Drive
Font and music hint at period or perhaps stylisation of the film where it may be ambiguous (1980s). Digetic and non-digetic sound is used. Sense of dynamics is given with floating credits, and with eye line matches used with Ryan Gosling. First shot of Gosling is low angle, suggesting his power within the film, he is also to the left of the screen, putting extra attention on him. Long cuts and low speed editing is used, gives an element of drowsiness to the sequence, and perhaps suggests Goslings character is losing sleep. His significance is suggested by having him as the only person actually shot in the sequence up until he passes a woman in the car park where he passes a woman, perhaps commenting on her returning in the picture. All shots of him are in low light, giving an element of mysteriousness. This is similar to the style of film noir. Many over the shoulder shots and close ups are taken of him, giving intimacy with his character. An element of insignificance is given to the character in relation to the city by many crane or ariel shots being presented, this is also sets up themes of an urban nature. The films title is reiterated with multiple shots of the character himself driving. He is presented as a lonely figure throughout the opening via the use of long cuts of only him and then of the city, also when he returns to a dark and empty residence. A sound match is deployed during the shot in the apartment when he turns of the light, emphasising the slick and dynamic nature of the film even more. A close up of his jacket is also given, suggesting its importance. Very few mid of long shots of the character are given, keeping him separate from what is going on around him, and also preventing the viewer from deciding what his place or role within the film is. The film is aimed (roughly) at an audience between 15 and 26 years of age.
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Collateral
The title itself suggest multiple casualties or some violent connotation. It begins with a long to mid shot of Tom Cruise, who is a well known Hollywood actor, among a bustling crowd. All other people in the crowd are taken in and out of focus, suggesting his importance. Only digetic sound is used, creating a realistic setting, as well as it being open frame shots. The same shot is then used with Jason Statham, also suggesting his importance. Another close up of Cruise is provided, suggesting his significance over Statham. A match on action is used with them eventually bumping into each other, with a mid to close shot being given of their briefcases which they both put down, highlighting their importance. Short cuts are used and high speed editing, creating suspense.
Cut to a taxi bay, where many short cuts are given of the situation, with distressing music, creating tension. A close up of Jamie Foxx is then shown, and then shots of him getting into his cab. As soon as the door of the taxi closes, all digetic and non digetic sound is muffled, allowing us to focus in on Foxx. There are then more close ups of Foxx, and POV shots, giving us a more intimate view of him, as well as an eye line match. A low angle shot of a man, which then turns into a long cut and stationary shot of Foxx pulling away gives an idea of the banality of his life. The lighting used gives a lot more exposure of the characters, and is generally of a higher level to that of ,say, Drive.
This film is aimed at an audience between roughly people of 15-30 years of age.
Children of Men
Large and wealthy studio idents are used, showing budget of film would be great. Bold and plain credits are shown, creating realistic and gritty mood. Sound bridge used into first shot of aghast crowd in a coffee shop, creating solemn mood. Digetic sound is of a female news reporter accounting death of supposedly publicly recognised figure. All different demographics watching report suggesting importance of figure. Clive Owen enters shop, seeming uninterested by report, making him stand out from the crowd. A seemingly docile mood is created by long cuts and low speed editing. High angle shot of crowd is used making them look vulnerable. Only digetic sound used of busy city, giving a realistic mood. Cut to screen and then back to crowd, which turns into tracking shot to follow Owen out of the crowd and onto street, bringing all attention onto him, although panning up to screen once again before leaving shop. This again emphasises importance of death being reported. Long panning shot is given of street outside, establishing setting. Caption shows that we are in London, 2027. Digetic sound of city becomes louder and more intrusive, as emotive music from television is cut. This conveys the mood of Owen, who is detached from events around him. Suggestion of danger is given by warnings on buildings and heavy police presence. Mid shot, 180 pan is given of Owen, showing him in full. All in same cut, explosion in shop he was just in goes off. Sound left is of ringing and screams, city noise is cut out. This allows to focus in on explosion. Heavy surprise due to docile mood created by long cuts. Lighting and colour is dull with grey, murky shades. This all gives a sense of realism.
The Dark Knight
Warner Bros ident is in low light and shaded dark blue/grey, corresponding with title and theme, as are other idents. Long shot tracking into window over city where the audience is then thrown into the action with a match on action used with window smashed by criminals in clown masks. Masks create a sinister sense mystery. Low angle mid shot of another assailant on streets zooms into close up of clown mask, showing its significance. Cuts then become quicker as he enters van. Dialogue between both groups mentions Joker twice emphasising his importance. Low angle shots are given of original assailant on street , picking him out as powerful. Lighting is natural and cold. As robbers on ground enter bank, tracking shots follow the action in a fast paced manner. Two shot of men on roof, one behind the other, shows one shooting the other in the back. Long shots in the bank show the action as a whole. One assailant stands in-front of vault, with a pan onto the vault door as a imposing image. Many close ups of masks, and of grenades being put into hostages hands. As they enter the vault close ups of the money are shown, showing the point of robbery. As scene goes on the robbers are killed by each other, with there eventually being a face of between the last standing and the 'main' one. Tension builds up with close ups and fast cuts, with it eventually concluding with a bus crashing through the wall of the bank. All digetic sound is harsh and shaking.
Taxi Driver
Credits are red on black backdrop, suggesting blood, with sinister and ominous connotations. First shot is of smoke/water vapour, gives unclean feel. Lighting is low level, similar to that of film noir. Low level shot of cab, giving it power and presence, as it passes through the smoke. It passes to leave bold lettered title. Non-digetic music is tense and dramatic. Colour are presented as foggy and blurred. Extreme close up of De Niros eyes with coloured lights fading in and out, as though passing through city, gives intimacy and sense of changeable emotion. POV shot out of windscreen covered in rain shows distorted lights, gives a cold mood. Blurred and distorted images suggested distorted nature of De Niros mind. Contrast of smooth saxophone music and distressing crescendo in other tune give more sense of changeability. Crowded and dirty streets give seedy vibe, with De Niro looking on. Eye line match used frequently. Image constantly shrouded in smoke and lights. Film noir clearly an influence.
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