A J-cut is a technique used in split film editing, where the audio from the following scene overlaps with the video from the current shot, so that the audio plays before the audience sees the next shot. Is also known as an audio lead/advance. The name derives from the shape of the audio and video cut together during the era of analogue film.

An L-cut is another technique used with split film editing. Opposing a J-cut, it works in the way that the audio from the current shot carries over to the next, often used in scenes involving dialogue. It’s name also derives from the shape of the audio and video cut together during the era of analogue film.

The first three images create a sense of hunger – maybe the character has links to the chicken or enjoys eating.

The second set of three forms a feeling of fatherhood and paternalism. It portrays the character as a nurturing, kind man.

The final photos create an emotion of wanderlust and distance from the world; isolation.

The first shot is a medium shot – more focused on the miller, a considerably small man in stature – where the miller, carrying a bag of flour, bumps into the shoulder of a shadowy/concealed figure, carrying another similar bag. The shot opens with the miller walking toward the camera, before bumping into the chimney sweep. His expression changes from blank to horror-stricken, creating the effect that the miller may know what’s to come for whatever reason, such as the sweep’s build or potential reputation. It should stretch out to last over a few seconds, roughly 5-10. No dialogue is present but ambient sounds of the natural environment could be present, or even a short-lived, more upbeat musical score could be there.

The second shot swiftly cuts to an extreme close-up of the chimney sweep’s eyes, angrily looking toward the direction of the miller. This shot could could contain an angry grunt from the miller as he’s bumped into, and have a sudden, and very dramatic change in the musical score to enforce tension. The shot should last no longer than three seconds.

The third shot, a wide shot of the two, and the windmill in the distance, shows the terrified miller as he walks away from the sweep, the sweep now preparing to, and then throwing his bag of soot toward the miller as his large, muscular body structure is presented to the audience, with his build juxtaposing that of the miller’s. The musical score could crescendo into something louder and yet more intense as this shot plays, and again, the dialogue shouldn’t consist of much more than aggressive noises coming from the miller. The shot should last around 5-10 seconds

The next shot would display the bag of soot mid-air close-up, soaring toward it’s target as it’s aggressively thrown. Sound effects of the wind rushing could work to emphasise the speed of the bag, and the music could reach it’s climax here before ending in the next shot. This shot should contain no dialogue and last roughly 2 seconds.

For the fifth shot, the score should suddenly cut as soon as the bag makes contact with the miller’s head in this extreme wide shot, again featuring the windmill in the background between the two in the distance, creating a comparison between the huge sweep and the “towering” building. The shot should again feature no dialogue and just feature the noise of the bag hitting the miller, lasting from 3-5 seconds.

For the final shot, to dramatize the impact, it should be an extreme wide shot that displays the windmill – even further away – the sweep far off to the background, and the miller – who gradually, but quickly, is sent toward the camera while upturning the soil as he sails through it from the strength of the impact. The sound within the shot should only be that of the ambient noises present throughout the whole scene, and the loud rumble of the ground being torn through.

Editing within a cinematic piece is both a technical and creative aspect of film. It is the assembly of each different element of the production, visual elements in particular. Putting different scenes together aids in the linear progression of the narrative, and can create a more immersive experience

Overall, I would rate Stanley Kubrick’s “The Shining” as an 7/10, for its gripping horror as madness consumes Jack Nicholson’s character slowly throughout the film’s runtime, and Kubrick’s use of unique cinematography. The most memorable scene/scenes placed in the film were the knee-level tracking shots of Danny as he rode around the Overlook hotel on his tricycle.

The formula for modern day “box office hits” is very similar, in the sense of genre and expansion of an original story. Here, shown on boxofficemojo.com, the top 10 films in 2019 were for, for the most part, created by Walt Disney Studios, or other giant film corporations such as Sony Pictures Entertainment and Warner Bros. A large majority of these films were based in the genres of action and fantasy, grossing massive profits for their companies. Another feature than is noticeable is that these films already build onto an original film or franchise, including the remakes, or “reboots” of film classics such as “IT”, “Aladdin”, and “The Lion King”.

It’s clear that these conglomerates have a monopoly over the realm of film; and for good reason. They create films that are appropriate for most audiences, children in particular, and films that invoke deep feelings of nostalgia from older audiences’ childhoods, which encourages them to watch their films, even if they are no longer their target audience.

In cinematography, diegesis refers to the world of the film and what’s happening inside it.

Diegetic gaze is described as the way the audience interprets different elements of the film, e.g. how a specific shot enhances or alters the tone of a scene

Intra-diegetic gaze is used when the audience is placed within a character’s viewpoint, typically as a first person view, e.g. during scenes where a sniper rifle is in use – the camera typically follows the perspective of the scope.

Extra-diegetic gaze, often known as “4th wall breaking”, is used when a character addresses the audience by either looking into the camera, or talking to them through monologue, e.g. films such as Deadpool use this to stand out from other films in their genre, emphasising comedic elements of the film.

Cinematography is the art form behind motion pictures. It involves the use of camera angles and various elements of mise-en-scene, such as setting, camera movement, and lighting.

A highly recognised art in film, cinemaphotography has a wide range of talented directors who’ve put their own spin on their practice, such as unique camera angles or intense camerawork, some of which is covered in the documentary “Visions of Light: The Art of Cinematography”.

In my opinion, I would rate Bladerunner as a film at 7/10. I enjoyed it overall, but it was difficult to follow the flow of the storyline at times. The worldbuilding and mise-en-scene worked well together to create a futuristic piece that’s grounded in our reality and future.

A scene that I found to be memorable was more toward the beginning, where the camera pans and slowly zooms out across different areas of the city as Deckard is escorted to the police station in the flying car. The shots implement elements from our current world, even today, with advertisements for Coca-Cola and the Atari building being one of the key structures, adding realism to the world the film has brought us to.