Lauren Bailey-Written Blog Response

     One thing that I learned from the scene analysis of The Royal Tenenbaums, is that blocking is the placement of subjects, actors, in front of the camera. This scene analysis was very informative, pointing out many things I wouldn't have noticed before that the film-maker did purposely. With composition, visual-hierarchy, and blocking you can make the scene look so smooth with everything at eye-level while the shot makes you feel the separation between characters and even the emotional intimacy all through the camera actions.

    The next video that I watched was Mulholland Drive - Diner Scene. The thing I noticed in the first minute was the framing of the camera was in a similar spot every time it cut, behind the other character that is not talking's shoulder. But it would hover and move smoothly, almost like it was floating. This scene has a pattern of cutting back and forth to two things happening simultaneously (parallel editing). It cuts back and forth to the two characters different experiences of what is actually happening at the moment because of course only one character see's the scary face in his dreams. This cutting has the same pattern throughout the whole scene. The continuity of the scene is great, every time it cuts back to the other character he's exactly in the same position he was before it's cut. 

    Another video I wanted to talk about is Joel & Ethan Coen - Shot | Reverse Shot. The lens focal length tells us the angle of the view. The Coens typically like to film dialogue from inside the space of the conversation. So the camera has to be in between the characters speaking. This technique makes you psychologically feel closer to the character and more personal in their conversation, rather than spying from behind someone's shoulder. But even though you feel in these character's conversation, it can feel almost uncomfortable and funny. All of these different choices are creative choices, but it's incredible how just the slightest change of focus can change the whole mood and setting. 

        

    

Comments

  1. Nice observations, Lauren. Consider the next steps of these analyses as well: what might be implied by Lynch's floating camera, for instance, or the Coen's wide-angle view? Going deep into that gut feeling helps us to appreciate the psychological/subconscious potential of time-based media, as we consider the toggle between first- and third-person perspectives. Good work to notice subtleties like the floating camera; Lynch is trying to lull us into what at first feels like a pretty typical dialogue scene, but tip us off to something being off.

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