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This is a wideshot establishing great emphasis and focus on the deer head. It is framed so that the deer is now looking down on Chris whereas at the start of the story, Chris was looking down on the deer shortly after a car accident. A time where Chris was oblivious for what is forthcoming. The deer strangely conveys a feeling of ownership not only from the way it is positioned but also from the fact that it is a trophy Thus resembling Chris' situation and the horrible acts of the Armitage family/The Order of the Coagula.

From this shot, Chris now locks eyes with the deer and his probable fate. He has been hunted throughout his entire relationship with Rose for being black or as the Order would say "genetic makeup". He is treated as a prize that is gawked and preyed upon during his stay with the Armitage family. All of his attributes are sought out by the order's members in a deeply predatory way as if he was a deer with great antlers. Ironically, it is his photographic ‘eye’ that are his antlers.

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This is a close up which shows the focus on the character's face. It's framed so that the surgeon/dad is looking down at the patient. It's set in the surgery room in the house. The shot itself is from a low angle and is steady but there is a slight shakiness making the audience feel like the movement of the surgeon is the same as the camera movement. The shot is very bright on the subject's eyes. The angle and the lighting make this shot so clever because it  makes the father look so skilled but gives off a sense of fear to it. The background is black which means there is nothing to look at but the emotion and focus on the surgeon's face. The shot itself evokes a sense of what's going to happen next because Jeremy has been killed. It cuts to the father/surgeon which gives off the impression that he is next. The meaning behind this shot is to tell the audience that a big fight and survival scene is about to happen. Another meaning behind the shot is that by surgery you can occupy a body which is a metaphor for control.

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This is a closeup shot of the film’s protagonist, Chris, tied up in a chair not being able to move. This mirrors Chris’s backstory. We are told earlier on in the film that when Chris’s mother died, he was sitting in front of the TV not being able to move, which is exactly what is happening here. Another important aspect of this shot is the cotton poking out of the rips in the leather chair. Chris is seen picking at the cotton, mirroring what black individuals were forced to do during the slave trade by their white slave owners, just like how chris is forced to do the same here to survive against his white captors. Another aspect of this shot that can be pointed out are the belts used to tie down Chris’s arms. This, once again, highlights the slave trade with black people being tied up by their white owners and forced to perform jobs against their will, just like how Chris has been tied up by his white captors and forced to perform the “Coagula”. Another aspect of this shot is the background. It is blurry while Chris is in focus, causing him to stand out. Other than reinforcing Chris’s importance to the film, it also reflects how Chris stood out from the Armitage family due to his race, with all the white individuals blending into the background. This was emphasized by the fact the Armitage family all dressed the same, spoke the same, and had the same goal, making them all alike, even further emphasizing how Chris is the outcast.

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This still uses a medium shot, which places emphasis on Chris in the foreground and the cop car in the background. The significance of this is that earlier in the movie, Chris was shown to be racially profiled by a local cop, so with the context of the scene, it places a moment of fear both within Chris and the audience as they believe that, despite Chris’s close escape, police racism will prevent it. The dead body in the shot also emphasises this, as it makes the scene seem more brutal out of context. Although Chris’s and the audience's fears were alleviated by the arrival of Rod, the original ending for the film was to have the Police show up and arrest Chris.

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This still from the third act of Jordan Peele’s “Get Out” is a fantastic example of visual storytelling and communicating tone from just one image. The shot is a pretty standard medium shot, it seems almost unremarkable. But it's sold by its composition, the symmetry and flatness of the shot communicates a feeling of sterility. Like everything is neatly placed and aligned. It feels cold and surgical, this feeling is reinforced by the cold, blue light of the laptop that overpowers the warmth of the lamps. Even Rose herself communicates this, her hair is done up in a ponytail, her white button-up shirt gives her this neat and presentable look that feels almost corporate. Combined with her crossed-leg, straight up posture, she feels a little too perfect. Like a machine pretending to be human. This is topped off with the subtle addition of her snacks: a bowl of cereal and separate glass of milk. If you were to tell someone that you were having cereal and milk, no-one would blink twice. It's such a commonplace meal and yet here again it's been dissected into its components. It's like watching an alien try to replicate human behaviour, which reinforces the film’s themes of appropriating identity without having the understanding or knowledge of that identity.

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This extreme close up can be seen in the second act of Get Out by Jordan Peele. In this scene we know the main character is sat down with his girlfriend's mum talking about the loss of his mother and the guilt it caused. The use of the extreme close up is to show the importance of the object and to incite curiosity into the viewer's mind. Shallow focus has been used in this shot to point out the teacup and teacup only to make sure the audience catches on its importance towards the scene. Another way they make the teacup stand out is through colour grading as the high saturation in the image helps the teacup pop. Throughout the scene we hear the clinking of the spoon against the teacup in the background of the shots. Shots of the teacup are sandwiched between cuts slowly getting quicker with each appearance. This builds up anxiety and anticipation of what is to come. This shot is extremely important as shortly after we see the cup and spoon, we see the main character fall into “The Sunken Place” and realise that he has been hypnotised. This extreme close up explains how she hypnotises her clients through the sounds of the teaspoon.

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In this still we see a medium shot based on being able to see his upper body and parts of the background, this shot creates a balance, its able to display emotions while also being able to show what is going on around them while allowing the audience to really focus in on the characters expressions. we can see the emptiness in his face almost like he's been snapped back into reality which in this case is exactly what has happened. we also get a clear shot of the characters bloody nose creating slight tension with what is going on in the actual scene and also even from this still. focusing in on the background we can feel slightly uneasy remembering where all these characters are actually located which is in the middle of nowhere surrounded by trees in a very serene like environment which only adds to the thriller part of this film knowing they are on their own in the woods. you could even mention the contrast between what he is wearing compared to the woman beside him, while he's still dressed up he is wearing very earthy toned clothes while the woman next to him his wearing a bold lipstick and patterned dress this shows the difference in personalities which we later learn as time goes on in the film. the lighting in this still while being solely light from the sky doesn't accentuate or focus in on anything to much in the scene and just creates that balance where your just focused on the characters in frame.

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This opening still shot from Get Out (2017), shows an extreme wide shot of a car from the distance. There we can also see is a kidnapper that kidnapped a black man and putting him in the hood of the car whilst the music being played from the car radio (Run Rabbit Run released in 1932). The music quickly transitioned in being louder and louder and then transitions to scary violin music.

Afterwards, the quiet, suburban street, with glowing street lights and neatly parked cars goes back to normal as if nothing ever happened. This contrast between violence and calmness shows how racial threats are often shown underneath normal appearances even in a quiet suburbs at night.

The shot also introduces one of the main ideas of the film: The real horror is not really supernatural, it's social. By showing that danger can exist in most ordinary environments like the quiet suburbs. The director, Jordan Peele, sets the tone for a story about racism disguised as civility.

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The establishing long shot of the Armitage home, which is in the first act of the film, introduces us to the location of where this story will transpire. It also sets up an expectation for the rest of the film's use of tone and unease with its camera work music score.

Although Chris and Rose receive a warm welcome at the house's entrance, the camera oddly stays in this long shot and even begins slowly moving further away from the family reunion/gathering, isolating the audience from the scene and creating a stand-off and uncomfortable atmosphere, as if we are not meant to be included.

Before the main door to the home closes and the voices fade out, the camera pans slightly, and a character comes into frame, settling into the foreground. From here, you can argue that the establishing shot becomes a POV shot from the groundskeeper's perspective, as he watches the family step inside. All that isolation, awkwardness and tension that was prevalent in the scene can be felt through this character, along with the notion of not being included that fit very well with the film's themes of racism.

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This is a medium/cowboy shot of Rose’s father hosting a bingo game to the guests with a big picture of Chris displayed next to him on stage. This scene was weirdly interesting because simply looking at it they are just playing bingo, but really they are having a silent auction for Chris’ body, which is reflecting the history of slavery. But I liked how they framed the auction through a simple bingo game which is stereotypically connected to elderly white communities, because the film is juxtaposing a harmless simple game with an auction of Chris, mirroring slavery, and making it seem like such a subtle topic as if it’s normal what they’re doing. I found this interesting because it’s also showing how modern racism is hiding itself in such casual and ordinary ways hidden within normal behaviour.

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shot type & angle

This still appears to be a long shot taken from a straight-on angle. The camera is positioned at a deep distance, capturing the landscape and a small human figure at the centre.

This shot uses distance and darkness to create a powerful sense of curiosity and tension. The figure is so far from the camera that their features are unreadable, forcing the viewer to lean in—literally and/or mentally—to try and make sense of what they’re seeing. Low visibility and minimal lighting create a visual tension and an experience of briefly stepping into the protagonist’s perspective, as we share his fear and disorientation for a moment.

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the main character is seen in a closeup shot, This is framed with the head in centre (as to be expected). Closeups are particularly impactful when used to exemplify the emotion portrayed of the actor. it allows for the weight of the characters distress to be sold as more authentic by only displaying these feelings of despair, sorrow or fear with nothing else to distract. in turn the characters discomfort then becomes your own as it is so direct. Notably by creating a pseudo connection between consumer and character. ie; the consumer is likely to empathise as it creates a sense of relatability by addressing the audience directly even if it is not intended to in the films continuity. furthermore with high definition film closeups reveal every detail of a face allowing for the exact expression to be crystal clear when isolated from any other. this technique carries over into other shot types where the director utilises tightness to incorporate feelings of vulnerability also reflected in the closeups.

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This extreme close up of Chris’s face, with a single tear rolling down his cheek, is one of the most haunting and iconic shots in Get Out. The tight framing traps Chris within the borders of the image, reflecting how he is trapped both physically in the chair and mentally in the Sunken Place. Peele forces the audience into Chris’s personal space, making us confront the terror and vulnerability he feels as he loses control over his own body. The tear itself becomes a symbol of resistance, though his body is paralyzed, his mind and emotions remain alive, silently fighting against the hypnotic domination. This shot is so powerful because it flips the horror cliche, instead of gore or a monster, the horror is Chris’s sheer helplessness. The extreme close up creates intimacy, discomfort, and empathy, pulling the audience into his nightmare. It’s a brilliant use of framing to expose themes of control, oppression, and silent suffering.