Example 1
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Here are stills (read them like a text) from a sequence of shots (each counter-shot indicating a new shot; longer shots are represented by a number of stills) from a sequence of Kubrick's The Shining. This is one of the most dramatic and frightening scenes in the film. It is also very dynamic: she is backing up through a large room and he is pursuing her. Orient yourself in these stills by paying attention to the room in the background (in the last still you can see a view of the whole room from the top of the stairs; they move from the top right of the room to the left middle and then to the right bottom of the stairs, then up the stairs).
Now: look closely and spend some time figuring out whether the axis of action it is maintained throughout.
Ask yourself: what is the position of the camera in each shot and where are we, the audience thereby placed during the sequence?
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1 |
2 |
3 |
4 |
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5 |
6 |
7 |
8 |
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8 |
9 |
10 |
11 |
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12 |
13 |
14a |
14b |
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14c |
14d |
14e |
15 |
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16 |
17a |
17b |
17c |
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18 |
19a |
19b |
19c |
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20a |
20b |
20c |
20d |
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20e |
21a |
21b |
22 |
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23 |
24a |
24b |
25 |
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26a |
26b |
27a |
27b |
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27c |
28 |
Question: Do you notice any violations of the axis of action?
Question: In the course of this sequence, what is perhaps the most significant change in the mise-en-scene?
Challenge: Describe the effect of these changes.
Challenge: After closely analyzing this sequence you may wish to go here.