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Dit artikel is een recensie over de experimentele horrorfilm "Skinamarink (2022)", het debuut van Canadese regisseur Kyle Edward Ball. De film bestaat voor 100% procent uit first-person camerabeelden met een camcorder, wat wij een interessant aspect van de cinematografie vonden. Dit artikel is een goed voorbeeld van hoe je een film moet analyseren die heel erg origineel is in haar presentatie.

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Home invasion ranks high on this writer's personal list of phobias. Fewer things are more fear-inducing than imagining an outside force violating the sanctity of your own abode, where you are ostensibly at your safest. But perhaps even higher on that list is the fear of the unknown, the truly inexplicable abstractions that worm their way into your subconscious and fester like a debilitating disease. Some things simply cannot be understood, and the sheer terror that emerges as a result of that is unquantifiable.

So, what would happen if you took the unholy amalgamation between those two and made it into a film? That is precisely what Canadian writer/director Kyle Edward Ball has crafted with Skinamarink, his feature-length debut. Unfolding in a single, domestic residence and shrouded in near total-darkness, Skinamarink is a truly singular experience, one that taps into the dormant fears that lie in our pre-adolescence and brings the unfamiliar to the familiar. It's the scariest film I've seen in years.

In This House...

The year is 1995, and all is seemingly well in the home of Kevin ( Lucas Paul) and Kaylee ( Dali Rose Tetreault), two small children of about pre-school age. Their house is presented as a typically cozy suburban dwelling, wherein Lego blocks and other toys lie scattered on the bedroom and hallway floors, and the living room is basked in a perpetual glow of old-timey cartoons running on the television set. The only other noticeable light source originates from the soft haze of the children's night light, rendering the rest of the house a pitch-black void.

And it is in this void that the strange occurrences begin to happen: first, their parents disappear, followed by the doors and windows of the house, effectively sealing them both inside. The children keep up appearances by following their established routines - bedtime, followed by breakfast in the morning, approximating when they are in the day. But despite these stabs at normalcy, it soon becomes evident that they are not alone in the house, as some kind of malevolent entity has moved in with Kevin and Kaylee, and is attempting to coax them both upstairs.

One of the trappings of being a film critic is overexposure, especially in regard to certain genres. Contemporary horror releases lack a certain fright factor - you've seen one jump scare, you've seen them all - and few filmmakers in recent memory have been able to deliver on their bone-chilling premises. This makes Skinamarink all the more welcome, as this is a picture truly unlike anything else I've seen in the past decade, one best experienced in the darkest, quietest environment possible.

Don't Look Under the Bed

Right from the opening shot, Ball clearly exhibits a considerable command of atmosphere, presenting Skinamarink as less a film and more an artifact, with an incredibly realized period look and a daunting soundscape, filled with a myriad of hisses and pops, while dialogue is often muffled to the point where subtitles are added to the screen. The cinematography by Jamie McRae is stunning, favoring grainy images of dark hallways and liminal spaces that make up all corners of the house, while very specifically shying away from seeing the faces of our young protagonists (aside from one horrifying exception).

The phantom that pursues Kevin and Kaylee is less defined, but that makes it all the more menacing. What is after the kids? How did it get into the house? Ball is not interested in providing easy answers, he'd prefer to stick you in the shoes of Kevin and Kaylee and experience the hell ride alongside them. The innocuous surroundings add marvelously to the horror, with standout images belonging to a Barbie doll stuck to the ceiling, or a hallway littered with toys suddenly cast out into another dimension. If you've ever felt the need to sprint up the stairs of your own home after turning off all the lights in the middle of the night, you might have an inkling of what watching Skinamarink is like.

CONCLUSION: SKINAMARINK

Innovative and unsettling, Skinamarink will certainly not be for everyone's tastes. The film is glacially paced, and anyone seeking out a reason behind the madness would do best to steer clear of this endeavor. But for anyone else willing to take the plunge into Ball's film and embrace the terror inside, I cannot offer anything else other than my highest recommendation. It will leave you absolutely haunted.

Skinamarink was released in theaters in the U.S. on January 13th, 2023, and is set to be released on Shudder's streaming service later in this year.

Watch Skinamarink

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Jake Tropila

Movie lover & Los Angeles-based writer. BA in Film Criticism & Media Theory from CSU Northridge. Unofficial Bond ally. Rhymes with "tequila."

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SKINAMARINK: The Stuff That Nightmares Are Made Of - Film Inquiry

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Home invasion ranks high on this writer's personal list of phobias. Fewer things are more fear-inducing than imagining an outside force violating the sanctity of your own abode, where you are ostensibly at your safest. But perhaps even higher on that list is the fear of the unknown, the truly inexplicable abstractions that worm their way into your subconscious and fester like a debilitating disease.

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Dit is een bron die wat verteld over hoe we cinematografie moeten begrijpen. Dit geeft dus ook weer antwoord op de onderzoeksvraag, hoe beïnvloed een aspect het effect van een film.

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How to read cinematography | Shot analysis explained

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Deze bron gaat over een aantal films die cinematografie over de jaren heen veel heeft verandert, bekende films zoals Apocalypse Now en Ran, tot veel onbekendere films. Wij vinden het interessant om te kijken naar hoe cinematografie over lange tijd is geevolueerd.

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Dit artikel is een recensie over de nieuwe murder mystery film van Rian Johnson "Glass Onion: A Knives Out Story (2022)". Dit is een goed voorbeeld van hoe je een film analyseert die een formule gebruikt die al best wel veel gedaan is, en dan toch de originele dingen aan de film eruit kunnen plukken.

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GLASS ONION: An Inspired Sequel Loaded With Twists and Plenty of Fun - Film Inquiry

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It is a well-made, multilayered murder mystery, whose appeal lies not only in its subversive story, but in its prescient ability to predict the future.

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Deze bron geeft ook antwoord op onze onderzoeksvraag, namelijk hoe beïnvloed een bepaald kenmerk van een film het effect van de film. In deze bron wordt in een scene van piraten van het Caraïbische gebied steeds een andere stuk muziek er onder geplakt.

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Deze bron is een diepgaande analyse over de nieuwste film van Charlie Kaufman: "I'm thinking of ending things". De auteur analyseert vooral het verhaal maar daarbij gaat hij ook veel over de montage hebben. Deze film gebruikt een hele aparte montage en het lijkt ons interessant om te kijken wat deze film precies anders doet dan andere films.

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The Darkness of 'I'm Thinking of Ending Things'

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Deze bron legt uit hoe je verschillende cameratechniek kunt gebruiken om je film effect te versterken in je film. Dit geeft dus ook weer goede voorbeelden voor een eventueel kunstproduct.

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Dit is een artikel van filmblog Film Inquiry. Dit artikel is een deel in een serie over hoe je films moet analyseren, dit artikel gaat over Mise-en-Scène (hoe de set is vormgegeven en waar de personages staan) en de montage, en welk effect dit heeft op de verloop van de film en hoe het de betekenis verandert.

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In the last part of How to Analyse Movies, we discussed signs, codes and conventions. In this chapter we're moving on to the scene and editing, and what that means in film language.

Everything you see in a film is constructed to fit on a screen. Filmmakers think about every element that is shown every shot, nothing is accidental. In general, of course, I'm leaving mistakes out of the equation.

By controlling what is shown in the boundaries of a screen, a filmmaker controls the understanding of the audience. All that the director puts into the scene and films is called the " mise-en-scène ".

The mise-en-scène is how a filmmaker creates meaning. They use it to develop a character, or give subtle hints about their nature; to set the mood, to increase realism or surrealism, or to explore the meanings of the film's theme.

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To help you analyse as well as understand a scene, you have to ask who and what are in the scene and consider their relative position. And mise-en-scène isn't only the placement of people and objects within a shot; don't forget make-up, costumes, backdrops, sounds and lighting.

Mise-en-scène, as many of the concepts discussed in this book, is quite complex, and we don't have the space to go in-depth. However, I will include a few good reading recommendations at the end of the book. I must also point out that one of my colleagues at Film Inquiry has published a few articles on mise-en-scène that you must read if you want to better understand mise-en-scène. In the meantime, the following is a little exercise to get you started:

When you watch a scene, there are several questions you need to ask yourself:

What effect is created by the mise-en-scène?

What meaning does it have? Think about symbolism, connotations, links, et cetera

How were the effect and its meaning created?

Why were they created in that way - what is the director's purpose?

You could try this out by looking at this shot of Bane from The Dark Knight Rises:

Consider how objects and people are placed within this shot, what colours are used, how the shot is lit, the people's costumes. Consider what feeling the shot is supposed to elicit. What was Nolan's goal, with this shot?

Example: A Quick Analysis

This shot establishes chaos: sheets of paper scattered everywhere, people scrambling to get away from the threat. It also evokes fear, clear in the expressions on the innocent bystanders' faces. Bane is set in the centre of it all; he is the source of the chaos, the fear - a terrorist.

Note the American flight in the top right corner. It's covered, but there, signifying that good shall still prevail. The American flag frequently symbolises the "good guys".

However, as the scene is set at a stock exchange, the flag hanging vertically, placed this way on purpose, may also signify the crookedness and dishonesty of the stock exchange, essentially blaming them for the Great Recession of the late 00's.

If you would watch the scene, you would quickly see the latter interpretation would likely be correct. The entire scene is set up as to make the people at the stock exchange look like the criminals. Bane, in this case, is merely making these people pay their dues after "they" caused the recession.

You'll see Christopher Nolan used almost every technique available to elicit condescension towards the stock marketers, making Bane seem like a veritable Robin Hood, at least for that scene.

Editing

Editing is a way to compress hours of recorded images into one coherent, natural-looking sequence of shots. It's usually seamless. It consists out of cutting and joining pieces (shots) of recorded film together, while still maintaining a sense of continuity and connectedness. Usually, shots are edited to suggest a realistic flow of what's happening.

A montage is a series of edited shots that works as a cohesive unit, which has greater meaning than the individual mise-en-scène. There are many different kinds of editing techniques, these are some of the most common ones.

Continuity Editing

With this technique, the editor tries to keep the sense of realistic flow of events and to create a coherent sequence of shots. It is the most common editing technique. Watch this clip for an example of continuity editing in Goodfellas.

Jump-cut

This is a dramatic cut in the flow of events, which breaks the time/space continuum (which is why it's considered a violation of continuity editing), yet it still feels natural. Quick jumps between camera positions that differ only very little is an example.

It can also give the sense of jumping forward in time. This technique is used in creating music videos because it's more dynamic, and it was also used famously in Guy Ritchie's and Chan-Wook Park's . Watch this clip for an example of jump cuts in Snatch, Oldboy and

Cross-cut

With this editing technique, two action scenes are edited to quickly succeed each other to create a sense of two scenes happening at the same moment in time, but in a different place. The complete sequence of these kinds of scenes is called parallel action.

Christopher Nolan loves to use this technique in his films, it's used extensively in The Dark Knight and The Dark Knight Rises, as well as . Example of cross-cuts, a scene from Inception.

Fades and Dissolves

This type of editing promotes the sense of scenes (and time) moving forward. It's usually a gradual transition from one image to another. Fades fade to or from a blank image; a fade-in or a fade-out.

Dissolves are a transition between two shots, temporarily blending the two until the new image solidifies. It's used to suggest a longer jump in time than a regular could would.

There are many more types of editing and editing techniques that are used in filmmaking. Understanding the different kinds of editing used can help deepen your understanding of the director's purpose and the meaning he or she is trying to convey.
Next time you watch a movie, make some notes on what you see in the mise-en-scène and consider why it was put there, and also look at the way the movie was edited. What does it do with the meaning of the film?
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Next in How To Analyse Movies:

You're currently on part 3: Mise-en-Scène & Editing
Part 1: Introduction
Part 2: Signs, Codes & Conventions
Part 4: Considering the Camera
Part 5: Lighting, Sound & Score
Part 6: Story & Genre
Part 7: Iconography & Realisticness
Part 8: Putting it into Practice

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Become a Member and support film journalism. Unlock access to all of Film Inquiry`s great articles. Join a community of like-minded readers who are passionate about cinema - get access to our private members Network, give back to independent filmmakers, and more.

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How to Analyse Movies #3: Mise-en-Scène & Editing - Film Inquiry

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In the last part of How to Analyse Movies, we discussed signs, codes and conventions. In this chapter we're moving on to the scene and editing, and what that means in film language. Everything you see in a film is constructed to fit on a screen.

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In deze bron wordt gekeken naar het Leitmotif. Het Leitmotif is een manier om emoties/de ontwikkeling van een personage weer te geven in een muzikaal motief. Behalve het Leitmotif gaat deze bron ook over andere manieren om te vertellen met alleen de muziek van een film.

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VIDEO: Leitmotifs and Musical Themes in Film Explained

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Think of Jaws, Harry Potter, Indiana Jones — what do you hear? Let’s dive into leitmotifs and how master composers like John Williams wield them.

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Deze bron gaat over de unieke cinematografische stijl van regisseur Wes Anderson. Wes Anderson's films zijn direct herkenbaar als je ook maar een scene ziet. We willen kijken wat zijn films zo origineel maken en hoe de regisseurs van de films die wij gaan kijken deze dingen aanpakken.

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Why Do Wes Anderson Movies Look Like That?

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Deze bron is een analyse van de (volgens de auteur) slechte montage in de film Bohemian Rhapsody (2018). Er worden veel voorbeelden gegeven van wat de montage in deze film fout doet en we willen deze bron gebruiken om te kijken of we sommige van deze dingen herkennen in de films die wij gaan zien als culturele activiteit.

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Bohemian Rhapsody's Terrible Editing - A Breakdown

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Als culturele activiteit willen wij allebei een recente film kiezen om te gaan zien in de bioscoop. We zijn van plan om deze films redelijk te laten verschillen van genre en budget, en dan willen we onder andere kijken naar wat de overeenkomsten en verschillen zijn. We zijn onder andere van plan om het stappenplan van het artikel van het San Diego Film Festival te volgen, en we gaan kijken naar onze gekozen deelonderwerpen. We willen bij de muziek letten op of we Leitmotifs kunnen herkennen, of de muziek het nodige toevoegt aan de scène en we gaan de muziek in de films vergelijken. Bij cinematografie willen we kijken naar hoe verschillende scènes belicht zijn, de hoeken waaruit een scène wordt gefilmd, de beweging van de camera en ook hier gaan we beide films weer vergelijken.  De films die we gaan analyseren worden: "The Holy Mountain (1976)" van Alejandro Jodorowsky, "The Whale (2022)" van Darren Aronofsky (hierbij kunnen we het ook vergelijken met de analyse van Requiem For a Dream in een van onze bronnen), "Skinamarink (2022)" van Kyle Edward Ball en "Asterix en Obelix in het Middenrijk (2023)" van Guillaume Canet.

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Dit is een artikel van het San Diego Film Festival, een stap voor stap handleiding over hoe je een film in zijn geheel moet analyseren. Het is opgedeeld in vier delen: Wat je moet doen voor je de film kijkt, wat je moet doen terwijl je de film kijkt, wat je moet doen na je de film kijkt en hoe je dan je recensie schrijft. Het laatste is bij ons niet van toepassing, maar het heeft wel goede stappen die wij van plan zijn om te volgen.

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Wij gaan als kunstproduct een collage maken van al het onderzoek wat we hebben gedaan en de conclusies die we hebben getrokken uit onze culturele activiteit. We willen in de vormgeving van dit collage bepaalde technieken gebruiken waar we over hebben geleerd in ons onderzoek.

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Wij vonden het allebei best wel moeilijk om de montage van een film te leren analyseren. Dit filmpje is een introductie over hoe je kan leren een films montage te analyseren. In het filmpje wordt een scène van "The Birds (1963)" van Alfred Hitchcock gebruikt.

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Deze video legt een goede basis over hoe muziek invloed kan hebben op het effect van de film. Er worden in de video ook voorbeelden gegeven van hoe een scene drastisch kan veranderen als de muziek verandert en het beeld hetzelfde blijft.

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THE POWER OF MUSIC IN FILM - How music affects film

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Dit is een artikel van filmblog Film Inquiry. Dit artikel is een deel in een serie over hoe je films moet analyseren, dit artikel gaat over de positionering van de camera. In deze bron wordt "Requiem For a Dream (2000)" van Darren Aronofosky gebruikt als voorbeeld en bepaalde scènes worden geanalyseerd en uitgelegd.

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In earlier instalments of How To Analyse Movies, we discussed film language, how meaning is created in film through the use of signs, codes and conventions and most recently, we covered mise-en-scène and editing.

In this chapter, we'll discuss the camera and how it too can create meaning and how important it is to know about the way the camera is used to analyse a movie.

The way the camera has been positioned or has been used too can create meaning, and it's very important to know how it has been positioned and to analyse a film in its whole. Positioning and use of the camera are conscious decisions made by the filmmakers involved, and so can have a significant impact on how a film is read.

To give you a quick impression of all the ways the camera can be used, we'll quickly discuss different kinds of shot types, camera angles and finally, camera movement.

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Film Analysis For Beginners: How To Analyse Movies

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Shot Types

A shot is what is seen in just one frame. It can be used to set the scene or the mood, demonstrate aspects of the film's setting, characters and themes. Consequently, they are very important when it comes to creating (and reading) the meaning of a film.

Long Shots

An establishing shot, or extreme long shot (also sometimes referred to as wide shot), is a shot that helps to set the scene. It's also often used at the start of a scene; it establishes the location of the scene and gives the audience an idea of where they are in the narrative. It frequently features large amounts of landscape.

The long shot (less long than an extreme long shot) also establishes a scene but shows something more specific than just landscape, for instance, the façade of a building where the scene's taking place.

The Mid-shot

The establishing shot is frequently followed by a mid-shot,to zoom in on the focus of the scene. A mid shot is usually considered to be a view of a full-length human, although in some film styles, like in European film, a shot of a person from the waist up is considered a mid-shot. The mid-shot is also known as a social shot.

The Close-up

While in European film, a shot from the waist up is considered a mid-shot, in some film styles, that's already considered a close-up. So, depending on who you're talking with, a close-up can range from a shot of a person from the knees up, from the waist up, or merely the face.

The close-up is also known as a personal shot. It allows the audience to see an actor's emotions up close, allowing the filmmakers to establish empathy.

Additionally, there is also the extreme close-up, in which only part of an actor's face or part of an object is shown. It's frequently used in horror and can add to the intensity of the mood.

The Point-of-view Shot

Finally, there is the subjective point-of-view (P.O.V.) shot,an eye-line shot where the spectator sees what the character sees, which helps give the audience the sense they are part of the scene themselves.

Camera Angles

Camera angles can greatly help set the tone of the movie, and almost always signify meaning. A great example is when a character is filmed from a high angle, which suggests that the one viewing (whether character or audience) the subject from that higher angle is superior, the subject inferior.

Conversely, a low angle can mean that the audience is supposed to look up to the subject of the shot (literally and figuratively), or that the character doing the looking up is submissive, or weak.

An example of use of angle with a P.O.V. shot is in films where ranks are important. When an emperor or king sits high up on his throne and the P.O.V. high angle shows the ruler looking down over his subjects.

In that vein, an eye-level angle places the audience and/or the characters on equal footing.

Camera Movement

Camera movement too is very important in the creation of meaning. For instance, a zoom into a close-up of someone's face can suggest a certain emotion or emphasize on it.

Panning across battlefield can suggest endless chaos. Panning is often used to establish a setting or set. A P.O.V. handheld camera shot creates tension and increases involvement by adding to the feeling of the spectator being part of the action, which is often used in the 'found footage' genre.

Lastly, a "tracking" or "dolly" shot follows the subject to it within the frame, or gives the filmmakers explore a set by moving through it, giving the audience a sense of the situation. In the case of tracking shots, the camera moves on tracks, and similarly, in a dolly shot, the camera is attached to a trolley to achieve the effect.

Practice

Films are designed and edited in such a way to prevent the audience from becoming aware of the camera. If they would be aware, it would ruin the viewers' immersion in the film. That's why it can be very hard at first to explore the positioning and use of the camera. Some practice would come in handy!

Watch Darren Aronofsky's Requiem for a Dream (2000), or even just watch the trailer for the movie. It is a great example of a film in which shot types, camera angles and camera movement are used significantly to create meaning, involve the audience, and to display and evoke emotion.

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Next in How To Analyse Movies:

You're currently on part 4: Considering the Camera
Part 1: Introduction
Part 2: Signs, Codes & Conventions
Part 3: Mise-en-Scene & Editing
Part 5: Lighting, Sound & Score
Part 6: Story & Genre
Part 7: Iconography & Realisticness
Part 8: Putting it into Practice

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Become a Member and support film journalism. Unlock access to all of Film Inquiry`s great articles. Join a community of like-minded readers who are passionate about cinema - get access to our private members Network, give back to independent filmmakers, and more.

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How to Analyse Movies #4: Considering The Camera | Film Inquiry

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In earlier instalments of How To Analyse Movies, we discussed film language , how meaning is created in film through the use of signs, codes and conventions and most recently, we covered mise-en-scène and editing.

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Dit is een heel uitgebreide analyse van de filmmuziek uit de film Up (2009). Wij kennen de film allebei heel goed en we willen deze analyse als voorbeeld gebruiken voor naar welke dingen we allemaal kunnen kijken bij de analyse van de muziek van een film.

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Deze video legt een basis voor ons begrip van cinematografie en hoe we het moeten analyseren. Het gaat over wat volgens de maker van de video de drie basisbegrippen zijn voor cinematografie: de exposure, belichting en hoe de camera beweegt.

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Deze schrijver analyseert zes films die volgens hem een meesterwerk in montage zijn. In deze bron wordt veel gepraat over verschillende montagetechnieken en welk effect ze hebben en dit is handig voor ons onderzoek

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There are a lot of ways editors can develop their trade - textbooks, film school, mentors, and video tutorials. But one of the most effective ways to learn? Scrutinize and reverse engineer exceptional works of editing.

The history of cinema is rich with films that are essentially masterclasses in editing, representative of the pinnacle of what is possible in the craft. Looking at them closely offers not just inspiration, but extractable lessons that any editor can absorb. In that spirit, we've chosen six movies - all of them Oscar winners or nominees for editing - that represent some of the best of the best. For each, we'll break down what makes them must-see films and what specific effects they achieve with editing that any craftsmen will need to know.

#1. All That Jazz: The Power of Storytelling Through Editing

You could watch just the first six minutes of Bob Fosse's All That Jazz and receive a masterclass in editing courtesy of Alan Heim who won an Oscar for his work. Editor Jack Tucker once put it nicely when he said, "Editing is not a technical process. It's an artistic process. It's about storytelling." While I might add that the technical skills are important, the storytelling absolutely comes first.

Consider the first post-title moments of All That Jazz: a series of shots that show us Joe Gideon going through his morning routine.

Despite the mundane nature of that concept, the way the sequence is put together introduces us to everything we need to know about the man we'll be spending two hours with. The black screen and cough tells us he's not well. The tape player tells us about the role of music in his life. The eye drops tell us he's overworked and sleep-deprived. The cut to the fizzing Alka-Seltzer conveys the stress of an unsettled stomach. The next shot of him drinking the Alka-Seltzer reveals a poster of dancing legs that hint at his world: Broadway. The cut to the cigarette in the shower tells us he's a chain smoker. The shot of the pill bottle implies drug abuse. In just 9 shots over 32 seconds, we get a full character portrait thanks to very succinct editing.

Then there's the famous "On Broadway" sequence, that over the next four-and-a-half minutes tells an entire story about the audition process for a Broadway show without a single word spoken. The first few shots of nervous and practicing dancers ask the question, "Who will make it?" and introduce the stakes that will be resolved by the end with a series of quick match cuts of the finalists twirling in place. But the sequence also does much more. It reveals Gideon's role in this world with a lingering shot of him front-and-center, surveying the full stage revealed in an establishing shot.

Characters and relationships are introduced with various cuts - whether it's the bored businessman in the theater seats or Gideon's ex-wife and daughter watching in the back. Then there's also the full spectrum of the emotional journey of those auditioning - their joy, disappointment, and hard work - while also acting as an ode to them, as frequent cuts highlight the beauty from all angles of their bodies in motion.

Storytelling rooted to emotion, and told through editing, isn't isolated to the opening either. Take the "Everything Old is New Again" sequence, which is possibly one of cinema's most joyous musical numbers. That's in good part because it does something unusual for a musical number: it's edited to represent a spectating character's point-of-view, not our own.

Because that's the emotional point of that number: it's for Joe. It's a scene about joy being performed, but also felt. And we see that wonderfully conveyed by the frequent cutting Alan Heim does to Gideon's smiling face, or shots where Joe is seen (back turned to us) in-frame and watching. It's examples like that which demonstrate why All That Jazz is critical viewing for any editors wanting to learn to leverage editing for resonating emotional storytelling.

How to apply the lesson: Take a couple of your favorite films and think about how the main character is introduced. Think about how the editing specifically is telling us about that character, and compare it to the scene above.

In your own work, take a current project or a past one that you've worked on. Now try and create two sequences. One that introduces a character like Heim does with All That Jazz, and another that offers a self-contained story like the "On Broadway" sequence. Most importantly, edit both sequences to depend on not a single word of dialogue being spoken.

#2. Baby Driver: Cutting to Music

Martin Scorsese once said "For me, the editor is like a musician, and often a composer." Baby Driver leaves little doubt that director Edgar Wright feels the same way.

Action sequences synced to music aren't uncommon, but Baby Driver's ambition to make all its action symbiotic with music is. From its earliest stages, the film was conceived of as having a musical pulse. The precision in editing for that is no easy feat, which is what makes Baby Driver a must-see for editors.

The first car chase of the film is arguably the best way to demonstrate that.

For one, it signals to the audience its intent with regards to wanting editing-music synchronicity. The robbers slam car doors on beat, Baby sways his windshield wipers to the rhythm, and he water bottle karaokes with the lyrics. All of those moments are cut on the beat of the song. Then as the drums in the song rev up to the word "Bellbottoms" the cuts rev up too. As Baby prepares the car for driving, he takes the car out of park, releases the break, and grabs the steering wheel, all to the quickening pace of the music, as the sequence intercuts with the robbers getting ready to make their getaway.

Then, with a point of Jon Bernthal's finger, the song, the chase, and the editing let loose. Every cut from that point on is synchronized with dizzying precision. Sometimes it's cuts to reaction shots; sometimes it's cuts to changing traffic lights; sometimes it's the car skidding. The effect is that the pace of song becomes the pace of the car chase sequence itself, and you feel like adrenaline is being injected right into your veins. In that way, the sequence isn't just an example of technical mastery, but audience effect.

That's also why we get so many cuts to the actors reacting to their manic car ride, or inserts and close-ups of what Baby is doing as he drives - it enhances our immersion in the sequence by putting us in the car with them, and leaves us primed to feel those beats and cuts. The rest of the film is just as much a blending of flash, intent and execution - whether it's bullets, coffee runs, or foot chases syncopated to the beat of Baby Driver 's soundtrack.

That's why Edgar Wright's film is a must see. Yes, for its flashy use of music and editing, as well as the expertise with which cuts are lined up with a song's momentum and beat. But also because it does all of that with a very important motivation: to create an effect on an audience.

How to apply the lesson: Pick a fast-paced song that you love. It doesn't matter what genre of music. Now try recutting the Baby Driver car chase with that song. If you need to, you can cheat a little, and use shots from other car chases in the film as well.

Be sure to check out our in-depth interview with Baby Driver editor Paul Machliss.

#3. The Godfather: Juxtaposition

The Russian grandfather of film editing, Sergei Eisenstein, once asked, "Why should the cinema follow the forms of theater and painting rather than the methodology of language, which allows wholly new concepts of ideas to arise from the combination of two concrete denotations of two concrete objects?"

What Eisenstein was talking about was juxtaposition and editing's innate ability to intercut shots in ways that create new meanings. Most notably, when done right, that new meaning can be deeply thematic. And a textbook example of that is the Oscar-nominated work of editors Peter Zinner and William Reynolds in The Godfather. To be more precise: a textbook example is the famous baptism/assassination sequence in Francis Ford Coppola's film. (It's worth noting that the juxtaposition of the scenes was conceived of by Coppola and Puzo in the screenplay, and then seen through by Zinner and Reynolds.)

The sequence begins with a long establishing shot that immerses us in a somber church for a holy occasion: the baptism of Michael Corleone's godson. It proceeds innocently enough from there, with shots of the baby being prepared for its baptism as its bonnet is carefully removed. But then comes a match cut to a shot of an assassin preparing his weapons, and the sequence becomes something else. The match cut signals a connection between the two parallel narratives that emerge: the rest of the baptism and a series of gangland hits orchestrated by Michael.

That match cut is not the only visual connection, incidentally. Throughout the five-minute sequence, we get assassins engaging in ritualistic preparations that mirror those of holy water being applied to the baby, and the reclined head of a gangster getting a shave mirrored in the reclined head of the baby as water trickles down its scalp. Moments like those create a powerful juxtaposition of innocence and violence, life and death, spiritual cleansing and moral corruption.

The editing drives that home not only with a recurring return to Michael's cold face, but most powerfully when his renunciation of Satan is intercut with the killings he's set in motion; killings accentuated even further with the audio of the baby crying, and blaring church organ music. And all of that drives towards the true juxtapositional power of the sequence. It's not just about innocence pitted against violence. True to Eisenstein's words, it also offers new meaning: both sequences are baptisms. Much like the holy water poured on the baby's head marks a symbol of its recent birth, the blood spilled during the assassinations are symbolically baptizing Michael as The Godfather (it's a clever bit of double meaning that this happens as he's being "sworn in" as another kind of godfather).

Certainly, both sequences could be extracted and stand on their own, but - to evoke Eisenstein again - the detonation resulting from the two being smashed together creates a deeper, richer thematic idea that any editor should dream of aspiring to accomplish some day.

This kind of deeply symbolic juxtaposition is often planned before production, either by the screenwriter or by the director, but in this case, the inter-cutting idea came during the editing process. You as the editor are a storyteller, just as much as the writer and the director are.

How to apply the lesson: Try to separate the two scenes as we just mentioned. Edit the baptism and the killings to be stand-alone, self-contained, sequences. No juxtaposition and intercutting. Then put one before the other, and notice how different it plays.

#4. Jaws: Editing for Tension

The production woes of Steven Spielberg's breakout film are the stuff of cinematic legend, and so is the acceptance that technical difficulties with Bruce the Mechanical Shark required the need to hide him on screen. That task fell in large part to editor Verna Field's Oscar-winning work on Jaws, whichhas made it a go-to example for editors on how one can edit for a particular effect: enhancing tension by creating spaces that an audience's imagination will fill.

A case study of how well Jaws does that is its opening, and young Chrissie's doomed skinny dip.

Except, of course, nothing about it seems doomed initially. The sequence is edited with playful momentum, crosscutting between Chrissie and her fellow skinny-dipper as they run along the beach disrobing. Then once Chrissie has dived in, we get a wide lingering eleven-second shot of a still and vast ocean. We get the impression of the water's beauty, and the calm of the environment, punctuated with a cut to a close-up of Chrissie silhouetted by an orange sun.

But then we get an ominous underwater point-of-view shot, before a quick cut that returns us the same wide shot of the water. Except this time it plays differently.

Suddenly, it's hard not to notice how alone and vulnerable the young woman is. A woman humanized more as we get our first real close-up of her smiling, but not before we very quickly cut to another underwater POV shot. Something is there. Something that in a return to the previous close-up now yanks her underwater, and we now see her smiling face become one of horror.

Then we get a quicker pace of edits between angles, that not only echo her panic, but accentuate the tension within our own uncertainty about what is doing this to her and where it is. Until, eventually, Chrissie disappears. And then comes perhaps the most haunting cut of the whole sequence - one that can only have the effect it has because of everything Field has done previously. We return to that wide shot of the still, beautiful ocean, one last time, but it no longer seems so tranquil and safe. Now it's a graveyard.

The editing of that sequence conveys the terror of the unseen, and that's a constant in the film - even when we do see the shark. Take the film's climax when Brody tries to escape both the shark and the sinking boat. It's the most prominently that we see the Great White, and yet the editing frequently cuts around the exterior and interior of the boat to maintain that tension and uncertainty of where the shark is, and the feeling that it could appear at any moment.

Jaws is praiseworthy for many reasons, but as an editor, the film's ability to so efficiently convey that feeling with cuts, is why it's a film anyone should study - especially those filmmakers looking to make horror or thrillers.

How to apply the lesson: Remember that viral video where The Shining was recut to put together a trailer that made it seem like it was a heartwarming comedy? Try doing the reverse of that. Take an innocuous and happy scene from any film, and find a way to edit it to be ominous and mounting tension. What would you show or not show to create the foreboding feeling? Better yet, challenge yourself to create that sense without the use of music. Can you do it with just the cutting?

#5. Mad Max Fury Road: Editing Action

If you're looking for a good word to describe George Miller's action film masterpiece, "relentless" is probably the best one. The multiple car chase centerpieces of the film are so pulse pounding, it's hard not to feel your heart beat as loudly as the drums Immortan Joe likes to have around on his joy rides. A lot of that is due to the Oscar-winning editing of Margaret Sixel, and a key technique she uses to create the relentless momentum of its action sequences: she almost always cuts on movement.

Now, yes, the short length of shots (usually lasting no longer than four seconds) contributes a kinetic visual speed, but it's the movement connecting each shot that gives the film most of its never-standing-still feeling. Cuts come on camera pans, the firing of a bullet, an accelerating truck, or even the turn of a character's head. In short: objects or people who are in a state of constant movement towards something.

Consider the beginning of a chase with a motorcycle gang.

Notice how Furiosa's running left-to-right cuts back and forth to a motorcycle speeding right-to-left. Not only does it always happen on movement, it conveys the movement towards their inevitable collision. From that point on, there's no end of motion: a spinning tire, a dropping arm, the billowing of a dust cloud, the handing over of a shotgun, or flames blowing in the wind. Cuts never happen on anything still, so the action sequences never feel still.

But there's another key technique to study here too, which enables that pacing and action to properly resonate with audiences. What makes Fury Road work so well is that, despite its high velocity editing, it never neglects orientation. Despite Mad Max and Furious being frequently chased by multiple factions of antagonists, you never lose sight of the character and object location in a scene. That's because the film frequently cuts to shots that show us the geography of the space we're in to allow us to understand where we are and what is happening. Sometimes that's done with lingering establishing shots, like any time Immortan Joe's caravan launches fireworks. Other times we get intercut shots running parallel to moving vehicles so we see where they are. Especially effective are shots where characters are looking out windows, and we cut to what they see. As a result, we're oriented.

It honors a key philosophy of filmmaking legend Walter Murch: "My job as an editor is to gently prod the attention of the audience to look at various parts of the frame. I do that by manipulating how and where I cut and what succession of images I work with." Mad Max: Fury Road lives up to that, and because of that - and its mastery of cutting on momentum - it's a must for editors looking to create sequences with a relentless pace that never sacrifices coherence for an audience.

How to apply the lesson: Find a scene - or scenes - either from an existing film or a project of your own (past or present). Now edit it to only ever cut on momentum. Notice how the pace of the scenes now change. For the full effect, try doing it with a scene that isn't even necessarily action-packed.

Martin Scorsese's biopic about boxer Jake La Motta is widely considered to be one of the best-edited films of all time, thanks to the Oscar-winning work of Thelma Schoonmaker. That's largely due to its must-study showpieces: the boxing sequences that occur throughout the movie. What makes them worth studying is the way that they're edited to depict Jake La Motta's internal emotional state during those boxing matches. Because if you study them closely, you quickly notice each match is edited very differently, and the shots before a fight usually give us a clue of the emotions that will be in play in the ring.

Consider the fight between Jake La Motta and an opponent named Janiro.

Before fists fly, we get a long, uncut shot of Jake jealousy grilling his wife, Vickie, about her referring to Janiro earlier as a "pretty face." Near the end of the shot, we see La Motta's face curdle into sour anger, and then instantly Schoonmaker cuts to an extreme close-up of that pretty, now severely beaten, face getting hit. With that edit, we know Jake's fury has entered the ring with him. From that point on, every single cut in that sequence is about emphasizing two things: the snarling anger on La Motta's face as he strikes, and the relentless damage that anger is doing with brutal blows. The speed of the editing during the match is meant to emphasize the ferocity of the fight, but it's really about emotion: the animal-like rage within Jake and its destructive force.

Compare that match to the last fight between La Motta and Sugar Ray Robinson in the film, when Jake's life and career are waning.

The shots last much longer than the Janiro match - often up to eight seconds - conveying the slowing down of La Motta's career, especially through some beautifully shot slow-motion moments. That temporary beauty passes when Schoonmaker unleashes a barrage of cuts depicting the brutal beating La Motta receives at the hands of Robinson.

In particular, she creates a wonderful sense of disorientation by cutting to a variety of angles and ignoring continuity (notice how sometimes a swing from Robinson comes in from one side, but lands on the other). The result is a beating that mirrors the blows and destruction La Motta has brought upon himself (mirrored in his inviting Robinson to hit him) at this stage in the film, where both his career and personal life has unraveled.

It's a moment that recalls the evoked emotion of an earlier boxing match sequence in the film: let's call it the "Home Movie Montage."

In this very different scene, we're taken through a series of fights represented by still images and slow-motion shots, which are intercut with home movie footage. In the fights, Jake looks angry and in states of dominance and celebration; but in the home movie footage (a rare use of color in Raging Bull) we see docility. Here is La Motta at his most domestic. The crosscutting creates dual realities: an idealized life of familial happiness, and a life of anger and violence. If you have any doubt that Raging Bull 's fights are edited to reflect the emotional core of Jake La Motta's life outside of the ring, you'll shed it when you reach the end of the film and realize which of the two realities he ultimately succumbed to.

How to apply the lesson: Editing to capture a film's thematic core typically requires having access to a script, a director, and all the footage from a film to properly put together. So a simple exercise to apply Raging Bull's lesson may not be so easy to come by. However, the beauty of good theme work is that it enters into a film's very DNA and becomes something an audience can almost instinctively feel. With that in mind, try this: watch any of the clips above without sound. Notice how just with images, and the cutting, you nonetheless feel the individual meanings each scene is aiming to achieve.

Playing with Sight, Sound, and Speed

Dissecting an edit can be tricky, though, because if the film is any good, you'll probably be pulled into the story as you watch. If you've never watched a film with the sound off, I highly recommend that you try it. Try watching a film that you know well with the sound off, and then try watching a film you've never seen before. Both can be very instructive.

Without the sound, you'll be forced to focus more on the images, and you're much less likely to be sucked into the story. If you can un-suspend your disbelief, you'll be able to analyze the editing much more accurately. Likewise, if you want to understand how to edit sound, try listening to a film or a scene that you're studying, without looking at the screen. You'll start noticing all sorts of subtleties of sound that are hard to consciously pick up on as you watch the film.

Next try watching a film at 2x speed, with the sound on or off. In addition to keeping you from getting sucked into the film, it'll also reveal patterns in the editing that you probably wouldn't have noticed at normal speed. Slow, gentle camera moves that were imperceptible at normal speed stick out when sped up, and you'll be able to grasp the arc of a scene in a new way. I encourage you to pick some of the films that you most enjoy and use these tools to examine them.

The Beginning of the Journey

These six films offer a wide range of examples highlighting the dexterity of editing and what its practitioners are capable of. However, they are far from the only editing master classes that editors need to see. The history of cinema has no shortage of films - whether they're Oscar winners or colleague recommendations - that editors should watch. The more you dive in, and the more you study what you see, the more you, and your craft, will benefit.

And we also want to hear from you! What are the films you think every editor should study? Share in the comments.

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Editing Insights and Analysis of Six Masterpieces

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There are a lot of ways editors can develop their trade - textbooks, film school, mentors, and video tutorials. But one of the most effective ways to learn? Scrutinize and reverse engineer exceptional works of editing. The history of cinema is rich with films that are essentially masterclasses in editing, representative of the pinnacle of what is possible in the craft.

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Deze bron legt uit hoe je verschillende cameratechniek kunt gebruiken om je film effect te versterken in je film. Dit geeft dus ook weer goede voorbeelden voor een eventueel kunstproduct.

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8 Steps to Cinematic Composition | Tomorrow's Filmmakers

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Deze video vertelt hoe de regisseur Christopher Nolan, montage gebruikt om zij film een eigen kenmerk te geven. Dit beantwoord onze onderzoeksvraag namelijk, hoe beïnvloed een bepaald kenmerk van een film het effect van de film.

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How Christopher Nolan Elevates the Movie Montage

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Dit artikel gaat over hoe je een essay over cinematografie en film moet schrijven. Er worden voorbeelden gegeven voor hoe je de cinematografie van een scene kan analyseren, en van deze methode willen wij ook gebruik maken. Ook wordt er verteld over verschillende soorten filmanalyse, hier willen we ook meerdere soorten van in ons cultureel product verwerken.

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The Writing Center * University of North Carolina at Chapel Hill

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What this handout is about

This handout introduces film analysis and and offers strategies and resources for approaching film analysis assignments.

Writing the film analysis essay

Writing a film analysis requires you to consider the composition of the film-the individual parts and choices made that come together to create the finished piece. Film analysis goes beyond the analysis of the film as literature to include camera angles, lighting, set design, sound elements, costume choices, editing, etc. in making an argument. The first step to analyzing the film is to watch it with a plan.

Watching the film

First it's important to watch the film carefully with a critical eye. Consider why you've been assigned to watch a film and write an analysis. How does this activity fit into the course? Why have you been assigned this particular film? What are you looking for in connection to the course content? Let's practice with this clip from Alfred Hitchcock's Vertigo (1958). Here are some tips on how to watch the clip critically, just as you would an entire film:

Give the clip your undivided attention at least once. Pay close attention to details and make observations that might start leading to bigger questions.

Watch the clip a second time. For this viewing, you will want to focus specifically on those elements of film analysis that your class has focused on, so review your course notes. For example, from whose perspective is this clip shot? What choices help convey that perspective? What is the overall tone, theme, or effect of this clip?

Take notes while you watch for the second time. Notes will help you keep track of what you noticed and when, if you include timestamps in your notes. Timestamps are vital for citing scenes from a film!

For more information on watching a film, check out the Learning Center's handout on watching film analytically. For more resources on researching film, including glossaries of film terms, see UNC Library's research guide on film & cinema.

Brainstorming ideas

Once you've watched the film twice, it's time to brainstorm some ideas based on your notes. Brainstorming is a major step that helps develop and explore ideas. As you brainstorm, you may want to cluster your ideas around central topics or themes that emerge as you review your notes. Did you ask several questions about color? Were you curious about repeated images? Perhaps these are directions you can pursue.

If you're writing an argumentative essay, you can use the connections that you develop while brainstorming to draft a thesis statement. Consider the assignment and prompt when formulating a thesis, as well as what kind of evidence you will present to support your claims. Your evidence could be dialogue, sound edits, cinematography decisions, etc. Much of how you make these decisions will depend on the type of film analysis you are conducting, an important decision covered in the next section.

After brainstorming, you can draft an outline of your film analysis using the same strategies that you would for other writing assignments. Here are a few more tips to keep in mind as you prepare for this stage of the assignment:

Make sure you understand the prompt and what you are being asked to do. Remember that this is ultimately an assignment, so your thesis should answer what the prompt asks. Check with your professor if you are unsure.

In most cases, the director's name is used to talk about the film as a whole, for instance, "Alfred Hitchcock's Vertigo." However, some writers may want to include the names of other persons who helped to create the film, including the actors, the cinematographer, and the sound editor, among others.

When describing a sequence in a film, use the literary present. An example could be, "In Vertigo, Hitchcock employs techniques of observation to dramatize the act of detection."

Finding a screenplay/script of the movie may be helpful and save you time when compiling citations. But keep in mind that there may be differences between the screenplay and the actual product (and these differences might be a topic of discussion!).

Go beyond describing basic film elements by articulating the significance of these elements in support of your particular position. For example, you may have an interpretation of the striking color green in Vertigo, but you would only mention this if it was relevant to your argument. For more help on using evidence effectively, see the section on "using evidence" in our evidence handout.

Also be sure to avoid confusing the terms shot, scene, and sequence. Remember, a shot ends every time the camera cuts; a scene can be composed of several related shots; and a sequence is a set of related scenes.

Different types of film analysis

As you consider your notes, outline, and general thesis about a film, the majority of your assignment will depend on what type of film analysis you are conducting. This section explores some of the different types of film analyses you may have been assigned to write.

Semiotic analysis

Semiotic analysis is the interpretation of signs and symbols, typically involving metaphors and analogies to both inanimate objects and characters within a film. Because symbols have several meanings, writers often need to determine what a particular symbol means in the film and in a broader cultural or historical context.

For instance, a writer could explore the symbolism of the flowers in Vertigo by connecting the images of them falling apart to the vulnerability of the heroine.

Here are a few other questions to consider for this type of analysis:

What objects or images are repeated throughout the film?

How does the director associate a character with small signs, such as certain colors, clothing, food, or language use?

How does a symbol or object relate to other symbols and objects, that is, what is the relationship between the film's signs?

Many films are rich with symbolism, and it can be easy to get lost in the details. Remember to bring a semiotic analysis back around to answering the question "So what?" in your thesis.

Narrative analysis

Narrative analysis is an examination of the story elements, including narrative structure, character, and plot. This type of analysis considers the entirety of the film and the story it seeks to tell.

For example, you could take the same object from the previous example-the flowers-which meant one thing in a semiotic analysis, and ask instead about their narrative role. That is, you might analyze how Hitchcock introduces the flowers at the beginning of the film in order to return to them later to draw out the completion of the heroine's character arc.

To create this type of analysis, you could consider questions like:

How does the film correspond to the Three-Act Structure: Act One: Setup; Act Two: Confrontation; and Act Three: Resolution?

What is the plot of the film? How does this plot differ from the narrative, that is, how the story is told? For example, are events presented out of order and to what effect?

Does the plot revolve around one character? Does the plot revolve around multiple characters? How do these characters develop across the film?

When writing a narrative analysis, take care not to spend too time on summarizing at the expense of your argument. See our handout on summarizing for more tips on making summary serve analysis.

Cultural/historical analysis

One of the most common types of analysis is the examination of a film's relationship to its broader cultural, historical, or theoretical contexts. Whether films intentionally comment on their context or not, they are always a product of the culture or period in which they were created. By placing the film in a particular context, this type of analysis asks how the film models, challenges, or subverts different types of relations, whether historical, social, or even theoretical.

For example, the clip from Vertigo depicts a man observing a woman without her knowing it. You could examine how this aspect of the film addresses a midcentury social concern about observation, such as the sexual policing of women, or a political one, such as Cold War-era McCarthyism.

A few of the many questions you could ask in this vein include:

How does the film comment on, reinforce, or even critique social and political issues at the time it was released, including questions of race, ethnicity, gender, and sexuality?

How might a biographical understanding of the film's creators and their historical moment affect the way you view the film?

How might a specific film theory, such as Queer Theory, Structuralist Theory, or Marxist Film Theory, provide a language or set of terms for articulating the attributes of the film?

Take advantage of class resources to explore possible approaches to cultural/historical film analyses, and find out whether you will be expected to do additional research into the film's context.

Mise-en-scène analysis

A mise-en-scène analysis attends to how the filmmakers have arranged compositional elements in a film and specifically within a scene or even a single shot. This type of analysis organizes the individual elements of a scene to explore how they come together to produce meaning. You may focus on anything that adds meaning to the formal effect produced by a given scene, including: blocking, lighting, design, color, costume, as well as how these attributes work in conjunction with decisions related to sound, cinematography, and editing. For example, in the clip from Vertigo, a mise-en-scène analysis might ask how numerous elements, from lighting to camera angles, work together to present the viewer with the perspective of Jimmy Stewart's character.

To conduct this type of analysis, you could ask:

What effects are created in a scene, and what is their purpose?

How does this scene represent the theme of the movie?

How does a scene work to express a broader point to the film's plot?

This detailed approach to analyzing the formal elements of film can help you come up with concrete evidence for more general film analysis assignments.

Reviewing your draft

Once you have a draft, it's helpful to get feedback on what you've written to see if your analysis holds together and you've conveyed your point. You may not necessarily need to find someone who has seen the film! Ask a writing coach, roommate, or family member to read over your draft and share key takeaways from what you have written so far.

Works consulted

We consulted these works while writing this handout. This is not a comprehensive list of resources on the handout's topic, and we encourage you to do your own research to find additional publications. Please do not use this list as a model for the format of your own reference list, as it may not match the citation style you are using. For guidance on formatting citations, please see the UNC Libraries citation tutorial. We revise these tips periodically and welcome feedback.

Aumont, Jacques, and Michel Marie. 1988. L'analyse Des Films. Paris: Nathan.

Media & Design Center. n.d. "Film and Cinema Research." UNC University Libraries. Last updated February 10, 2021. https://guides.lib.unc.edu/filmresearch.

Oxford Royale Academy. n.d. "7 Ways to Watch Film." Oxford Royale Academy. Accessed April 2021. https://www.oxford-royale.com/articles/7-ways-watch-films-critically/.

This work is licensed under CC BY-NC-ND 4.0

You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill
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Film Analysis - The Writing Center * University of North Carolina at Chapel Hill

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What this handout is about This handout introduces film analysis and and offers strategies and resources for approaching film analysis assignments. Writing the film analysis essay Writing a film analysis requires you to consider the composition of the film-the individual ... Read more

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In deze bron wordt gekeken naar het Leitmotif. Het Leitmotif is een manier om emoties/ontwikkeling van een personage weer te geven in een muzikaal motief. Behalve het Leitmotif gaat deze bron ook over andere manieren om te vertellen met alleen de muziek van een film.

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What is a Leitmotif — 4 Ways to Tell a Story With Film Music

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Deze bron geeft ook antwoord op onze onderzoeksvraag, namelijk hoe beïnvloed een bepaald kenmerk van een flim het effect van de film. In deze bron wordt in een scene van piraten van het Caraïbische gebied steeds een andere stuk muziek er onder geplakt.

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Dit is een iets specifieker onderwerp wat we ook willen analyseren, de kleuren die gebruikt worden in een film om bepaalde dingen over te brengen, oftewel kleurtheorie. Dit filmpje gaat bv over wat kleur betekent, overgangen tussen kleuren en bepaalde regisseurs die kleur veel gebruiken zoals Stanley Kubrick en Wes Anderson.

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Deze video gaat over de film Parasite en de montage in die film. De montage is deze film heeft heel veel lof gekregen dus willen we dit gebruiken als voorbeeld voor interessante en goede montage.