SHOT TYPES
Here is a Youtube clip of a scene from ‘The Ring’ I have watched and analysed.
I am going to state the shot types and camera movement used in each individual shot during the time period of 3:27-4:16 on the video, and why these different shot types/movements are used to be effective at that particular point in the sequence.
The scene takes place in an abandoned office, with the main character being chased and killed by the cursed and supernatural girl, ‘Samara’. Beforehand the TV has turned on playing a video of the girl at a well and the scene begins with the main character (middle aged man) watching the girl on video walking towards the TV screen.
Shot 1
Shot type = LS, camera movement = arc.
This shot begins the scene so remains mysterious. The camera arcs around the side of the TV so we do not see the TV screen, but is so close to the TV that this is all we can see. The arc is slow to build up tension as to what will be revealed when the camera reaches past the side of the TV whilst arcing. An arc is used instead of a pan to peer around the corner almost and bring us towards the action, which makes the audience react and want to know what is going on (what is on the other side might be scary or interesting). This eventually reveals the main character at LS, backing away from the TV screen, so we know something is moving towards him on screen. He is at LS so his whole action of backing away is seen, and he looks small in comparison to the TV, which is what we are scared of. The TV is engulfing him in this shot giving a feel of claustrophobia.
Shot 2
Shot type = LS, camera movement = reverse track
In this shot we are suddenly confronted with the TV and what is on the screen (the girl). This gives the audience an early shock in the scene as the villain/killer is revealed so early on. The shot is at LS to again show the whole action of the girl climbing out the TV and to not reveal too much of her expression (her overhanging hair preserves the mystery of her face). A slow reverse track away from her as she creeps towards the man is used to give the mans perspective of the situation, adding realism to the shot as we feel we are in it, backing away from this horrible creature. Our heart races because we want to get away from her, so we feel like we are in a chase.
Shot 3
Shot type = MLS to MCU, camera movement = crane
This shot is at MLS showing the man continues to back away from the girl. The MLS brings us slightly closer to the character; so more expression is scene in his shocked face but not too much is given away early on. A crane is used as the man falls to the floor and the camera cranes over him. This makes him look small and vulnerable as we are in the girl’s position with all the power. He is lying on the ground beneath us, so we get the feeling he has lost control and will die. The crane also brings us closer to his face at MCU, which is looking more and more desperate. This is building up to a climax where he will be killed.
Shot 4
Shot type = LS to MLS, camera movement = pan
The shot begins at LS of the girl and pans from a sideways view of her creeping to a front on angle of her at MLS. The combination of pan towards where the man is on the ground vulnerable being confronted by the killer and slight zoom towards the girl bring us closer to the killer and put us back in the vulnerable position. The shot takes us to the most frightening position where the girl is creeping towards us and we see her wretched look in more detail. All the time this is making our hearts beat faster and faster as we want to get away from the girl but the camera keeps bringing us closer to her.
Shot 5
Shot type = MCU to MS/LA, camera movement = tilt
We start at MCU so we see more of the mans face and his detailed terrified expression makes us fear the killer girl even more. The camera tilts up as the man gets up from the ground so the shot becomes MS. This makes the shot LA so the man becomes a bit more authorative as he tries to take action against the girl who is below him on the floor. The tilt is only used to follow the mans action, luring the audience into thinking the man may be able to strike back.
Shot 6
Shot type = CU, camera movement = crab (side on track)
This shot moves steadily forward at a sideways view of the girl creeping forward. The shot is a CU but only shows up to the girls chin so still no face is seen. Therefore we see her creepy action in more detail, which freaks us out and makes us more scared of her. A crab is used to follow the girl coming forward, and rather than slow is slightly faster to show she is moving quite quickly towards the man. This rushes the scene forward giving the audience no time to rest, as the man has to react fast.
Shot 7
Shot type = MLS/LA, camera movement = crab (side on track) & tilt
The shot begins moving steadily forwards at a side on view behind some shelves. Through the levels of the shelves we can see this is from behind the man who is still backing away from the girl on the floor. We can only see the legs and body of the man as the shot is at LA on the floor, and the cabinet traps him as the action is framed by the space between shelf levels. The sideways movement builds up tension as the camera is hiding behind the shelves, so we are peering onto something we should not be seeing. When the camera reaches the end of the shelves we are suddenly in the open all of a sudden which makes your heart stop as we feel the girl has spotted us. At this point the girl gets up and there is a very fast tilt upwards as the girl swoops forward in the blink of an eye to face the man. This shocks the audience as the girl is suddenly a lot closer and the kill seems as if it is just about to happen. The fast tilt adds to the shock of the girl’s movement as well as making the girl seem taller at this point of shock (due to the tile creating an even bigger LA effect). The man falls back into the shelves so there is nowhere to hide.
Shot 8
Shot type = LS/HA, camera movement = still
The shot shows the man falling into the cabinet at a HA from on top of a cabinet which is next to the girl. We are almost looking from her view and the HA makes the man seem very vulnerable and small again. This reinforces who has the power in this scene. The shot is at LS to capture the full drama of the shelves crashing into the floor with the man ending up with his whole body in shot (his whole body is open to the prey of the girl now).
Shot 9
Shot type = MS/HA, camera movement = steadicam
Here the camera is at MS, and follows the mans upper body and head as he clambers face first off the shelves. At MS we can see his action of desperation, but we also capture some detail in his expression, showing pain and hopelessness (shown by spit coming out of his mouth – a signal he is down and out and cannot take much more). The camera is not moving in a particular direction but simply follows his movement to keep the focus on him in a steadicam style. The steadicam is smooth so no focus is taken away from the man. It is as if the camera has pinpointed the man as it is his turn to die, with the HA showing him as completely vulnerable and on the floor. He has lost all power and control.
Shot 10
Shot type = MLS/LA, camera movement = arc
The shot is at MLS of the girl standing completely still. We are fairly far away from her but we get the feeling she is still in control as it is at LA so she seems very imposing even though she isn’t moving. An arc is used instead of a pan so we keep the same distance from her as we circle her. This focuses on the killer showing her at a 180 degrees angle, and we can’t get away from her because of the arc movement keeping us at the same distance from her. We want to get away from her but the arc of her makes us feel we are trapped ourselves and she is sucking us in. She is totally in control.
Shot 11
Shot type = MCU/LA, camera movement = reverse track/handheld
The shot is at about MCU of the man, and he is still on the ground. This makes the shot LA in contrast to shot 10, but we are level with the man as the camera is on the ground. This now brings us down to the mans level, so the girl has control over both the man and the audience (we are with the man and therefore vulnerable). The camera does a reverse track as the man creeps forward – he is creeping away from the girl. This track seems quite slow as the mans movement is laboured by sharp glass, suggesting a lot of effort is being put into the action but he cannot get far away enough from the girl to be comfortable. The camera seems to shake a bit and is not completely smooth, making this movement disjointed and uncomfortable, adding disorientation and confusion to the audience’s emotions. The realism of a handheld shot also brings the audience into the reality of the scene, as if we are really there following the mans movement and therefore trying to get away from the girl too.
Shot 12
Shot type = CU/HA, camera movement = still
This is simply a cutaway shot to add more detail. It is a CU of the mans hand being cut by glass to add to his pain and struggle. The framing is simple and the meaning comes from the action in this shot.
Shot 13
Shot type = MCU/LA/OTS, camera movement = crab (side on track and arc)
The shot is at MCU to show expression in the mans face, which is of pain and anger, building up more tension towards the climax – his fear has become anger. The shot is an OTS, with the man facing us but looking over his shoulder at LA to show the girl standing over him in the background. She looks imposing despite being further away, and the focus is still on her and what she will do next. The crab follows the mans movement again as he tries to move forwards away from the girl, but instead of following this movement we move slightly across him in an arc to move closer to his face, which blocks out the girl behind. This again suggests we are not getting away from the girl and we are slightly disorientated by the end of the shot as the girl is hidden and could be anywhere in the room, further building tension.
Shot 14
Shot type = CU/LA to HA, camera movement = crab (side on track)
This shot follows on from the disorientation of the shot before by not showing where the girl is or her face. We simply follow her feet at floor level and at a CU, side on, as she walks forward (we guess towards the victim). The CU shows in detail how the girl is walking slowly and frighteningly – she is not normal. The camera again follows her steady movement, building up tension, as we know she is moving closer and closer to the victim who has to react. By the end of the shot we see the man on the ground in the background. We are suddenly at a HA as the girl is standing on a platform, so her feet are raised from the ground and we overlook the vulnerable man who lies powerlessly on the foor.
Shot 15
Shot type = MS, camera movement = steadicam
This shot is at MS of the man to show his whole desperate and struggling action as well as his desperate and struggling expression. The scene is nearing its climax as the mans frantic actions and face are reaching breaking point (they have built up until now). The camera simply follows his action backwards as a steadicam to keep the focus and attention on the victim and to move closer to him, so despite him trying to get away from the camera (which is more at the girls point of view), he is actually not getting away. He is trapped and powerless.
Shot 16
Shot type = MS to MCU, camera movement = zoom
This shot marks the climax of the scene as we suddenly face the girl head on (climaxes often end with us facing our fears). Her hair still covers her face as we start at MS. The camera then begins to zoom in on her, and this zoom starts slowly but picks up pace as we reach MCU and her hair blows to the side to reveal her horrid face. This sudden pick up of pace shock the audience and we suddenly face what we are terrified of. The dramatic effect of seeing the killers face for the first time suggests that this is a special moment in the film (i.e. the face is only seen just before the kill as the last thing the victim sees is the girls face).
Shots 17 & 18
Shot type = MCU to CU to ECU, camera movement = flash zoom
These 2 shots continue from the last shot but are seen as separate shots as they are 2 sudden flashes. Each flash brings us closer to the girls face, the first being a CU we see for literally a split second, and the second being an ECU of the girls eye, which the camera pauses on. The sudden flashes forward rush us towards a climax and send our hearts racing, as we feel disorientated due to the suddenness, as well as totally out of control. The focus on the eye suggests this is what will kill the victim – the deadly, imposing look.
Shot 19
Shot type = LS to MS/HA, camera movement = crash zoom
This is the last shot in the scene, with the camera focusing at HA and at LS on the man who is lying helpless on the floor. We are seeing from the eye’s point of view from the previous shot. We are fixed on the character like the eye is before swooping into an extremely fast crash zoom, which reaches MS of the man so we do not lose any detail in his pinned down action. The man screams to add to the shock of the sudden movement, and we know this is his last moment as the camera is so focused on him as it moves rapidly towards him, suggesting an attack.
Here is a Youtube clip of a scene from ‘The Ring’ I have watched and analysed.
I am going to state the shot types and camera movement used in each individual shot during the time period of 3:27-4:16 on the video, and why these different shot types/movements are used to be effective at that particular point in the sequence.
The scene takes place in an abandoned office, with the main character being chased and killed by the cursed and supernatural girl, ‘Samara’. Beforehand the TV has turned on playing a video of the girl at a well and the scene begins with the main character (middle aged man) watching the girl on video walking towards the TV screen.
Shot 1
Shot type = LS, camera movement = arc.
This shot begins the scene so remains mysterious. The camera arcs around the side of the TV so we do not see the TV screen, but is so close to the TV that this is all we can see. The arc is slow to build up tension as to what will be revealed when the camera reaches past the side of the TV whilst arcing. An arc is used instead of a pan to peer around the corner almost and bring us towards the action, which makes the audience react and want to know what is going on (what is on the other side might be scary or interesting). This eventually reveals the main character at LS, backing away from the TV screen, so we know something is moving towards him on screen. He is at LS so his whole action of backing away is seen, and he looks small in comparison to the TV, which is what we are scared of. The TV is engulfing him in this shot giving a feel of claustrophobia.
Shot 2
Shot type = LS, camera movement = reverse track
In this shot we are suddenly confronted with the TV and what is on the screen (the girl). This gives the audience an early shock in the scene as the villain/killer is revealed so early on. The shot is at LS to again show the whole action of the girl climbing out the TV and to not reveal too much of her expression (her overhanging hair preserves the mystery of her face). A slow reverse track away from her as she creeps towards the man is used to give the mans perspective of the situation, adding realism to the shot as we feel we are in it, backing away from this horrible creature. Our heart races because we want to get away from her, so we feel like we are in a chase.
Shot 3
Shot type = MLS to MCU, camera movement = crane
This shot is at MLS showing the man continues to back away from the girl. The MLS brings us slightly closer to the character; so more expression is scene in his shocked face but not too much is given away early on. A crane is used as the man falls to the floor and the camera cranes over him. This makes him look small and vulnerable as we are in the girl’s position with all the power. He is lying on the ground beneath us, so we get the feeling he has lost control and will die. The crane also brings us closer to his face at MCU, which is looking more and more desperate. This is building up to a climax where he will be killed.
Shot 4
Shot type = LS to MLS, camera movement = pan
The shot begins at LS of the girl and pans from a sideways view of her creeping to a front on angle of her at MLS. The combination of pan towards where the man is on the ground vulnerable being confronted by the killer and slight zoom towards the girl bring us closer to the killer and put us back in the vulnerable position. The shot takes us to the most frightening position where the girl is creeping towards us and we see her wretched look in more detail. All the time this is making our hearts beat faster and faster as we want to get away from the girl but the camera keeps bringing us closer to her.
Shot 5
Shot type = MCU to MS/LA, camera movement = tilt
We start at MCU so we see more of the mans face and his detailed terrified expression makes us fear the killer girl even more. The camera tilts up as the man gets up from the ground so the shot becomes MS. This makes the shot LA so the man becomes a bit more authorative as he tries to take action against the girl who is below him on the floor. The tilt is only used to follow the mans action, luring the audience into thinking the man may be able to strike back.
Shot 6
Shot type = CU, camera movement = crab (side on track)
This shot moves steadily forward at a sideways view of the girl creeping forward. The shot is a CU but only shows up to the girls chin so still no face is seen. Therefore we see her creepy action in more detail, which freaks us out and makes us more scared of her. A crab is used to follow the girl coming forward, and rather than slow is slightly faster to show she is moving quite quickly towards the man. This rushes the scene forward giving the audience no time to rest, as the man has to react fast.
Shot 7
Shot type = MLS/LA, camera movement = crab (side on track) & tilt
The shot begins moving steadily forwards at a side on view behind some shelves. Through the levels of the shelves we can see this is from behind the man who is still backing away from the girl on the floor. We can only see the legs and body of the man as the shot is at LA on the floor, and the cabinet traps him as the action is framed by the space between shelf levels. The sideways movement builds up tension as the camera is hiding behind the shelves, so we are peering onto something we should not be seeing. When the camera reaches the end of the shelves we are suddenly in the open all of a sudden which makes your heart stop as we feel the girl has spotted us. At this point the girl gets up and there is a very fast tilt upwards as the girl swoops forward in the blink of an eye to face the man. This shocks the audience as the girl is suddenly a lot closer and the kill seems as if it is just about to happen. The fast tilt adds to the shock of the girl’s movement as well as making the girl seem taller at this point of shock (due to the tile creating an even bigger LA effect). The man falls back into the shelves so there is nowhere to hide.
Shot 8
Shot type = LS/HA, camera movement = still
The shot shows the man falling into the cabinet at a HA from on top of a cabinet which is next to the girl. We are almost looking from her view and the HA makes the man seem very vulnerable and small again. This reinforces who has the power in this scene. The shot is at LS to capture the full drama of the shelves crashing into the floor with the man ending up with his whole body in shot (his whole body is open to the prey of the girl now).
Shot 9
Shot type = MS/HA, camera movement = steadicam
Here the camera is at MS, and follows the mans upper body and head as he clambers face first off the shelves. At MS we can see his action of desperation, but we also capture some detail in his expression, showing pain and hopelessness (shown by spit coming out of his mouth – a signal he is down and out and cannot take much more). The camera is not moving in a particular direction but simply follows his movement to keep the focus on him in a steadicam style. The steadicam is smooth so no focus is taken away from the man. It is as if the camera has pinpointed the man as it is his turn to die, with the HA showing him as completely vulnerable and on the floor. He has lost all power and control.
Shot 10
Shot type = MLS/LA, camera movement = arc
The shot is at MLS of the girl standing completely still. We are fairly far away from her but we get the feeling she is still in control as it is at LA so she seems very imposing even though she isn’t moving. An arc is used instead of a pan so we keep the same distance from her as we circle her. This focuses on the killer showing her at a 180 degrees angle, and we can’t get away from her because of the arc movement keeping us at the same distance from her. We want to get away from her but the arc of her makes us feel we are trapped ourselves and she is sucking us in. She is totally in control.
Shot 11
Shot type = MCU/LA, camera movement = reverse track/handheld
The shot is at about MCU of the man, and he is still on the ground. This makes the shot LA in contrast to shot 10, but we are level with the man as the camera is on the ground. This now brings us down to the mans level, so the girl has control over both the man and the audience (we are with the man and therefore vulnerable). The camera does a reverse track as the man creeps forward – he is creeping away from the girl. This track seems quite slow as the mans movement is laboured by sharp glass, suggesting a lot of effort is being put into the action but he cannot get far away enough from the girl to be comfortable. The camera seems to shake a bit and is not completely smooth, making this movement disjointed and uncomfortable, adding disorientation and confusion to the audience’s emotions. The realism of a handheld shot also brings the audience into the reality of the scene, as if we are really there following the mans movement and therefore trying to get away from the girl too.
Shot 12
Shot type = CU/HA, camera movement = still
This is simply a cutaway shot to add more detail. It is a CU of the mans hand being cut by glass to add to his pain and struggle. The framing is simple and the meaning comes from the action in this shot.
Shot 13
Shot type = MCU/LA/OTS, camera movement = crab (side on track and arc)
The shot is at MCU to show expression in the mans face, which is of pain and anger, building up more tension towards the climax – his fear has become anger. The shot is an OTS, with the man facing us but looking over his shoulder at LA to show the girl standing over him in the background. She looks imposing despite being further away, and the focus is still on her and what she will do next. The crab follows the mans movement again as he tries to move forwards away from the girl, but instead of following this movement we move slightly across him in an arc to move closer to his face, which blocks out the girl behind. This again suggests we are not getting away from the girl and we are slightly disorientated by the end of the shot as the girl is hidden and could be anywhere in the room, further building tension.
Shot 14
Shot type = CU/LA to HA, camera movement = crab (side on track)
This shot follows on from the disorientation of the shot before by not showing where the girl is or her face. We simply follow her feet at floor level and at a CU, side on, as she walks forward (we guess towards the victim). The CU shows in detail how the girl is walking slowly and frighteningly – she is not normal. The camera again follows her steady movement, building up tension, as we know she is moving closer and closer to the victim who has to react. By the end of the shot we see the man on the ground in the background. We are suddenly at a HA as the girl is standing on a platform, so her feet are raised from the ground and we overlook the vulnerable man who lies powerlessly on the foor.
Shot 15
Shot type = MS, camera movement = steadicam
This shot is at MS of the man to show his whole desperate and struggling action as well as his desperate and struggling expression. The scene is nearing its climax as the mans frantic actions and face are reaching breaking point (they have built up until now). The camera simply follows his action backwards as a steadicam to keep the focus and attention on the victim and to move closer to him, so despite him trying to get away from the camera (which is more at the girls point of view), he is actually not getting away. He is trapped and powerless.
Shot 16
Shot type = MS to MCU, camera movement = zoom
This shot marks the climax of the scene as we suddenly face the girl head on (climaxes often end with us facing our fears). Her hair still covers her face as we start at MS. The camera then begins to zoom in on her, and this zoom starts slowly but picks up pace as we reach MCU and her hair blows to the side to reveal her horrid face. This sudden pick up of pace shock the audience and we suddenly face what we are terrified of. The dramatic effect of seeing the killers face for the first time suggests that this is a special moment in the film (i.e. the face is only seen just before the kill as the last thing the victim sees is the girls face).
Shots 17 & 18
Shot type = MCU to CU to ECU, camera movement = flash zoom
These 2 shots continue from the last shot but are seen as separate shots as they are 2 sudden flashes. Each flash brings us closer to the girls face, the first being a CU we see for literally a split second, and the second being an ECU of the girls eye, which the camera pauses on. The sudden flashes forward rush us towards a climax and send our hearts racing, as we feel disorientated due to the suddenness, as well as totally out of control. The focus on the eye suggests this is what will kill the victim – the deadly, imposing look.
Shot 19
Shot type = LS to MS/HA, camera movement = crash zoom
This is the last shot in the scene, with the camera focusing at HA and at LS on the man who is lying helpless on the floor. We are seeing from the eye’s point of view from the previous shot. We are fixed on the character like the eye is before swooping into an extremely fast crash zoom, which reaches MS of the man so we do not lose any detail in his pinned down action. The man screams to add to the shock of the sudden movement, and we know this is his last moment as the camera is so focused on him as it moves rapidly towards him, suggesting an attack.
This shot is followed by a series of sudden, fast images to do with the video tape the girl climbed out of (i.e. the well). These are symbolic to the film, and are associated with the girls curse and how she kills her victims. This marks the death of the man, which we do not see for ourselves. We know he dies when his scream stops. The whole seen built up to this point using the various shot types and camera movements I explained, resulting in a dramatic climax, which leaves a terrifying last impression on the audience – the ultimate aim of any good horror movie.
No comments:
Post a Comment