. Continuity is used here so the audience, despite the 180-degree turn, …show more content…

Discontinuity, on the other hand, is very straightforward in this film because the established shots are not joined together in a fluid and smooth manner. A prime example of discontinuity in “Holding On” is when the film transitioned from a shot of the man sleeping to a shot of two white horses galloping in a field. This method is not technically a soviet montage because the shots were not rapid, but it does present the audience with two shots that seem to have nothing in common. The discontinuity that is being used in this film is ultimately conveying a hidden message.
In Sherlock Jr. there is more of a thin line when it comes to the continuity and discontinuity. The shot/reverse shot and eyeline match method are both utilized in this film regarding its continuity. For instance, there is a shot of Sherlock Jr. looking at the candy in the window then it gets reversed to the point of view

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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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Mise-en-scéne is crucial to classical Hollywood as it defined an era ‘that in its primary sense and effect, shows us something; it is a means of display. ' (Martin 2014, p.XV). Billy Wilder 's Sunset Boulevard (Wilder 1950) will be analysed and explored with its techniques and styles of mise-en-scéne and how this aspect of filmmaking establishes together as a cohesive whole with the narrative themes as classical Hollywood storytelling. Features of the film 's sense of space and time, setting, motifs, characters, and character goals will be explored and how they affect the characterisation, structure, and three-act organisation.

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“The screen is a magic medium. It has such power that it can convey emotions and moods that no other art form can hope to tackle.” The written word and the moving image have always had their entwining roots deeply entrenched in similar narrative codes, both functioning at the level of implication, connotation and referentiality. But ever since the advent of cinema, they have been pitted against each other over formal and cultural peculiarities – hence engaging in a relationship deemed “overtly compatible, secretly hostile” (Bluestone 2).

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The filmmaker of Ghost World, Terry Zwigoff, uses a variety of editing techniques to express the purpose of the movie. One of the most notable is the use of jump cuts, which are sudden transitions between shots that create a sense of discontinuity. These cuts are used throughout the film to convey the restless, unfocused nature of the main character, Enid. They also help to convey the passage of time and the growing distance between Enid and her best friend, Rebecca.

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A Lot of time they are taken from a character's point of view or shown from no one's. Another shot is called a Mid-shot. It is used to show the characters somewhat personal connection with the audience, so they can relate more to the protagonist. Romantic Comedy directors

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Rear Window by Alfred Hitchcock is a fillm full of symbolism and motifs that provides viewers with a bigger meaning. It shows these rhetorical appeals through Hitchcok’s eyes that would not be recognized if not analyzed. Through these appeals I have recognized the window as being a symbol and marriage and binoculars as motifs. After understanding much more than what the eye anitially sees when viewing this film there is a fine line between understanding what is going on in the film and observing what the protagonist Jeff is viewing.

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The symbolic and technical codes and conventions of mystery films often are used to provide the audience with suspense, uncertainty and often satisfaction once the criminal’s identity is revealed. The mis-en-scene of mystery films are conveyed through the set designs, props, and costumes. These symbolic conventions specific to the mystery genre are often also integral to the film’s plot. In Scooby Doo! in Where’s

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