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     The extreme long shot, the furthest from the subject, shows the whole setting including most or all subjects. An extreme long shot suggests distance, with the seer and the seen appearing far away. A long shot has a similar function and uses a shorter distance from the subject, whose narrow perspective is distinct with more details. Long shots tend to be used for natural settings, for example, to capture the expanse of a landscape, or use human subjects which can appear small and distanced. This can be emphasized by camera movements, such as panning from one side to another.

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The extreme long shot is the furthest from the subject and showing the whole setting doesn’t show much detail. An extreme long shot captures a wide perspective and also suggest distance, therefore the seer and the seen seem far away, which has a similar function with a long shot. It also uses a shorter distance from the subject that narrows the perspective with more discernible details. In addition, long shots tend to be used for natural settings to capture the expanse of a landscape which is emphasises by the camera movement. For example, panning from one side to another or using human subjects in a longshot, which they appear small and distanced. 

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The extreme long shot is the furthest from the subject, and has all or most objects in it. It does not show detail, but rather captures a wider perspective, showing a whole setting and suggesting distance. In an extreme long shot, the seer and seen seem far away. A longshot has a similar function, but as it uses a shorter distance from the subjects, the perspective is narrower, therefore, more details are discernible. It exhibits the expanse of a landscape, and is usually used for natural settings. Human subjects can feature in a long shot, appearing small and distanced. Camera movements may emphasise this, for instance by panning from one said to another.

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The extreme long shot captures a wide perspective since it is the furthest from the subject, and suggests distance since it shows the whole setting with all or most of its objects in. As seen with how human subjects can be used in a longshot, and can appear small and distanced. A long shot has a similar function but uses a shorter distance from the subject, and so the perspective narrows which means more details are discernible. As long shots tend to be used for natural settings, the camera movement emphasises the expanse of a landscape by panning from one side to another.

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An extreme long shot captures a wide perspective and is the furthest from the subject thus all or most of the settings are included. Yet it can't show detail precisely. For example, human subjects used appear small and distanced. Although long shot has a similar function as an extreme long shot, it uses a shorter distance from the subject hence the perspective narrows and more details are discernible. Camera movement in long shots emphasise the expansion of a landscape by panning from one side to another. Therefore, it tends to be used for natural settings.

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For example, panning from one side to another or using human subjects in a longshot, which they appear small and distanced. 

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For example, panning from one side to another or using human subjects in a longshot, which they appear small and distanced. 

# data[].attributes.headline
The extreme long shot captures a wide perspective since it is the furthest from the subject, and suggests distance since it shows the whole setting with all or most of its objects in.

# data[].attributes.subject
The extreme long shot captures a wide perspective since it is the furthest from the subject, and suggests distance since it shows the whole setting with all or most of its objects in.

# data[].attributes.headline
Long shots tend to be used for natural settings, for example, to capture the expanse of a landscape, or use human subjects which can appear small and distanced. 

# data[].attributes.subject
Long shots tend to be used for natural settings, for example, to capture the expanse of a landscape, or use human subjects which can appear small and distanced. 

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Strike (1925) is a dystopian science fiction film by Sergei Eisenstein. He tried to tell the story and the hidden meaning via editing skills, instead of just telling it out or showing contrast. In the movie, the capitalists had the typical evil characters in communist film. They look creepy, fat and have glasses. In contrast, the workers look very noble and are very skinny. It also portrays the cinematic black and white imagery of the film industry at the time. This imagery is imperative for the audience’s comprehension of the film; it is a common theme for a series of specific focused shots to be shown as a means of delivering the hidden message of the movie. Often, these are violent scenes that emphasise the hostility of the social context the director attempts to illustrate, as seen with constant mob fights throughout Strike (1925) which highlights the lower class struggle. 

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Expressionism is a key technique used in film to convey true emotion and artistry to captivate the audience. It sheds light on ranges of emotion and psychological aspects instead of focusing on the realistic world. The origins of expressionism is from Nordic countries such as Germany and Norway, dating back to the early twentieth century. To portray expressionism, set designs are favoured over natural settings, as control over the background and location is paramount in expressionist films. Through obscure camera angles, intense color, and lighting, directors can reflect expressionist themes, by portraying psychological perspectives of the surroundings. For instance, in The 400 Blows (Truffaut, 1959), when the car goes past the Eiffel Tower, the camera lowers its angle to express the majesty and significance of this famous structure. The utilization of expressionism emphasizes the pride of the French towards the Eiffel Tower, suggesting it is a must-visit heritage for tourists.

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Surrealism is an artistic movement in film, and it satirizes cultural trends and attitudes and social phenomenon. One of the most famous spanish surrealist director, Luis Buñuel, has shown the damage that people had inflicted on the world with religion for his 50-year career. He continuously uses Church's behaviors to sharply criticize religious and bourgeois hypocrisy and narrow-mindedness in his 30 movies. His first film, ‘Un chien andalou’ (‘An Andalusian Dog’) (1928), became an icon of surrealism, and in which the audiences were shocked not only by the absence of narrative continuity and storyline, but also by disturbing shots of mutilated body parts. Surrealism is like dreaming linked with subconscious impulses that do not have to be conventionally meaningful on the level of consciousness. Films with this theme is eclectic, Many surrealist film are from 1920s to 1930s but with many thematic and stylistic techniques have trickled down to contemporary times.

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Luis Buñuel made over thirty films between the late 1920s and the late 1970s. All were sharply critical of religious and bourgeois hypocrisy and narrow-mindedness. He was especially keen on showing how Christian dogma, has disseminated through the Church, suppressed human emotions turning them into cruel perversions that manifested themselves in irrational and obsessively destructive behaviour. In Un chien andalou ('An Andalusian Dog') (1928), his first film, co-directed with his artist friend Salvador Dali, shocked audiences. Surrealism questions the definition of the individual as a rational being with deliberate intent. In surrealist films, things function according to a logic that is unconventional and not immediately recognizable. David Lynch (Eraser head 1977, Lost Highway 1997, Mulholland Drive 2001) and Steven Soderbergh (Schizopolis 1996) are examples of directors whose work shows undisputable traces of surrealist tendencies.

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Surrealism is a genre-bending artistic movement in film, popular in the 1920s and 30s. Renowned surrealists include Jean Cocteau and Luis Buñuel. The latter made 34 films over the span of half a century. His films are characterized for being polemic of the bourgeoisie and religious faith. Bunuel's social commentary on the defective bourgeois may be seen in his 1972 acclaimed satire, ‘The discreet charm of the bourgeoisie’. Furthermore, the Spaniard’s opposition to religion was exhibited in his 1967 film, ‘Belle de jour.’ In which a once doting and devout upper class housewife, played by Catherine Deneuve, resorts to prostitution to pander to her suppressed sexual impulses, and save herself from an unhappy marriage. In addition, Surrealism is often presented in a dream-like quality, in which logic  is unconventional and not immediately recognizable. More recently, American director David Lynch has carried over Luis Bunuel’s radical sensibilities to cinema, with non-linear plots and experimental techniques.