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Robert Zemeckis's Film 'What Lies Beneath'

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In Robert Zemeckis’s 2000’s film “What Lies Beneath”, he shows the significance of camera angles, scores, and special effects. These all help establish boundaries and moods that are set throughout the movie without Zemeckis verbally stating them. Also, they make the scene more realistic and allow the audience to see the movie and a different view which makes for a different prospective. As well as decreasing the sense of knowing what will happen next. In Zemekis’s film “What Lies Beneath”, he is able to frighten his audience with the mysteries of a ghost which eventually revealed that her husband murdered Madison in order to keep their affair hidden. This film is an effective thriller with unpredictable scene and great film work. Camera angles are shown in two different ways, high and low to show in relation to the subject. …show more content…

The shots make the actors more courageous or important. As it is in the film when the body of Claire lies on the glass while Norman stands over her, the low shot shows that he is the bad guy and is in control. A boundary that was never stated, although portrayed by the camera angles. Zemeckis, as a director, only allows certain things to be seen at a time to help the audience catch certain actions of the characters. When she walks backwards down the steps and the view is up the stairs, limiting the audience’s view of what’s behind Claire. Which Zemeckis lets you believe that Norman is at the top of the steps until Claire is frightened with the splatter of blood causing her to turn around and find Norman passed out at the bottom of the

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In chapter 19, Kovalik is experiencing a delusional state, unsure of reality, the author to assist the reader’s comprehension of her state cuts the chapter from her crew mates helping her, to all of the sudden one of them is dead without an explanation, the book goes the character Lourdes confused, because of hallucinations on which one of the two Claire’s she sees are real “Well, are you sure this is even the right Claire?” (Barnes 193). Lourdes ask,” to Claire also experiencing double vision of Lourdes to ultimately discover her death “Only one Lourdes. The one on the floor next to me. Silent.

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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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The camera angle is important when the man shot trying to escape falls before the French Vichy government head. The wide shot of the wall draws the viewer’s attention to the head of the Vichy French government, showing who is in charge in Casablanca and helping the Germans. A low camera angle draws attention to the

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The film expressed stillness, emptiness and character's facial emotions by various shots. Middle up and close up shots revealed facial expressions when character's dialogue. Pan shots were used when a lady(Emmi) introduced Moroccan man (Ali) to her sons. A camera slowly moved from left to right to show each

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Exactly this aspect of shooting gives camera a mystifying power of making decision what should be on the screen and what should not. Camera can hide some aspects and highlights others, making them more important. That is why Grimes also claims that shooting construct rite from the very

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Before he goes home, he tests himself by being escorted with a prostitute in order to determine if he was capable of killing and discovers that he is not. He goes home and meets with

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Within this multi-strand narrative, Look Both Ways was poignantly made in a time where fear was prevalent in society; fear of terrorism and fear of the ‘Other’. Meryl, who flirts with the concept that death is localized around every corner, contributing to Watt’s use of animation, to express Meryl’s anxieties is an innovative and original means of fleshing out a film character. These sketched and painted illustrations delineate Meryl’s demeanor, but also creates an elegiac and poetic atmosphere that is employed within the film, which highlights Meryl’s paucity of spirit. The highly dynamic, almost frenetic style in which they are drawn reflects Meryl’s constantly shifting mind. The perspectives within these animations often shift in a disorienting fashion; for example, in the animation sequence when Meryl imagines herself being shot in her house by an intruder, the camera swoops rapidly between the intruder’s perspective and her own, a jarring technique which conveys her rising panic.

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The antagonist is in this shot because the audience is then seeing the main reason and build up to this whole scene. Such as Moriarty stealing the crown jewels. This low angle mid long shot allows the audience to see all the full effect of the glass smashing. The shot makes the audience feel like a rush of adrenaline and intensity flows through them, creating this captivating scene keeping them glued to the screen. Plus, it places the audience as though they are stood to the side watching this event happening due to being able to see the entire glass sheet shatter.

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One way Secret Window utilizes the cameras is by not showing the viewer everything that is happening. This technique is used in this picture around the time of Chico’s death. Before Mort discovers his dog’s body, viewers are only shown the window and the outside, instead of what he is trying to discover. In many scenes the movie will only show flashes of the important scenes, while focusing on little details. This builds tension by making the viewer want to know what is happening.

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The function of a film of the erotic thriller genre is to provide both thrills and titillation for the audience. It is obvious how the erotic thriller provides titillation for its viewers: it is renowned for graphically depicting sexual scenes. How it provides the suspense, and therefore the thrills, is by having a central theme of violence, “yet deferring that violence” (Thompson 72). However, both of theses functions, to create suspense and to appeal to voyeurism, are accomplished by negative portrayals of women in an erotic thriller, often reflecting the cultural anxieties surrounding women’s political and sexual liberation. The 2009 Atom Egoyan film Chloe is no different.

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The first camera angle that plays a significant role in the film is the low-angle shot. A low-angle shot is captured when on the vertical axis, the camera is low, looking up at the characters. According to Tarantino, “the significance of a low-angle shot facing up at the characters proves that the character themselves are superior” (Paris & Simrill 2013). The first examples of low angle shot occurs when Jules and Vincent approach Brett while he is eating breakfast in his home.

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This enables the audience to relate the characterization of Mr Anderson. In The Matrix, the camera was probably one of the most necessary and symbolic film code that had to be used for various reasons. Symbolically, many camera shots was used to convey various messages or lessons to the viewer or audience. The lower angle camera shot were mostly used during the time when an agent was on scene, which gave audience an

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