1. Long shot of Flora, The Birth of a Nation 10

2. Image of a fence in the frame showing Gus, a black man about to pursue a young white woman, The Birth of a Nation 12

3. Close-up of Gus, The Birth of a Nation 14

4. Flora through Gus's eyes, The Birth of a Nation 15

5. An extreme long shot of the people running down the

Odessa Steps, The Battleship Potemkin 29

6. A big close-up of a pair of legs, The Battleship Potemkin 29

7. The purposeful, organized movement of the soldiers,

The Battleship Potemkin 30

The chaotic, disorganized movements of the victims, The Battleship Potemkin 30

A boy's body creates a graphic conflict with the line of the steps, The Battleship Potemkin 31

A woman carrying a sick child ascends the steps, her body casting a shadow, The Battleship Potemkin 35

Soldiers' bodies cast their shadows on the woman and child, The Battleship Potemkin 35

Cesare, shortly before he collapses in exhaustion, The Cabinet of Dr. Caligari 38

13. Buildings lean, bend, or rear straight up, The Cabinet of Dr. Caligari 39

14. Emil Jannings in a medium close-up from slightly below,

The Last Laugh 41

15. Emil Jannings photographed from a high angle,

The Last Laugh 42

16. From the doorman's point of view, the neighbor woman's face grotesquely elongated, The Last Laugh 43

17. Images of the hotel dining room merge with images of the doorman's tenement neighborhood, The Last Laugh 46

18. The city created through special effects—the use of model shots and forced perspective, The Last Laugh 47

19. Charlie Chaplin in a long shot that is part of one unbroken take, The Adventurer 54

20. Charlie Chaplin in a gag that works because of the tight framing of the shot, The Adventurer 56

21. The jaunty hat with the matching zigzag design of her suit defines Rosalind Russell's character as a dynamic and powerful woman, His Girl Friday 65

22. The distorted image of the nurse, Citizen Kane 82

23. Young Charles Kane playing outside the window in one of the most poignant moments in film, Citizen Kane 87

24. Close-up of Susan Alexander, Citizen Kane 88

25. Reverse shot of Kane, Citizen Kane 89

26. Long lap dissolve of the young Kane's face on the snow-covered sled, Citizen Kane 90

27. Extreme low-angle shot emphasizing Kane's demented, unbalanced grandiosity, Citizen Kane 93

28. In Open City, the priest, Don Pietro, witnesses Man-

freddi's torture 102

29. Intimate morning scene viewed through an open window,

The Bicycle Thief 109

30. Gigantic statues of heroic, idealized athletes on the stadium walls, The Bicycle Thief 111

31. Image of parked bicycles, The Bicycle Thief 111

32. From Ricci's point of view, a lone, unattended bicycle,

The Bicycle Thief 112

33. Ricci abruptly turns away from temptation, The Bicycle

Thief 113

34. Ricci's about-face, The Bicycle Thief 113

35. Bruno has taken his father's hand, The Bicycle Thief 118

36. Antoine's face framed by a segment of the imprisoning grid pattern, The 400 Blows 128

37. Children's faces: the magical time when they still express what they feel, The 400 Blows 129

38. The letters f-i-n, superimposed over Antoine's frozen face, The 400 Blows 132

39. Mrs. Whittaker (Violet Farebrother), Easy Virtue 138

40. Mrs. Danvers (Judith Anderson), Rebecca 138

41. Madame Sebastian (Leopoldine Konstantin), Notorious 139

42. Mrs. Bates (Tony Perkins), Psycho 139

43. Mrs. Brenner (Jessica Tandy), The Birds 139

44. Merging of the shadows of Sebastian (Claude Rains)

and his mother, Notorious 143

45. A deep-focus shot of Alicia (Ingrid Bergman), Notorious 146

46. Alicia in a tight medium-close shot, the background out of focus, Notorious 146

47. The shadow on the door indicates Sebastian's menace, Notorious 147

48. Sebastian's shadow looms larger, Notorious 148

49. A subjective shot of the key, Notorious 149

50. Guido enclosed by the high walls of the schoolyard,

51. Guido encircled by the arm of a looming statue of a church dignitary, 8 1/2 161

52. Everything about Saraghina is exposed to the elements,

53. The long black robes of the priests, incongruous against the landscape of the beach, 8 1/2 162

54. Guido's mother sits by the portrait of a little boy wearing a halo, 8 1/2 163

55. The statue of the virgin merges with the image of Saraghina's blockhouse, 8 1/2 164

56. A more angelic than devilish Saraghina, 8 1/2 165

57. The camera frames four priests sitting in a row, 8 1/2 168

58. The priests in a new location, the far corner of the room, 8 1/2 168

59. Final shot of the sequence, the priests positioned as before, 8 1/2 169

60. Woody Allen seems to be speaking as himself directly to the film audience, Annie Hall 180

61. The house where Alvy grew up, Annie Hall 184

62. Annie as a sexy wicked queen in Snow White, Annie Hall 186

63. The actors reading Alvy's play are seen reflected in a mirror, Annie Hall 188

64. Ernest Dickerson's big close-up of Radio Raheem's face,

Do the Right Thing 199

65. Radio Raheem's feet off the ground, Do the Right Thing 205

66. The man stands, fully clothed, gazing at the woman in the shower, Coma 212

67. Scantily clad chorus girls perform suggestive dances,

The Gang's All Here 214

68. Polly's appearance counters the way heroines look in mainstream films, I've Heard the Mermaids Singing 222

69. A video camera hidden inside a TV monitor is placed where the head should be on the bust of a nude woman,

I've Heard the Mermaids Singing 223

70. Polly peering beyond the edge of the monitor frame,

I've Heard the Mermaids Singing 225

71. Homage to Dziga Vertov's The Man with a Movie

Camera in I've Heard the Mermaids Singing 226

72. Shot from The Man with a Movie Camera 226

73. Images on four screens, Timecode 236

74. Upper right quadrant: a composite image of two women, Timecode 238

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