All these Pictures represent an iconic image of pure cinema.

The cinematography, The depth , the mainstream and dreamlike tone to the shot is why it is very special. It is also because the scene works out well, like the infamous shower scene in Psycho (1960)

Sometimes with shots you have all each kinds of angles whether it is a close up or an extreme close up, a low angles

And using an extensive amount of depth to the piece

For example when the style of the movie has a specific one. It is that sort of piece to use when it establishes an authentic shot.


For example in the image above This image is from Mystery Train 1989 directed by Jim Jarmusch. This film was shot in Memphis. What Jim did here was in one scene 2 tourist discover a hotel near an American diner. What Jarmusch needed to capture was the film’s dreamlike tone. So the cast and crew waited until dusk and then capturing then they decorated the set to keep a close eye on the style by adding more 50’s neon flur in the streets of Memphis then targeting an extensive long shot giving it’s characters further ahead of the screen capturing there entire bodies and the sheer level of detail. of the streets until the characters discover the location of where they are about to be next.


In this shot above is from the good the bad and the ugly. It’s Director Sergio Leone is well known for it’s extreme close-ups and long takes of expressions capturing tensions. And Since the film is set in the wild west and has a wonderful climatic ending. Leone’s sincere level of detail is outstanding because as the plot sprawls into a Mexican standoff. The Italian master decides to properly use the tension by providing multiple quick and long takes of eyes, face, the shot in which the characters are at with the characters themselves inside the pic then a close eye on the guns they are about to swing in the finale. it is a pitch perfect scene thanks to the endless shots of silent detail especially Clint Eastwood’s cool menacing eyes.


In this shot from Martin Scorsese’s After Hours. We have a medium shot ( half the size of the character whilst adding depth from behind or at least a sense of where he is )  of Griffin Dunne character awaiting for the upcoming Action of what is about to take place. The Crew make sure as they are balancing the intruging plot to make sure that the decoration is as prestine as possible to match the style and also for that matter since Marty is an auteur he made sure he uses some of his own colours like the red as of above and below from a shot from Mean Streets.


Obviously Marty’s use of red isn’t exactly original since Kubrick is also one who is in Love with that colour.

An Auteur’s Eye.

When an infamous cultural filmmaker uses a shot then uses the same use of tools camerawork, cinematography, and decoration in different films and stories. we could begin to tell who’s film this belongs to. It’s not necessarily a style thing like Tarantino because it counts as images in the sense we could recognize it’s director due to it’s similar shot the director has made in his previous films here are some examples…

David Lynch and his red curtains.


Here from Twin Peaks                                            And here from Mulholland Drive

Federico Fellini and his use of night time and gorgeous cars, beautiful women and handsome Men.

Reprise-de-latelier-cinéma-italien   guido-e-claudia-midterm-sequence-desktop_std_original

Here from La Dolce Vita                                    And here from 8 1/2

The POV.

Sometimes with Shots a director would like to experiment with certain kinds of point of views of characters by providing a POV shot, often makes the film more cinematic, especially if the shot lasts for a good 20 minutes making the shot even more unique.


For example in the image above shows the opening scene of Kathryn Bigelow’s Strange Days ( 1995 ). In which a robbery occurs and the police are bargain in. Everything is loud and sweaty. And Everything is shot in POV like a first person in a video game. the shot is ambitious and it takes a good 15 minutes. Making it pure directing whilst this scene is highly underrated. Bigelow’s mission was to capture every piece and puzzle as distinct as possible while nailing the sense of desperation , the atmosphere and the gritty surroundings. including the colours ( since it is set at night) the place in which the thief rob and the sort of people that would hang out at that location. Then as the action takes place within the same shot as they rob the bank . The camera takes all sorts of movements because is in POV mode. So whenever the character decides to turn his head quickly, the camera turns as well as the character does.

Sometimes however the POV shot can also be behind the character’s forehead, we may not even see his face but it is clear that the camera is following him throughout the entire sequence.


An Example would be in the image above from Gaspar Noé’s Enter the void. In the nearly the entire movie the camera is placed behind the character’s head, we never actually see his face , only when he is looking at the mirror. So with this shot Noé takes the main characters in a Japanese lightshow surrounding and the camera is following the protagonist around. The character wants to make his Sister impressed so by taking her to the place shown in the image . Noé wanted to make the shot as glamorous and beautiful as possible. Providing many colours and playing around with every single lightbulbs until it satisified him.

Other times the POV shot would distinctively show the character’s face for a good 5 minutes proving every inch of expression on his face and making sure that it’s surroundings convey to the demanded material.


In the image above for example form Martin Scorsese’s Mean Streets. This scene is entirely shot in 5 minutes and follows Harvey Keitel character getting super drunk. Marty’s eye was to capture the sense of being wasted, so in one shot the camera carries on wobbling purposely while capturing Keitel’s scrambled emotion on screen. providing not only a distinct performance but the mood and dazzling feeling. And also giving style and visual standards in Scorsese’s eye.

Going 10.0000000000 just to capture the right shot.

Certain director’s will go all the way for film like Werner Herzog , Lars Von Trier, Steven Spielberg, Michelangelo Antonioni, George Miller , William Friedkin ,  Francis Ford Coppola and especially David Lean. just to capture the one scene connected to the movie. Sometimes Special Effects are in use since the idea of going that far is too much. But to make it as real and atmospheric as possible. Guts and glory are required.


In the image above from Mad Max Fury Road . George Miller went to the namib desert and shot the entegrety of Mad Max fury road capturing some stunning cinematography and superb Action sequences. So in this shot a truck explodes and no FX were in use to make it as deptfull and real as possible. whilst one of the characters is holding a long stick and falling from one place to another. all captured in one shot. This took ages to do for only a 12 second shot but the result is marvellous. But it was intense work according to George Miller. James Cameron once said on the set of Titanic that filming means War.


In this image which is from William Friedkin’s highly underrated 1977 film Sorcerer. Friedkin went to multiple locations just to shoot his one film, from Paris , to New York, to the Peruvian tropical jungle. in this unique shot it took multiple days and many accidents occurred. in which a truck must drive through a bridge in the pouring rain and no ropes or extra equipement were used. Many trucks fell into the river and lots of set ups were required, going over budget and way past their deadline. eventually they succeded the scene in which multiple cameras were set up and truck managed to drive through the bridge. It was friedkin’s eye to capture the emotions of the characters’s struggle for desperation, the intoxicating air of intensity. And the pleading of everything going according to plan. Costing more than a million and multiple takes for that one unique sequence.


And in this image above from the Raid 2. Gareth Evans and cast and crewmates took 1 week and a half working long hours. in a sequence in which the prisoners fight each other in the rain and mud. Lots of takes were required. the Cast got their foot’s bleeding. Patience and commitment were high use thus providing a worthy shots and a good sequence.


Semiology is he meaning of each image and film and what it represents in it’s description and portrayal of it’s outcome.


For example in the image above which is from Stanley Kubrick’s Last film Eyes Wide Shut (1999) It’s Characters are Tom Cruise and Nicole Kidman. Tom Cruise’s character at one point heads into the might in New York ( Although it was shot in London ). And finds a bizarre orgy ball room in which every character are wearing masks straight out of Venice. Out of all the disturbing imagery. We Witness Tom Cruise walking through a hallway hazed with orgy’s and many sexual activity while every persona is wearing masks. Then Tom Cruise is suddenly caught and taken to the mansion’s head chief. So in this shot everybody are pacing in deadpan stillness in wide circle and in the centre are 2 guards and in the middle is the chief wearing red. Now the colour red represents death/ blood/ hatred. It can also mean Love/ Passion.  The blue in which the chief’s bodyguards are wearing Blue means tranquillity, the newity of it all. Making the chief the master and the guards the followers. So In that sense from it’s building tension as the camera slowly moves forward the image could mean. That the Red will strike something absolutely horrifying because of red’s meaning with blood. Or that the man in red with take action by producing a nice loving gesture. thus Red can also mean Passion/Love.


Now here is a better example. from the images above Krzysztof Kieslowski directed a trilogy known as The Three Colours trilogy. On the image covered in Blue. It’s Character has gone through trauma and is trying to find a new beginning which is where the colour blue comes in representing the birth of something or a new path of life. so when she is recovering from her grief in the pool ( As you see in the image ) the colour blue could also represent that everything will be ok later on. despite the fact the film starts in a bleak description.

In the Second image which is White. An Innocent character finds himself in a source of jeopardy or is he ? White represents innocence so the picture above the woman in blonde with sharp red lipstick and wearing black including a black glove. could mean that evil is in an innocent environment.

Finally. In the last image in which is Red. In this case scenario with the film our character is in the midst of a commercial. with Kieslowski’s final film Red in this case means Love and Passion because unlike the girl in Red from Schindler’s List , Scorsese and Kubrick’s use of red and Refn’s Neon litted Only God Forgives Meaning all evil , hatred , Anguish and utter dread whilst bathed in Red. This time Red is passion as the film enigmatically shows and such is the fact for this shot.


Finally in the image above that comes from Michelangelo Antonioni’s Zabriskie Point. In the end everything explodes in slow motion into the mind of a woman hoping the destruction of limitations. So In this pic every small thing coming straight out of what we see in commercials blows up into smithereens. Food , plates,  rich perfumes, saucers etc…


















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