# data[].attributes.body
Using the films Ocean`s 11 and Ocean`s 8, we analyze how and in which form power is constructed, while also taking a look at gender representations.  Oceans 11 is the first film in the Ocean`s series and follows Danny Ocean with his crew. Ocean`s 8 is a reboot from 2018, in which his sister Debbie Ocean, assembles her team to execute her own heist. The factors we focus on are:

context (with focus on behaviour)

camera work (framing + movement)

the set design

# data[].attributes.attachment_caption
From left to right: Julia Roberts, Andy Garcia, Matt Damon, Brad Pitt and George Clooney.

# data[].attributes.body
Ocean’s Eleven (2001)
Watch the trailer : https://youtu.be/imm6OR605UI
After being paroled  from jail, Danny Ocean ( George Clooney) seeks out his partner in crime Rusty Ryan ( Brad Pitt). Finding him in Hollywood, he reveals that he has a job in mind, that targets the casino tycoon Terry Benedict (Andy Garcia). Terry Benedict owns the  Casino hotels, Bellagio, Mirage and the MGM Grand. All three casinos share one vault and Dannys plan is to assemble a crew of criminals -excellent at their craft- to empty exactly that vault. If  they suceed at collecting over 150 million dollars, this would be the biggest casino heist in history.

# data[].attributes.body
Behavior that shows power :

From 00:00-2:23

Scene Participants: Danny Ocean and Police authorities whose faces are not shown.

Daniel Ocean (George Clooney), a convicted criminal, is being questioned by a parole board about his upcoming release from prison and the chances of him breaking the law again. Police officers implies they know Danny has been involved in several other robbery and fraud cases, although he was never officially accused or charged. Danny simply confirms that he was indeed never charged. They ask him why he committed this specific crime or why he was caught this time. He claims the reason for his crime was that his ex-wife, Tess, left him, and he lost himself in a self-destructive pattern. When asked what he would do if released from prison, he decides to not answer, or the viewer is simply not granted the answer. He is later seen walking out of the prison in a suit. I would assume these are the clothes he was caught with.

You hear Danny before you see him, the viewer waits until he enters the frame and is seen. -> It is clearly the main character in the film, the viewer must adapt to him, and the focus is only on him. Although this is not actively done by Danny itself, it characterises him from the beginning.

The interview begins with a good morning from the officer, which he answers in a clear voice. He does not sit on the chair tensely or nervously; he starts the interview already with the posture that  he will walk free after it.

If you continue only on his behaviour , you will also notice that when he is asked if there is a reason why he was caught this time?, He almost rehearsed, inhales and exhales, turns his eyes upward and then answers. In addition, by answering the questions, he shows that he is using the system for his own advantage. The questions , he answers completely and concisely or he chooses only a certain part which he answers. Even if he indirectly admits that he has already committed several crimes and this is only the first time that he has been caught, they cannot and will not be able to prosecute him for the further ones.
His composure and serenity do not indicate that it is his first time in such a situation.
Another aspet that can be seen in the setting of the prison as a representation of Power is the fact that he looks at his ring in detail in 01:45, but then does not put it on. He plays around with it briefly to then clasp it in his fist. It is then cut to him walking out of jail, suggesting that the person he associates with the ring is his next endeavor - indirectly confirmed - and that after his time in jail this person still has power over him.

Following the next frame:
02:24-04:59
Scene Participants: Danny Ocean and Frank Catton aka Ramon
In this frame you can see, Danny in a fancy  and grandios looking place. He also had a change of clothes which was not put into focus. Before his arrest and after his release, there are no outward signs that he spent a long time in jail. The place he travelled to after leaving  turns out to be a casino. Obviously, this is not the best place not to get tempted again, but he walks with a naturalness that does not make him stand out.
He walks to a table and is at first met by a woman, shortly after firt just looking and then meeting eyes with a man, she goes to break and he is served by the man named "Ramon". Danny calls him  Frank.  While being corrected by the man, Danny has the slightest smirk on his lips, knowing full well that this is a lie. Through the dialouge it is certain that Frank ( Bernie Mac) is his real name and they both know eachother from the past but pretend not to. Through the coded phares: " You might want to try the lounge at the Caesars it gets busy after one o`clock" ( 03:28-03:56),they meet up somewhere that is more private and away from the casino security.
They catch up an then talk about "him" and where to find "him". Although his name is not mentioned in this conversation, Frank knows exactly who is meant. This not only suggest that they worked with and around eachother but futhermore that "him", is a person close and important for Danny. The importance of "him" (Rusty) is enhaced by Danny rather dodging  to answer Franks question, if he has a mission in mind; suggesting that he would rather want to talk with his right man and will contact him if he is of use for them - also signalised- with Dannys smile after.
In this situation Danny has the power, as Frank is in a way dependent on him, besides it shows how experienced and good he is in his job, as again he has people waiting form him. The whole scene and introduction shows that power lays in the past and in networks as well as connection that one collects in this specific field. Danny has just gotten out of jail and has people apparently waiting for him. He is aware of his position and reputation.
It also suggests that his abilities are not necessarily in physical power display, but rather in manipulation and knowledge about people. Danny holds power with his presence alone, which is not only shown with Frank immidantly going to meet Danny but also when he uses himself as a distraction for his enemies while the actual heist is going on.

# data[].attributes.headline
Oceans 11 (Set Design) - Introduction Scene (Prison, Casino, Bar)

# data[].attributes.subject
Oceans 11 (Set Design) - Introduction Scene (Prison, Casino, Bar)

# data[].attributes.body
The first scene I am going to look at marks the beginning of the movie Oceans 11 and also serves as an introduction to our main character Daniel “Danny” Ocean played by George Clooney. The story is told from his perspective, so this introduces the narrative perspective as well.
The scene (movie) starts with the parole hearing of Danny Ocean. He is framed alone in front of industrial background. The scene seems to take place in a large “warehouse-like” set, but we never get to see the parole judges ourselves. This setting seems to be unconventional for a parole hearing which one would assume take place in a controlled environment with special rooms for that purpose in every prison. No, there were special accommodations made for Mr Oceans hearing. The character framed alone in such a large set does not isolate him, rather it signifies his importance and his being in control of the scene despite the looks of it. The prison setting further gives us a hint of our story in essence. This is a movie about experienced gangsters and their ability to solve problems in a creative and charming way. The dialogue in this scene is very important and reflects this theory, as Danny “charms” his way out of prison.
After the dialogue - in which Danny Ocean also foreshadows his character arc - we leave our first set-piece and setting, the prison. After a brief camera shift from a body of water to a nightly skyline - suggesting the possibilities of the newly achieved freedom for our main character - we get an interesting shot of Danny Ocean riding up a staircase in front of a large, shining chandelier. Our main character just made an impressive climb up the social ladder from a former prison inmate in the daytime to an elegantly dressed, groomed member of society at nighttime, who effortlessly rides the “social staircase" from the bottom to the top. Adaptability and charm can be seen as his superpowers or defining traits. This introduces us to the second set-piece the casino. A casino marks the “home ground” for the Ocean movies and Daniel Ocean behaves in the same way. In a casual manner can the former convict be seen walking past security guards and the blinking lights of slot machines. But our main character is not looking for entertainment after serving several years in prison, his purpose of visiting the casino becomes clear after he finds himself at a Blackjack table, which he approached in particular. Here he meets Frank “Ramon” a dealer at the casino and an old friend of Danny. Interesting to mention here is that in part because of the casino chosen as a set, the implied power structure of “dealer and player” or “employee and costumer”, enables Danny to talk more freely whilst Frank is working with a false name or identity and covertly suggests a meeting later at night in the bar.
The bar and the exterior of the casino are our last sets in this scene. Danny sits on the left side of the bar, opposite Frank. Framed in between them is a floral ornament along with illuminated bottles of liquor. This looks like the sparkles and excitement of the characters visualized as they talk about connecting with their common friend Rusty (Brad Pitt). This scene marks the first private encounter of Danny Ocean with one of his future accomplices so the floral, light “explosion” between them can be seen as the idea of the plot defining heist-idea coming to life. They are alone, free and express themselves now. In the last shot, Danny deceives his parole officer outside, alone at a public telephone because he violated his parole regulations by gambling and drinking alcohol. 24 hours haven't even passed and our main character is fooling his way around the law again.

# data[].attributes.headline
Ocean's 11 (Camera Work) - Scene I Introduction of Danny Ocean

# data[].attributes.subject
Ocean's 11 (Camera Work) - Scene I Introduction of Danny Ocean

# data[].attributes.body
Within the introduction of Danny Ocean, we have a lot of Three-Quarter Shots, Medium Close-Ups, and Close Up Shots. We rarely see that the environment is introduced, moreover, the set design, and the atmosphere - built through sound, light and some camera movement - reveal his environment. Most of the time it is noticeable that the camera is probably handheld, which gives the impression that the audience is a silent follower/observer of the situation. This is further emphasized by the camera movement. Mostly, the camera only moves, whenever Danny is heading towards a certain destination, despite that it is mostly static. In some scenes, the camera also tends to reveal Danny's point of view, which lets the viewer see what he sees.  Within this context, the most crucial part to look at is the camera angle. In many frames of this scene, the camera is at an eye or shoulder level, which further emphasizes that the viewer is given the role of observing the storyline. Furthermore, as we mostly see the action from Danny's perspective, his dialogue partners are often looked at from a slightly low angle. Showcasing a character from a low angle, usually suggests that this character is dominant within a power dynamic. However, what differs here, is that Danny is never shown through the eyes of his dialogue partner but on eye level.
In my belief, the introduction does not necessarily focus on portraying Danny as superior or inferior, but rather on constructing the viewer as part of the storyline, in order to introduce the audience to the storyline and Danny, as the main character.

# data[].attributes.body
The audience looks at Frank/Ramon from his perspective.

# data[].attributes.body
If Danny was inferior in this setting, he would most likely be shown from a high angle. however, he is at eye level, as if the audience was sitting in front of him.

# data[].attributes.headline
Scene II - Hotel room and Linus' "Coaching"

# data[].attributes.subject
Scene II - Hotel room and Linus' "Coaching"

# data[].attributes.headline
Oceans 11 (Set Design) - Hotel Room + Linus’ Coaching

# data[].attributes.subject
Oceans 11 (Set Design) - Hotel Room + Linus’ Coaching

# data[].attributes.body
This scene takes place during the preparation of the heist and our group of thieves has to deal with problems, resulting from Danny’s past relationship with the casino managers Terry (Andy Garcia) current love interest Tess (Julia Roberts). The whole group is gathered in a hotel room accordingly the tension rises in this enclosed space. Linus (Matt Damon) has to take over Danny’s role in the heist because Terry has red-listed Danny. The rented hotel room serves as a base for the crew during their immediate preparations. As a consequence, Linus has to be coached to behave in an unsuspicious way in order to execute the plan successfully. This scene is mostly dialogue, and camera work driven and there is only one interesting set-design related sequence that I observed and which I will focus on in order to limit my analysis.
In one sequence, the character Saul is told to turn off the TV, because they all have to share one apartment. Rusty told him to do so and this sets him and his problems in the centre of attention for the scene. Furthermore, Rusty is the one who decides how the crew will continue with the heist after losing Danny in his original function. So this demonstration of power within the group can be seen as a preset for this scene.

# data[].attributes.body
Participants: Danny Ocean, Rusty Ryan, Linus, Saul, Reuben, Livington

00:00 - 01:22

This scene is of interest because it shows how Danny's power is challenged by his closest partner. Also, this is one of the few parts where Danny has to justify his actions to the team. Before the scene, the mood between Danny and Linus is tense, because Linus refused to listen to Danny's instructions and thus put the mission in danger. So there was already a shift in the power dynamic with Danny towards Linus.

We are met by Livington who informs the team and Danny that he has been red-flagged. This means that Danny will be watched from the moment he enters the casino. At first, Danny pretends to be ignorant of the reason. Linus, who is not well disposed towards Danny, reveals that Danny has specifically sought contact with Tess and has thus entered Terry's field of vision. Danny wants to know why and who told him to. It turns out that Rusty has assigned Linus to spy on Danny. He shows not only that Danny's actions were foreseeable, but also that he is not the only one who has the authority to assign people tasks. Rusty doubts Danny's true intentions and clearly states that he is now responsible for choosing Tess over the team. This again points out the emotional power Tess has over Danny. Rusty kicks Danny off the team and gives his job to Linus. The only one of the other members of the group who objects is Reuben, who possibly sees Danny as a more suitable team leader than Rusty. Rusty doesn't let him talk, even though Danny tells him that this is not his decision to make. With Saul, Livington and Linus having no objections, it almost seems to be a group decision. In the end, he dismisses Danny and lets the others know about the plan change, Danny is left speechless.

Rusty prevails over Danny and is supported by the majority of the group -> Rusty as a right-hand man probably would have hit this story on his own

Linus takes over even after Danny tries to challenge him with his looks

-> Danny loses power and Rusty takes over.

Participants: Rusty Ryan and Linus

02:08-02:48

This scene between Rusty and Ryan can also be read in the aspect of power. Rusty passes on some of his own knowledge and thus acts as a kind of mentor. Since this is a typical mentoring situation, I show the power relationship as follows:

Rusty:

Power based on his specific knowledge and skill.

Position within the crew as right-hand man and direct partner of Danny

Already established influenced outside of the job setting

Linus:

Holds knowledge and skills when it comes to a different field than Rusty.

He models the behaviour of Rusty or, to put it in better terms, is dependent on this knowledge because otherwise, the job is jeopardized.

# data[].attributes.body
Similarly to the previous scene, we have many Medium Close-Ups, Medium Long Shots, and Three-Quarter Shots. This scene is pretty static which means, that the power dynamics are mostly expressed through the camera angles. This scene is particularly interesting, because it shows a very clear shift of power dynamics, as Rusty gains power and takes over the leadership role.
Notably, both Rusty and Danny are shown from a slightly low angle, whereas Danny's seems a little lower. I believe this is due to the fact, that he is standing while Rusty is sitting. Furthermore, and within the context, it shows that Danny is in a position in which he has to justify himself, which in itself would weaken his dominance, but doesn't. Moreover, it raises Rusty to be at least at eye level with him.
Further, we see that the other members are rather unimportant in this scene. The fast cuts and different perspectives also show that the focus is on Danny, Rusty, and Linus. Especially noticeabale, is this in Wide Shots of the room, which mostly are filmed from a hip angle. These express distance and pose the audience as an observer, rather than a partaker, as it was in the previous scene. In comparison, Danny's, Rusty's and Linus'  scenes have more context and are significantly slowed down. Linus' position is also important as it shows, that his power is strengthened when Danny's was weakened. It introduces Linus as a valuable character within the storyline. This is especially emphasized by Close-Ups of his face, which allows the audience to get closer to his character.
This scene is a crucial point in introducing these three characters as most important for this money heist.

# data[].attributes.attachment_caption
From left to right: Awkwafina, Helena Bonham Carter, Anne Hathaway,Sandra Bullock, Cate Blanchett, Rihanna, Mindy Kaling, Sarah Paulson 

# data[].attributes.body
Watch the Trailer: https://youtu.be/n5LoVcVsiSQ
Ocean`s 8 follows the story of another Ocean family member. After eight years in jail Debbie Ocean, along with seven other criminals, is planning a heist to be carried out at the annual Met Gala in New York.They have their eyes set on the Touissant, a Cartier necklace worth 150 million U.S. dollars. The Team consists of Constance, a street hustler and pickpocket; Rose Weiler, a disgraced fashion designer in debt; Nine Ball, a computer hacker, Amita, a jewelry maker and old friend of Debbie`s who is eager to move out of her mothers house, and Tammy a profiteer, who has been selling stolen goods out of her family`s suburban home.

# data[].attributes.headline
Oceans 8 - Scene I Debbie's Introduction 

# data[].attributes.subject
Oceans 8 - Scene I Debbie's Introduction 

# data[].attributes.headline
Ocean's 8 (Set Design) - Scene I Debbie's Introduction

# data[].attributes.subject
Ocean's 8 (Set Design) - Scene I Debbie's Introduction

# data[].attributes.body
The character of Debbie Ocean (Sandra Bullock) is introduced at start of the movie Oceans 8 in the same fashion as her brother Daniel Ocean in Oceans 11. In both introductions, the main characters talk their way through the parole hearing and we get to know them and their desires after they are released. The parole room in Oceans 8 resembles the kind of room, one would expect a meeting, of this sort, to take place in. It seems to be a usual room in a prison, rather than the spacious setting, Danny Ocean was framed in. Although they share the power of being able to charm their way through every problematic situation they are different and are treated differently. On her way out of the prison, Debbie is even shown to have a friendly conversation with one of the female prison guards. In contrast to Danny who did not seem to have made any connections like this for himself. Any interesting Shot can also be found right before this sequence. Debbie is shown applying lipstick to her lips. For doing so she uses her reflection a security glass panel with male guards behind it, who are watching her. This scene can be interpreted in many ways, for example it demonstrates Debbie’s confidence and the influence she still has on men. It could also just be representative of her unconventional character and her general attitude.
With Danny’s first stop after Prison being a casino, Debbie is first seen in the cosmetics department of a glamorous mall. Both scenes introduce the character's speciality so to say and the start of their heist plans. In this scene, Debbie is executing a scam in order to get value products from the store for free. In order to do so, she abuses the power dynamic in the “staff-customer” relationship, which shows her cunning side and her thrive to take what she wants when she wants. We also get a similar shot to the staircase shot for Danny, as Debbie can be seen taking an elevator to a hotel room, which she acquired access to by the help of a different fraud scheme. Both characters were able to climb the social ladder based on deception and superficiality.

# data[].attributes.headline
Oceans 8 -Scene I Debbie`s Introduction (Context)

# data[].attributes.subject
Oceans 8 -Scene I Debbie`s Introduction (Context)

# data[].attributes.body
Introduction of Debbie Ocean
Participants: Debbie Ocean and
00:00-02:12
Debbie Ocean ( Sandra Bullock) is, like her brother, attending a parole hearing. In contrast to her brother, she answers the questions in detail and agrees with the Hearing Examiner. When they talk about her family being full of criminals and that she must avoid any criminal company, she tries to make it as clear as possible that she does not want anything to do with her previous life. Debbie states that she is more than ready to rejoin society and live a simple life. She seems remorseful and makes a far more emotional plea than her brother. She even starts to cry a bit and plays into the role.
The portrayal of power is seen in the next frame, she is applying lipstick while looking in the mirror. She is of course aware that the police officers can see behind the glass. She is now in complete control of the situation and smiles at the officers. The next frame focuses on a conversation with a policewoman, which indicates that she has worked out a smuggling system inside the jail. The policewoman also congratulates her for fooling the Examiner, because both know, Debbie will not live a simple life.
It is interesting to see that the smuggling system continues even though she is no longer physically present. Not only does it show how far-reaching her exercise of power has been, but in addition, that she has connections up to the guards. Before she leaves, she gives instructions to the policewoman. She looks like a lady leaving her well-oiled company.
02:36- 05:39
Debbie first stop is an expensive boutique called Bergdorf Goodman. Although she only has 45 dollars in her pocket, she takes advantage of the fact that her whole dress ( attitude, walk and appearance) does not conclude this situation. Just because she fits into the clientele and plays her role the same way, she walks out of the store with the essential cosmetics for free- shoplifting right in front of them. This excerpt shows how powerful and influential a certain appearance can be.
With the same casualness like in the boutique Debbie still shows how easy it can be to get an exclusive hotel room without paying for it. all you need is information and enough shamelessness. It seems that she can make any situation her own. At the end, in the bathtub, it becomes clear that this is just a stopgap and she will start to check off her list. It's becoming easier and easier to see that she made these assertions of power to show that she is good in those things.

# data[].attributes.headline
Ocean's 8 (Camera Work) Scene I Debbie's Introduction

# data[].attributes.subject
Ocean's 8 (Camera Work) Scene I Debbie's Introduction

# data[].attributes.body
Debbie Ocean is introduced in the same ways as her brother. What is different here is that she is first introduced using a Close Up. Right from the start, the viewer is "physically" closer to her as a character. As Debbie is constructed to appear as rather emotional -  which I also link to her portraying a woman -  the camera gets rather close in those moments. At first, she is also mostly shown from an eye or shoulder level. Whenever she somehow interacts with others her dominance is portrayed through a low angle, which traditionally, showcases dominance.
Very noticeable here is that there are a lot of cuts, different framings, and perspectives. If we compare this to Danny's introduction, especially, for the viewer, we see that though physically closer, it is harder to grasp her overall state of mind or plan. This seems to be a reoccurring element in this movie, as the viewer is always surprised and to some extent left in the dark. That way the role as the viewer of a spectacle is reinforced. Especially noticeable is this distance in the shoplifting segment. We see that her movements and perspectives do not align with what the camera sees, as she always seems to be a step further, while the camera tries to catch up. Therefore, we experience more camera movement and dynamic, which, in a way, foreshadows, the power dynamics shifting within the group and throughout the movie. Additionally, rather than being introduced to Debbie as a character, the audience is introduced to the way she operates. This further emphasizes her dominance.

# data[].attributes.body
This and the aerial shot (later in this sequence) are the only ones, which is why I assume that this shot is not to cinstruct her as inferior, but rather to establish an atmosphere and convey an overview.

# data[].attributes.body
The last scene I am going to look at takes place in a Cartier store, in which Rose (Helena Bonham Carter) and Amita (Mandy Kaling) need to trick their way to get access to the valuable necklace that they want to make copy of before stealing it at the gala.
Cartier is an established brand in the jewelry sector and already found its way into pop culture. According to the Brand’s status the store staff seems hesitant at first to allow the unknown duo access to the valuable necklace. There is an interesting example for the ways in which certain power structures can enable unconventional dynamics to be set in focus. The duo is granted a meeting with the store manager in order to ask him to allow them access to the necklace, which is stored in an underground vault. Naturally the manger is hesitant at first just as his staff was but the fashion designer Rose appeals to mangers personal desire to keep up the high brand status of Cartier by using a reframing technique and portraying the brand as old-fashioned and not being in the publics mind. The office of the manger in itself represents this high sense of self believe that he and this store embodies. The room is decorated in a very rustic, traditional way with the desk being placed in front of a large fireplace, with no fire inside. Maybe a reference to the dying light of the Cartier brand mentioned in this scene. A different opportunity for the characters to portray their ability to maneuver themselves out of every situation presents itself when the duo is finally let down into the heavily secured, underground vault. The eccentric nature of Rose helps them in this scene to get the necklace to be carried to the ground floor, so the required webcam connection needed to scan the necklace can be maintained. The stores strict security protocols usually would not allow this kind of handling with the necklace, but Rose’s pointed behavior can save their performances.

# data[].attributes.headline
Ocean`s 8 Scene II Cartier Store ( Context)

# data[].attributes.subject
Ocean`s 8 Scene II Cartier Store ( Context)

# data[].attributes.body
Participants: Amita and Rose

Now that Rose can dress the actress Daphne Kluger (Anne Hathaway, she and Amita made an appointment to view the Toussaint. Rose receives special glasses that scans the necklace sends it to their 3D printer. This fake will then be exchanged on the evening of the heist with the real one.

This passage also shows from the beginning that in the team everyone contributes his part and they are all dependent on each other. This time the focus is on Amita (Mindy Kaling) and Rose (Helena Bonham Carter). In this situation, they prove, that they have the necessary attitude and creativity when it comes to pursuing their plan. Looking at the duo, one might say that Rose relies on Amita's expertise. Although this is indeed the case, Amita also needs the expertise of Rose.
01:09 -02:00 Impressively shows that Rose has unexpected language skills, which, in this case, gave her cause and argumentation more meaning. She convinced the director of Cartier by pointing him to the great media attention and power Cartier could obtain in the market. It is not necessarily about the power she portrays in this scene, but the opportunity that she makes tangible, in her vision for Cartier. Power is drawn as a desire with the promise of which one can achieve anything one imagines.
With Amita's presence, Rose embodies greater authority, and Amita professionally manages to give Rose an idea to bring the Touissant to light. What also sets this scene apart from the others is that Rose has used her flashy and flamboyant ways to her advantage.

# data[].attributes.headline
Ocean's 8 (Camera Work) Scene II Cartier Store

# data[].attributes.subject
Ocean's 8 (Camera Work) Scene II Cartier Store

# data[].attributes.body
The second scene is particularly interesting because it is the first time the action is controlled by other characters. Furthermore, Amita and Rose are two side characters who are pretty interesting. In this scene, we have many Medium Close Ups and Three-Quarter Shots. However, the key elements in these shots are the camera angles. Many of the scenes that show the interaction between Amita and Rose with the Cartier Employer show them at an eye-level, which shows that they are not only in dialogue but that they are equal as well. The only power dynamic detectable here is the one between Amita and Rose, which is mostly portrayed through body language and their exclusive communication with each other. Yet again, it is not coincidental that those scenes are highlighted through Close Ups and Three-Quarter Shots that showcase only Amita and Rose, while the employer is visually excluded. moreover, these scenes show that Amita is the one that holds power over the situation. She knows if it's the Toussaint or not, and she is also the one that guides the conversation through her suggestions. Looking at her relation to Debbie also shows that she has committed a crime, while Rose is completely new to it. This position is reinforced throughout the scene.  The power dynamic shifts when they meet the director of Cartier who seems to be on a dominant level.
These sequences in particular are interesting because some scenes are shot at a very high angle which, would usually show inferiority. Nevertheless, the scenes are not only shown in a rapid back and forth but show that both parties are actually on eye level. During most of the conversation, all three participants are on the same level. Simultaneously, this shows that Amita and Rose are actually the ones in power because they are not supposed to be on eye level with the director.
Amita and Rose' dominance is further emphasized through traditional low angle shots of them going down to the vault and looking at the Toussaint. Within this scene, the audience also gets to look through the eyes of Rose, which, especially with her being a rookie criminal, emphasizes that she, on the one hand, is in charge of the situation, but also that this situation and the Toussaint might be too big for her.

# data[].attributes.body
The heist genre is sometimes also known as the big caper film. They are usually characterised by a group of gangsters, con artists or crooks, who commit a complicated and risky theft, through precisely coordinated action and the skills to not get caught.Heist movies let the audience partake in a perfectly timed action of protagonist who knows exactly where to go when to act and what to do.
Moreover, at least one character (if not all) pursues not only the goal of achieving financial gains. In Oceans 11, Danny and Reuben's motive is to get revenge. Terry, the "antagonist" in the storyline, has taken Reuben's hotels to destroy them. Danny wants to harm Terry because his new girlfriend is Danny's wife. In Oceans 8 all the members join the crew to gain money but, Debbie simultaneously goes through with another job. Not only does the jewellery heist succeed, but Debbie manages to make her ex-boyfriend the scapegoat. That way she also gets revenge. Daphne the very last member to join, did so because she never had a group of friends before, which is a very ordinary reason.
At least equally important is the adventure of testing their skills, showcasing their expertise and showing their ability to always know how to handle a situation. Every member has their own specialities, everyone does what they are best at - this expertise and skill can only be showcased during the heist. One can assume this is the reason they feel propelled to commit the crime.
Since the movies follow the same genre and are also connected to each other, it is not surprising that the representation of power is similar if not identical. Both films show power dynamics and power games in a non-corporeal way. Interestingly, in heist films, all the participants have their own particular power position in their field but come together as a team to defeat someone "more powerful" if you can put it that way. On the one hand they accept that they can't do it alone, on the other they mock their challengers and the system behind them, needing only a handful of people to successfully execute their plan. In the original Oceans 11, only eleven men are needed, in the reboot from 2018 only eight women. Some voices claim that is because a series should be made of the female movies, but one can also have a different opinion.
In this sense, I would like to briefly discuss the gender aspect.Moments and things that stood out when it comes to gender representation were therefore:
Although men and women want the same things, men take a more foward way than women. The women steal jewellery which they have to  sell before they get the money - the men just steal the money without any detours.
Although the focus in Oceans 8 is on the women, the male characters like Danny and Debbie's ex-boyfriend get more plot than other characters, such as those who are part of the team.

# data[].attributes.body
Both of the Oceans movies of interest start their plot with the introduction of the main characters. It is of course no coincidence that both movies start in a prison and show the releasing procedures of Daniel and Debbie Ocean in almost identical ways. The positioning of the characters in the action of the plot is established in that way and in my following analysis and interpretation I will examine all four of our selected scenes from both movies in regards to specific aspects of the set design that imply power structures and depictions of gender categories.

# data[].attributes.body
All of the analyzed scenes underlined the current power dynamic in terms of set design. Both the general setting (Casino, Bar) but also the set design (Mirrors, Props in and out of view) enable certain characters to say certain things and interact in different ways. This helps to establish certain relationships and to define characters and their traits. A set can also be seen with many different lenses although not every view angle might be as fruitful as another. The same goes for props. A set carries some “subliminal” role-figures and therefore certain relations and power structures in itself. A prison usually features guards and inmates, a shop usually features staff and a customer, an office a worker and a manger and so on. An important feature of the Oceans movies in this regard is the creative depiction of the characters ability to adapt to the sets that they are depicted in or to circumvent certain obstacles that present itself in that way. But for a deeper analysis many other aspects such as camerawork and music and of course the dialogue can not be omitted. During this task I certainly learned that it is not easy to focus on one aspect of a scene alone because multiple dimensions of interpretations have influence on one and the other.