Barry Wetcher Steven Soderbergh, who celebrated his 50th birthday two months ago, recently announced his retirement from the cinema in order to devote himself to painting.
Part of the underlying theme of this movie as explained by Truffaut himself is, " It is the scenes in this movie that are most helpful in disclosing the overall theme of the film. Within the scenes, the camera angles in this film play an important role in accentuating the emotions behind the scene.
The camera angles used in this film will be the primary focus of this paper. The high angle shots utilized in The Blows are effective in helping to develop the overall feel of a scene. This movie uses the high angle shot in three different scenes to evoke three different emotions and it still works extremely well.
The opening sequence uses a series of high angle shots to assist in establishing a feeling of childhood innocence and indeed, the child in this film, Antoine Dionel Jeanne-Pierre Leaudstarts out innocent.
The camera focuses of the city buildings and the sky above. As shown from a ground point of view, the buildings are larger than life and intimidating. This is how most children view the world, as being large and intimidating.
Most of them are devastated because they have to deal with a world that is larger than the one they know, and that is intimidating.
Children have incredible imaginations and are also innocent by nature. There is a definite correlation here between the angle selected and the sense of childhood innocence. However, this particular camera angle does not always hold the same meaning in every shot.
A latter high angle shot involves the elementary school teacher.
Bigey Georges Flamantthe teacher, is first demonstrated in this film by using a high angle close-up. This angle presents the teacher as a figure of authority and rule.
Furthermore it establishes a feeling control. Humans are most likely to look up to, figuratively speaking, figures of authority and control. As to follow with the storyline, the teacher is almighty and can direct the children in any sort of fashion he pleases.
He has the control. This particular angle is appropriate for this scene because it establishes, right away, that Mr.Steven Soderbergh has been regarded as an Avante-Garde filmmaker and is considered one of the founding pioneers of the Independent Cinema movement and among the most acclaimed and prolific filmmakers of his generation.
At the age of 26, he became the youngest director ever to win the Palme d’Or, a record that still stands intact. The .
In a film like Traffic (Steven Soderbergh, ), on the other hand, pans are usually very quick, suggesting that characters have no time to waste, and that decisions must be taken fast, therefore contributing to the sense of imminent danger and moral urgency that the films tries to communicate.
Traffic examines the question of drugs as politics, business, and lifestyle. With an innovative color-coded cinematic treatment to distinguish his interwoven stories, Steven Soderbergh embroils viewers in the lives of a newly appointed drug czar and his family, a West Coast kingpin’s wife, a key informant, and police officers on both sides of the Director: Steven Soderbergh.
Few cinematic techniques are used in isolation. extreme wide lenses are avoided in naturalistic styles, or they are used in unrestrained or open spaces, with no converging lines around the and reveal a third person was also present, thus changing the whole implication of the scene.
In a film like Traffic (Steven Soderbergh, ), on. Aug 08, · Steven Soderbergh prefers to forgo the "possessory credits" that put his name front and center at the beginning of his movies, and he’s done so much highly v. Sep 09, · “Contagion,” Steven Soderbergh’s smart, spooky thriller about contemporary plagues, is a paranoid freakout for the antigovernment, Tea Party age.