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Moonlight (2016) Camera Shots, Angles and Movements

Shots

BCU

This BCU of Chiron puts us in the position of Kev as Chiron gets up from his beating. It shows us Chiron’s indomitable spirit and emotional strength, able to stand up to someone who was a friend after being beaten down. We are shown his stoic expression in extreme detail, which makes the audience respect him as a character.

LS

This long shot puts us in the shoes of Chiron hiding from the group of bullies. It shows us the futility of Chiron’s situation, showing us all of the open space on school grounds, blocked off from him by one small group of people.

CU

This close up of Chiron after the bullies attacked him after forcing Kev to punch him gives the audience a sense of Chiron’s pain. It shows us the blood over his face, the cold water that makes his skin glisten in the school bathroom light. It shows us Chiron’s frustration and anguish in detail, as well as representing his loneliness by giving a close up on his face against an empty white wall. This shot also precedes the scene where Chiron breaks a chair over Tyrell’s head, and this shot gives us Chiron’s emotional motivation for his action by showing his mental state

Camera Angles

Bird’s Eye

This bird’s eye shot of Kev and Chiron on the beach shows them close together on an uneven backdrop that is the sandy floor. This gives the viewer a strong sense of friendship between the two, and the plain sand backdrop against the two looking up at the camera, breaking the 4th wall in a sense, creates a strange atmosphere, almost like a dream.

Eye Level

This eye level shot of the “Little” segments Chiron and Kev portrays a sense of comradery between the two. We get the sense that they are equals and friends.

Low Angle

This low angle shot puts us in the perspective of Chiron’s mother talking to Juan, the man who was taking care of Chiron. This shows us the height difference between the two characters, creating a power dynamic between the person who was meant to look after Chiron versus the person who actually did take care of him.

Movements

Zoom In

This zoom in to the “Little” segments Kev and Chiron gives the audience the feeling that we are getting closer to the characters emotionally. This zoom in happens during a scene where Kev is telling Chiron that he can’t let people push him around and he needs to stand up for himself. The zoom in shows us that these characters are getting closer together, and gives the audience a sense that they are prying on a private conversation between to very close friends.

Pan

This scene where “Little” Chiron is running down towards the waves and then running away when the waves come up utilises a pan to follow Chiron as he runs. It puts us in the shoes of Juan, who is teaching Chiron to swim, and invokes a parental feeling of keeping eyes on the young child, looking after him, making sure he is safe and okay. It shows us Chiron’s relationship with Juan.

Ped

The cooking scene from the “Black” segment utilises peds to follow the movement of Kev’s hands while he is cooking, showing the effort and care that goes into the making of the meal for Chiron.

Mise En Scene – Joker (2019)

ELEMENTS OF MISE-EN-SCENE IN JOKER (2019)

Lighting

In this shot, the light from the fridge acts as a key light, casting light on Arthur’s scrawny physique. The dark room is illuminated solely by the blue light from the fridge, creating a dark, uncomfortable atmosphere. The room is in low key light, making the scene more dramatic. This scene succeeds the scene where Arthur finds out he is adopted, so the dark and blue also help build a tragic, depressing atmosphere.

Space

This shot utilises space to show the relationship between the clowns at the office. None of the clowns are close together despite the size of the room. The room also features a lot of empty space, creating a dull atmosphere in the shot.

Composition

This shot of Arthur attempting a performance at the comedy club is a good example of composition in the film. The lamps and people in the foreground are out of focus, making the audience focus on Arthur on stage. The people in the foreground are also silhouetted, creating the sense that you are in the club with them watching Arthur mess up his show.

Hair + Makeup

In this scene, Arthur is opening the door for two of his old co-workers midway through putting on makeup. His face is halfway through the clown make up process, giving him a patchy white face, which unnerves the viewer. His hair is freshly dyed green as well, making Arthur look unnatural and not human. It also represents where Arthur is in his character arc, as he is not yet the homicidal maniac in full makeup he is at the end, but no longer the anxious man just trying to scrape by in life like he was at the beginning.

Costume

The Stairway Dance scene is a great example of how costume is used in this movie. First there is Arthur in his full “Joker” persona’s outfit. It is wild and colourful and extravagant: there’s a lot going on, from the warm colours on his overcoat and waistcoat, to the decorated shirt, and the full clown makeup and green hair. He stands out and is very easily seen as eccentric. Meanwhile the detectives attempting to book him for the murders of the men on the train are in much more standard and boring clothing. Brown and blue coats, plain white shirts, ties: they resemble the men on the subway. They are dull and like everyone else, and Arthur’s outfit contrasts them by being loud and noteworthy.

 Aspect Ratio

Joker is usually shot in 1.85:1, giving the shots of the grimy Gotham streets more focus and importance. The above shot, for example, shows off the grimy streets of Gotham, showing the rubbish, the homeless, the sporadically placed cars etc. The wider aspect ratio is also useful in closeups as it gives us a better look at the actor’s facial expressions and movements.

However, for the scenes showing the Live With Murray Franklin program, the aspect ratio is shrunk to 1.33:1, making those shots feel like you’re watching them on an old CRT screen, thus putting you in the shoes of somebody watching the show, not a movie.

Film Stock

The camera in Joker is very sharp. The shots are very clear, and the camera shows detail as well as it can. Take the shot above: You can see Arthur’s face in extreme detail; the viewer can see the white makeup fading away, the smudging of the eye makeup, the lines in his face formed by his grin, the light reflecting off his hair. It’s a clear picture that shows a lot of subtle detail. Even the shine on the side of the police car and the reflection of the neon lights in the window are shown in a very high quality. However, similar to the aspect ratio, I love the changes made to the film during the Live With Murray Franklin segments.

Like how the aspect ratio was shrunk to simulate a CRT, a grain is added to the camera, these bars across the screen, as well as dampening the colours, to further emulate the style of an old TV set. This definitely adds to the impact of this intra-diegetic shot, as you are made to feel like you are watching this live on TV, not as part of a movie. It puts you in the shoes of the people in Gotham who have watched this beloved figure get murdered live on air. I love this detail of the CRT Franklin segments, as it adds some individuality and unique style to the film.

Moonlight First Response

MOONLIGHT (2016, Dir. Barry Jenkins) FIRST RESPONSE

Rating: 6/10

The film does a good job at conveying a heartfelt story, using a three act structure to separate the stages of life the main character Chiron is in. It gets some good use out of the camera, making beautiful shots (any scene at a beach comes to mind) and the occasional shake of the camera really grounds the film, making it look like it was recorded by an onlooker using a handheld camera. However, sometimes the unique camera movements became annoying and sometimes I couldn’t make out what the characters were saying. It also just isn’t the kind of movie I love, but it executes what it set out to do extremely well.

Memorable Scene: Kev’s Betrayal 

The scene begins with one of the coolest shots of the film: it starts on the bully character, Terrel, walking into the schoolyard pushing people out of the way as he comes towards the camera. Then, without changing shots, the camera follows Terrel as he circles the camera, which is the point of view of Chiron. This shot stood out to me immediately because it really puts you in Chiron’s situation. You watch as Terrel walks, acting aggressive to other students, pushing them out of the way to create a circle. What really works with this shot is that Terrel remains in focus in the centre of the camera while the background is blurry and clearly moves. This creates a sense of tension and unease. This spinning shot continues for around ten seconds before Terrel, and thus the camera, stops at Kev. Terrel orders him to knock Chiron down, and Chiron stays silent and stares at Kev. Before this scene was the scene where Kev and Chiron shared an intimate moment on the beach. Both characters were vulnerable then, but here it’s different. Chiron is meant to be vulnerable: he is face to face with Terel and his gang, as well as Kev about to punch him. He is outmatched. And yet, Kev looks nervous and frightened while Chiron retains composure as he stares down the group. Chiron is knocked down by Kev, but then stands back up. Kev is ordered to knock him down again, and he does. But Chiron gets back up. This is important as it shows that Chiron, despite being bullied and seen as “weak” by his peers due to his physique and the fact that he is gay, is strong. As he said in the Knock Down scene from the “Little” segment, he isn’t soft. He has a strong will. Kev shouts at Chiron to stay down because he doesn’t want to hurt him, but Chiron gets back up. Chiron’s face is up close to the camera, and out of focus. This further creates a sense of unease, as the shots of Chiron are filled with his blurry, stoic face. Kev knocks him down again, and the bully group savagely attack him while Kev backs away. There is no natural sound at this scene’s end, no talking or chatter or anything. The only thing you can hear is a haunting score as Kev looks on while his best friend and love interest is beaten down and is alone. 

Monaco Article Response

What does Monaco mean by the “Spectrum Of Arts”?

In How To Read A Film, Monaco presents a spectrum of arts, each point on the spectrum related to how distant from reality the art feels to the observer.

The first point Monaco presents on the spectrum is performance arts, art which happens in real time. This ranges from being told a story to theatre, and in all instances the observer is aware of the artists, the performers.

The next point on the spectrum is the representational arts. The representational arts is defined by Monaco as art which uses language or images to convey meaning to the observer. This is further up the spectrum from the performing arts, as while the presence of an artist is still present due to the knowledge that the art was written or drawn or sculpted by an artist, the artist themselves is not present.

The final point on the spectrum, so far, is the recording arts. The recording arts are, plainly, recordings of our world, either through picture or video and film. The recording arts are at the top of the spectrum as the presence of the artist can be hard to see. Viewing the recording arts is viewing our world as it is, just on a screen or in a frame.

JOKER (2019) FIRST RESPONSE

JOKER (2019, Dir. Todd Phillips) FIRST RESPONSE

Rating: 7/10

Cool cinematography, interesting story and really nice action sequences (also some really really cool kills), and I enjoyed how the plot developed. It also had some really good acting, especially from Joaquin Phoenix, who plays the lead Arthur Fleck. It obviously took a lot of inspiration from the movie Taxi Driver (1976) when it came to pacing and plot. however some parts of the script felt like it was trying too hard to be badass and edgy and I also feel like it demonised mental illness while also criticizing society demonising mental illness, so it wasn’t perfect.

Memorable Scene: The Murder Of Murray Franklin

The lead up to the murder was really tense. Arthur, who had up to this point been socially reserved, was acting super enigmatic upon entering the studio. As he revealed his crimes live on air the tension builds, with Phoenix playing Arthur’s new energetic persona making it even more tense, ending with a loud argument with Franklin, who had been idolised by Arthur throughout the movie. Arthur exposes Franklin for being a cruel, corrupt rich guy, and suddenly shoots him live on air. There is a bit of catharsis when Murray dies as the audiences view of Franklin deteriorates along with Arthur’s, starting from when he mocked the clip of him on air for reasons relating to Arthur’s mental illness. The contrast in this scene is good too, as the recording studio is brightly coloured unlike the grimy streets and apartments that the rest of the movie took place in. Arthur is also dressed colourfully in this scene, in a bright suit and clown makeup, which creates comedy as he tells a dark “joke” and admits to the murders of the upper-class men on the subway. The music too elevates the scene, the slow, beating score building up to the sudden gunshot.

Categorising Films

Film NameDirectorRelease YearGenreCategoryReasoning
Battleship PotempkinSergei Eisenstein1925Thriller, HistoricalHistorically significantCovers the Russian revolution
A Bugs LifeJohn Lasseter1998comedyMainstreamKind of forgettable
The Shape Of WaterGuillermo Del Toro2015Romance/FantasyMainstreamRemake of Creature From The Black Lagoon but with a romantic plot.
The Seven SamuraiAkira Kurosawa1954Epic, actionHistorically significantInfluenced a lot of westerns
The Breakfast ClubJohn Huges1985Coming Of Age, DramaHistorically SignificantDefined the coming-of-age genre and popularised it
The Wizard Of OzVictor Flemming1939FantasyHistorically significantOne of the first movies preserved by the national film registry
The Magnificent SevenJohn Sturges1960Action, westernHistorically SignificantPreserved in the national film registry
Love, SimonGreg Berlanti2018DramaMainstreamToo recent to be historically significant
FitzcarraldoWerner Herzog1982DramaMainstreamNot influential enough to be historically significant
AlphavilleJean-Luc Godard1965Sci-Fi, noirMainstreamFilm noir was a popular genre at the time. Close to Historically Significant because the band Alphaville was named after it

The value of a movie can be determined by how it makes an audience feel. A film is more valuable if it makes the audience feel happy or cry, but it is less valuable if it annoys, or worse, bores the audience.