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https://drive.google.com/file/d/1O6Dj9mFWZ2a2zWAfDYl0-eN6PA2OiSub/view?usp=sharing

Script:

Julian: Part of me thinks, since Adrian is always in control(particular, one step ahead, orchestrated) he knows Cecilia is wearing a wire. Once she starts crying, he gaslights her, saying she’s insane which is another form of manipulation. When Adrian says, surprise which is like his trademark thing at this point, to me that further insinuates that he’s in control. To me it looks like he knows that Cecilia is wearing a wire.

Bintou: In this scene, Cecilia had put on the invisible suit that we’ve seen throughout the film. Cecilia takes the knife(like what happened to her sister) and cuts Adrian’s throat which kills him. In this scene, everything is being recorded from a home security camera and we can see that it says there is no audio. If we fast forward, we can see that Cecilia runs out crying that Adrian is on the floor. Here we have Cecilia manipulating Adrian in the form of giving him a taste of his own medicine. Her moving out of the view of the camera to reveal her fake crying as well as saying, “surprise,” is showing Adrian that two can play this game. Both of our scenes show Cecilia using Adrian’s form of manipulation and gaslighting as gains him.

Alana and Kaya
Reel Reading
B band
5/25/2022

                  How money related to life 

The review of the Wired says that the main theme of this movie is that rich people are bad and only capitalize. Their goal is to get the max amount of whatever currency and be able to live long comfortably while the poor die because they cant afford to live,

The scene starts off with Will achieving a way to save the lower class from the corrupt sovereignty of Phillip Weis, the richest man alive. Here your wealth is equated to time left to live, so when they took the first large amount of Phillips’s wealth in its entirety, he went through the first 3 stages of grief in one look.

We see Phillip trying to ration with Will and his daughter to not give all his time to poverty because to him it was an idiotic idea and would mess up the system he had put in place

During this whole scene they are looking at each other, something they only do with people in their class because of the social divide, it humanizes all parties in this dilemma of wanting more time to live.

As Will had Phillip confined and walked towards the door Slyvia’s expression portrays a determined look but also realizing that with the decision she was making, her life would never be the same.

When he says “ it could cripple the system” what he means is it would kill me faster and he visibly didn’t like the thought of that

it’s like the rich fear death for themselves but ( wait for clip) And only the poor understand that but they also understand they need time to live as it says in the rotten tomatoes review to increase the value of life everyone should be able to live and everyone should be able to die

Work cited:

Wired-Mag-Photo. “Review: In Time Is Tepid Sci-Fi with an ‘Occupy’ Message.” Wired, Conde Nast, 28 Oct. 2011, https://www.wired.com/2011/10/in-time-review/.

Critics. “In Time.” Rotten Tomatoes, https://www.rottentomatoes.com/m/in_time.

link to video: https://www.wevideo.com/view/2708333082

https://drive.google.com/file/d/1I6vGyc2-uGKi1zALXZkO5Z7o3OWvBsiO/view?usp=sharing

Transcript:

Stella: Greta Gerwig’s film, Lady Bird, captures the feelings and emotions of a young girl in her last year of high school as she transitions into college. In other words, a coming-of-age story. Many aspects of the film are placed purposefully in the scenes by Gerwig in order to convey a larger meaning to the audience.

Sophia: The scene we will be covering is the opening scene of Lady Bird. One of the more memorable scenes in the film.

Stella: The scene starts off with a two-shot of Lady Bird and her mother sleeping in what seems to be a motel bed. In the movie, it isn’t stated why they are there. As Richard Brody says in his review, “The movie is nearly devoid of vistas, lacking moments between scenes when nothing special but vision and motion are happening, lacking even the walking and talking in places that the characters frequent. “ The two-shot of the mother and daughter sleeping adds a sense of closeness. We believe Gerwig starts the very first scene with this two-shot in order to tell the viewers a bit about the mother and daughter’s relationship. She seems to have wanted to start the film off with a positive note considering what the two will be put through throughout the rest of the film.

Sophia: The lighting also plays a key role in the larger meaning of this scene. Gerwig adds warmer tones and lighting to this scene. For example, the natural light coming from the orange-ish window blinds. Orange lighting or warm lighting indicates warmth, balance, and vibrance. As someone who hasn’t watched this film before, this clip would make you think that they have a good relationship with each other.

Stella: Again, Gerwig uses a two-shot in order to allow the viewers to try and figure out the relationship between Marion (the mother) and Lady Bird. However, this time the lighter seems darker. The only source of light that is seen in this shot is from the window. Their bodies are silhouetted. The lighting change could foreshadow a change in their relationship.

Sophia: The next scene is Lady Bird and her mother in the car traveling back home while finishing The Grapes of Wrath. In this scene establishing shot we see the environment, they are driving through. It is a dolly shot that is off-center towards the right. Then we get an eye-level two-shot of Lady Bird and her mother as well as a close-up shot of Lady Bird’s mom and then Lady Bird herself as they finish listening to The Grapes of Wrath.

Stella: As they finish the Grapes of Wrath we get an over-the-shoulder close-up shot of the case that has the cassette tapes of what they are listening to. This shot allows the audience to not only see what they are listening to but we also get to see that they aren’t using a CD or just listening to the radio but rather were listening to cassette tapes. This is an important detail because it helps the viewer get a sense of when this takes place before it is explicitly said, which is the early 2000s.

Sophia: The rest of the scene then rotates through only three different shots. The first being an eye-level two-shot. This shot allows the viewer to take in the entire atmosphere and it helps the viewer feel the tension that is filling up the car as they’re starting to argue. Then we get a close-up shot of Lady Bird, then another close-up shot of Lady Bird’s mother.

Stella: These close-up shots are not in the perspective of the other character but a bit to the side of them. These shots that have the characters isolated in the frame help the viewer focus on what the character is saying and helps the viewer pay more attention to the character’s emotions or reactions.

Sophia: These shots continue to rotate as they are fighting in the car until the last shot of Lady Bird is her opening her door and jumping out of the car, which is then immediately followed by a cut to her mother’s reaction as her mom screams. Her mother’s reaction only goes for a few seconds when it’s then cut to the next scene. As A.O. Scott said, in his review of Lady Bird, “Their shared moment of literary catharsis quickly devolves into an argument, which is punctuated by a startling and hilarious jolt of physical comedy.” which is exactly why these cuts and development in the scene are so abrupt.

Link to our video: https://drive.google.com/file/d/1mXtruJK3CdI21_e2VCVpF1JaTSdZT88g/view?usp=sharing

Link to our script and sources: https://docs.google.com/document/d/1j3KgvJyElk_PY_19bnAKKT5_dCyBjTJedm67VuMpx-M/edit?usp=sharing

https://drive.google.com/file/d/16FC6tNEWIfms_6x0Tjqqtd8XaVeOuajm/view

Ella Travis, Arie Melvin Larissa Pahomov Reel Reading May 20, 2022

The Crow Transcript

Ella: In this shot, dolly tracking is being used as Eric crawls to his dead fiance’s tombstone, Low key lighting is used to darken his surroundings. The camera is at eye level with Eric to make the viewers sympathize emotionally with him as he shivers in this cold and vulnerable state. Having defeayed all his enemies and completed all his unfinished business his tortured soul can finally rest, which he is doing in this dark, gothic cemetery. His costume is ripped, makeup smeared, and for the first time in the film he looks absolutely exhausted. As said in the Attack from Planet B review “the movie specializes in gothic style, architecture, fashion and the unbelievable score by Graeme Revell. Proyas(the director) is let off from swaying from the source material because he keeps one key element evident, its pain.” followed by “Cinematically, The Crow is beautiful”.

Arie: As the scene continues, we get a long shot of Shelly as she walks closer to the camera with a backlight behind her. This gives off the feeling that she is angelic and that she is here to take Eric back to the afterlife with him. We then get a close-up shot of Shelly then puts her hand on Eric, who is relieved to see his lover standing next to him. The scene gives off a feeling of “warmth” and reassurance, Eric has finally brought revenge on the people who wronged him and his fiancée. Now he’s finally able to embrace her, and just be with her. As they come in for the kiss, you can see less and less of Eric’s breath, signifying to us, that he is finally moving on to the afterlife with her, as the backlight is now behind him as well to prove it to us this fact as well. Finally, we get a medium shot of Eric and Shelly’s gravestones with Eric’s crow perching on his gravestone with the ring on his mouth. This can be depicted as a parting gift, a final thing to give to Sarah as a way to say goodbye to her, given that he couldn’t get the chance to do it before. At the end of that scene, we get one final shot of the city with Sarah bringing one final message to the viewer. It beautifully ties the movie to a close, establishing that true love last forever even after death, and what Eric did proved that, as he tried to get vengeance for the one he loves in order to gain peace and be with them. In fact, Eric isn’t the only one who lost someone. The writer, James O’Barr who worked on both the film and the original series, lost his fiancée to a drunk driver and he began working on The Crow comic book series to help with the grief of losing her. With this in mind, the scene also gives off a sense of being very personal and reflects on the writer with everything he went through in the past. In one interview, we see that the director of the movie, Alex Proyas, also has a personal connection to the movie as well. His mother died when he was at a young age, and he felt very touched by the idea of a character trying their best to reunite with their loved one by crossing the bridge into the afterlife and Eric did that with a vengeance. As said in the Dead End Follies review, “… The Crow is not entirely about murder and revenge. It’s a lot about murder and revenge, but it’s also about reestablishing a moral order by combatting greed.”

Colin and Jade

Ms. Pahomov

Reel Reading

25 May 2022

Welcome to a cinematic and theatrical review of La La Land by Jade and Colin

Early on in the scene, we can see that Mia, played by Emma Stone, is illuminated while her surroundings are shrouded in darkness. This shows that she may be in the dark about some of her ns decisions.

As the dinner scene continues, Mia is slowly losing touch with not only the conversation but her general surroundings, she is longing for something more, the director shows us this by cutting to Seb.

Sebastian is also waiting for something more, these characters long for each other in their heads. Now the moviemakers are making their dream a reality.

Said best by Brian Tallerico “Characters in musicals not only understood love differently than those in traditional films but they turned that understanding into art—dancing, singing and transcending mere dialogue to become something greater, something purer, something closer to true romance.”

Mia commits to her feelings and abandons her fake life, she hears the music of a happier time and and immediately is drawn to it.

The set transitions into very unrealistic theatrical shots, especially the LA scenery.

On the website Variety, reviewer Owen Gleiberman had an astounding summary of the film, “These two meet, scuffle, and fall in love, and they do it through a series of song-and-dance numbers, composed by Justin Hurwitz (the lyrics are by Benj Pasek and Justin Paul), that are tenderly shocking in their catchy anachronistic beauty.”

The shot ends as the former lovers meet eyes for the last time in a place that has defined their lives and careers.

Intro Avery: Hi! My name is Avery, and I’m here with my partner Lily. We are here today to analyze a scene from 12 years a slave. This scene can become very gruesome, and heart-wrenching to watch, so we understand if you cannot continue with this analysis.

Intro Lily: Before we start off, we would like to share a quote we found from The Atlantic: “It’s scenes like these in the film, surely, that lead critic Susan Wloszczyna to state that watching 12 Years a Slave makes you feel you have “actually witnessed American slavery in all its appalling horror for the first time.” Now, Thank you so much in advance for watching, and we hope you enjoy the analysis we came up with for the kidnapping scene of 12 years a slave.

Avery: At the beginning of this scene, we can see that Solomon wakes up in the middle of sunlight signifying what he knows. There is darkness surrounding supporting the idea of the Unknown. When he begins to wake up we cannot notice the chains on his wrists. As begins to move into the light, his chains become apparent to us and the actor.

Lily: As we jump to a flashback of Solomon throwing up we see again the emphasis on light and shadow. With the two mysterious men in the shade while the obvious signs of Solomon throwing up in the light. When he first met them he had a clear sign of who and what men’s intentions were but as he woke up his memories and impressions of the men became unclear. You see his unknown knowledge of what the men look like and who they really are from the light and shadow.

Avery: We come back to the present moment with Solomon trying to understand where the chains coming from the darkness lead. We then see as he moves into the light, his legs and chains become apparent making him feel helpless in any form.

Lily: In this flashback, you can see all faces obscured from view showing that Solomon had no idea what was happening. The dialogue helps us understand the mysterious intentions of the two men. As we can see Solomon obviously looks drunk but Hamilton’s need to tell a passerby that Solomon had one too many drinks emphasizes an ulterior motive than making sure he gets home safe.

Avery: As we reach back to the present, we can see the immense amounts of struggle caused by the chains. We only see his back as he tries hard to stand up. The lack of light signifies the unknown of what has happened to him, and how he cannot begin to accept the idea of being a slave once again. He begins to pull on the chains from the darkness, unknowledgeable of where they lead. As he pulls, chains and chains keep coming, making our main character even more angered than he started off as.

Conclusion Lily: In conclusion, we learn throughout this scene that the light and dark shadows of the room play against Solomon’s knowledge of the situation at hand. Because of this, we can see that the trauma at hand will attest to Solomon’s future.

Conclusion Avery: As we end this analysis, we would like to show off a review from Roger Ebert: “as the audience wipes their tears and gather the strength to leave their seats, their minds will be filled with one thought: That they have actually witnessed American slavery in all its appalling horror for the very first time.” Thank you so much for watching, and we hope we made the scene clearer for you.

Sources: 12 Years a Slave movie review (2013) | Roger Ebert How ‘12 Years a Slave’ Gets History Right: By Getting It Wrong - The Atlantic

El Newburger and Nadiya-Bhaktika Weld

El: This movie got all around great reviews. People, such as Roger Ebert and writers from the Hollywood reporter say that this is Christopher Nolan’s best work. The movie concept is quite confusing and has a lot of twists and turns but Christopher Nolan and Wally Pfister, the cinematographer, did an amazing job with blending dream and reality seamlessly. The scene being analyzed is pivotal to the rest of the movie, we learn more about the dream world and about the personalities and curiosities within Cobb and Ariadne.

Nadiya: The main theme in the film is dreaming and not just dreaming but what it means to dream and what can happen within them. There’s a lot to unpack in the scenes because there’s so much going on at once it’s mind boggling in a sense. Throughout the movie the question of “What’s a dream, and what’s reality?” lingers in the mind of the viewer and it’s never answered even at the end of the film the question is left unanswered. Which leaves it up to the viewer to determine if the ending was a dream or not. In this scene laws of physics are tested as Ariadne takes control in Cobb’s dream as you watch the scene unfold. It takes a minute to adjust to what’s happening. The theatrics of the setting are so profound it’s almost like the buildings and the streets are their own characters, shifting in every direction. In the dream sequence when Ariadne learns how to build dreams she says “I guess I thought that the dream space would be all about the visuals but it’s more about the feel of it.” This quote truly explains the nature of the film. Even though the visuals are a key part of the dreams, the look of them would be nothing without the feeling that comes with the creation of them.

El: The camera movements are a big part of this scene. The handheld recording style makes the audience feel as though they are there with Cobb and Ariadne, an outsider learning about being an architect for dreams right alongside the characters. There aren’t many POV shots in this scene and it’s mostly laid out in a two shot sequence. This can be seen as a way to show the audience that neither character has the upper-hand in this scene, they are both in new territory even though Cobb has been in dreams many times before, each one is a new challenge. Not only does the handheld shot make the audience feel like a part of the scene but it gives the scene an uncertain undertone to it. The shaky movements let us know that something is unstable about this environment; even though the characters themselves seem quite comfortable in this dream space. The shaky camera movements could also be seen as a hint of foreshadowing, that something is going to go awry soon, we then see that it does toward the end of this scene. Ariadne toyed with the dream space and started creating areas from her own memory triggering a domino effect and the dream world became dangerous very quickly. There is a constant unsettling nature in this scene and when Ariadne takes it too far the cuts become quicker and of course the shaky camera movement is still there. At this point in the scene the audience is probably very confused as to what’s happening, again we are right alongside Cobb and Ariadne. This movie is all about dream vs. reality and due to the amazing cinematography it can get confusing what is dream and what is reality. To quote from Roger Ebert’s review, “The movie is all about process, about fighting our way through enveloping sheets of reality and dream, reality within dreams, dreams without reality. It’s a breathtaking juggling act…”

Josie DiCapua and Iris Peron-Ames

Amal Giknis

Reel Reading

24 May 2022

Transcript: The Final Duel in Barry Lyndon

Josie: Barry Lyndon, Kubrick’s underrated masterpiece, follows the life of the titular character, Barry Lyndon, an Irish rogue. The film is, according to Jason Bellamy, “subdued, straightforward, introverted” and often overlooked due to its “deliberate, drawn-out pace” (Bellamy and Howard). Kubrick documents Barry’s rise and fall along the social ladder. Using calculated composition and blocking, the auteur develops the intricate narrative. Barry Lyndon acts as a sort of tragic hero as he navigates his fate.

In this scene, Barry is involved in a duel with his stepson, Lord Bullingdon, who seeks atonement for the abuse and mistreatment he endured. It is a very slow paced and drawn-out scene, playing with its emotions and expectations. Nobody really knows what is going to happen at any point in the duel.

Iris: We begin with the men preparing for the duel. They are arranged in an L-shape, creating depth. Bullingdon and Barry are placed opposite one another, visualizing their confrontation. Bullingdon is set slightly apart from the others, whereas Barry is framed by them. This illustrates Bullingdon’s lack of familiarity with the situation, his isolation, and seeming lack of power in the scene. Barry has already proved himself a skilled and practiced duelist, while this is presumably Bullingdon’s first duel.

As they prepare the pistols, Barry fixes directly on Bullingdon, but Bullingdon keeps his gaze on the ground. This once again defines the power imbalance. Barry maintains the power in this moment. This is also reflected in their body language. While each man holds his hands together, Bullingdon does so nervously, clutching his hands tightly. In contrast, Barry holds himself in a refined, confident way. He looks every part the gentleman he aspires to be. Josie: In this shot, Barry is framed by the other men at eye-level, allowing the viewer to feel like a part of the crowd.

The order of the duel is decided by a coin toss, reiterating the theme of fate throughout the film. Fate is notably a trademark of the tragic hero narrative. The coin toss decides Bullingdon as the first to shoot, signalling a shift in the power dynamic. To illustrate this, Bullingdon is centered in the shot for the first time. The attention is purely on him. Meanwhile, Barry is ever-so-slightly off-center. He has lost the control he previously possessed.

Each man is framed by a set of cross-shaped windows, which in turn allude to the religious symbolism in the narrative. This could be a reference to Lord Bullingdon’s previous assertion that “Quarreling people do not go to heaven.” However, Bullingdon is now quarreling with Barry.

Iris: Bullingdon misfires on his first shot, signaling another shift in power. Due to the stress, he gets sick. For the first time in the scene, we see camera movement. It enhances the panic and uncertainty of the moment.

When Barry goes to shoot, Bullingdon is placed front and center, triangulated by the other men on one side, and Barry on the other. This emphasizes a sense of humiliation and distress. He is on display, much too close, feeling trapped and scrutinized by the others. Barry, surprisingly, decides to shoot the ground. This serves as an act of atonement, as he is equalizing the situation, and offering Bullingdon a kind, merciful, and almost fatherly service. Geoffrey O’Brien, of Criterion, calls this act the “one incontestably right thing he does” (O’Brien). However, it could also be interpreted as degrading towards Bullingdon. It is an act of pity, demonstrating Bullingdon cannot win the duel on his own. This, in turn, strips him of the full power and masculinity promised through the duel, circling back to the thematic desperation for masculinity. This interpretation is further compounded by the blocking. Bullingdon remains front and center, with the men on either side of him, as if to suggest humiliation and further distress.

Josie: Bullingdon is angled slightly higher than the camera as he decides not to end the duel, proving he has some semblance of power over the situation once more. The power is a quivering one, though, seen by the subtlety of the low angle.

At the end of the scene, doves fly, suggesting that peace has been restored.

Works Cited

Bellamy, Jason, and Ed Howard. “The Conversations: Barry Lyndon.” Slant Magazine, 21 October 2011, https://www.slantmagazine.com/film/the-conversations-barry-lyndon/. Accessed 24 May 2022.

O’Brien, Geoffrey. “Barry Lyndon: Time Regained | Current.” The Criterion Collection, 17 October 2017, https://www.criterion.com/current/posts/5047-barry-lyndon-time-regained. Accessed 24 May 2022.

https://drive.google.com/file/d/1QxBrJo6ruPspnNvRFeIA-KQFWzcm6YWJ/view?usp=sharing

Rebecca Cassel-Siskind and Daijah Fleming

Ms. Pahomov

Reel Reading

24 May 2022

The Sixth Sense Scene Analysis Transcript

This is the ending scene in The Sixth Sense by M. Night Shyamalan. This is where the main character Malcolm, played by Bruce Willis, realizes that he is dead.

To start off, his wedding ring rolls onto the floor. A close-up of the ring is shown as it spirals. He raises his ringless hand as the camera focuses on the foreground, in the background, you can see his wife’s ring on her finger.

Tears fill his eyes and he has his first flashback. Shyamalan’s directorial choice of flashbacks reveals to the viewer all the clues that he was dead the entire time. This is where his true realization begins.

This is a close-up of Cole in the hospital revealing to Malcolm that he has the ability to see dead people.

Cole’s voice from his reveal in the hospital continues as a voiceover. Malcolm alarmingly steps back as eerie music plays setting the scene for his dramatic realization.

When this scene actually occurs in the film, not just this flashback, director M. Night Shyamalan sets the scene to make it seem like nothing is abnormal, but in actuality, Malcolm is dead and therefore Cole’s mother cannot see him. But Shyamalan purposefully sets it up like this so that the audience does not know.

Dolly tracking is used in this scene to portray his immense confusion and panic. He looks over to see a dinner set for one at the dining room table with a red napkin. Red is a recurring color in the film that symbolizes a closeness between this world and the next.

According to a review from the Looper, “In the scene where Malcolm and Lynn are seated across from each other, Lynn has no clue he’s there. That’s why Cole won’t talk to Malcolm until his mom leaves the room. Malcolm, on the other hand, doesn’t notice that Lynn is ignoring him. Ghosts are in such denial that they ignore anything that proves they’re really dead.”

The whole time he thinks that his relationship with his wife is not good and that they are distant, but in reality, he is dead. That is shown in this flashback where he tries to grab the check but she does just before him.

There is then a closeup of his hand on the red doorknob to the basement in an attempt to open the door, but he unfortunately cannot.

Malcolm then collapses his body up against the wall in complete disbelief and realization that he is actually dead. Intense, loud, almost haunting non-diegetic sound is playing to emphasize these feelings. This also creates suspense for the viewer. It then cuts to a closeup of Malcolm’s wife asleep and you can see her breath emphasizing the idea that it gets colder when dead people are around, that has been a theme throughout the film.

The haunting music fades to a gunshot and then a scream from his wife from the flashback. As he is backed up against the wall, it then smoothly zooms out to the first scene in the film when he is shot by the boy, he is on the bed, and his wife rushes over to him.

As the flashback from Malcolm getting shot cuts in and out, he then holds his side where he remembers being shot. Using a closeup, we see the blood dripping down from his stomach.

He turns around to his back drenched in blood. Shyamalan is using the technique shot-reverse-shot between scenes to show Malcolm’s realization and remembrance of his death. We decided to do this scene because after watching The Sixth Sense we agreed that the plot twist was just brilliant. According to a review from The Cinemaholic, “The Ending, in particular, leaves you questioning your ability to pay attention to details while watching something. An unexpected twist which knocks you flat upon first viewing.”

Saini, Ashish. “The Sixth Sense Ending, Explained.” The Cinemaholic, edited by Gautam Anand, Gani, 2022. https://thecinemaholic.com/sixth-sense-ending-explained/

Moore, Nolan. “We Finally Understand The Ending Of The Sixth Sense.” Looper, 2019. https://www.looper.com/154520/we-finally-understand-the-ending-of-the-sixth-sense/

Claire Powell + Paula Vekker

Reel Reading

23 May 2022

Mrs. Giknis

                                    Anatomy of a Scene


           Gone Girl is a psychological thriller that was released in 2014. Directed by David Flincher who uses his “strong sense of story”(FilmLifestyle) to create a dark and dominant atmosphere to lure the audience in. Nick and Amy's cat appears in small scenes throughout the movie. Bleeker, the cat, was seen as an object that someone needed to take care of. In the beginning of the movie, Nick was supposed to be seen as likable, as he comes home instantly when he gets a call that his cat has escaped. This informs the audience that Nick is someone to trust, the sense that we then believe Nick has nothing to do with the disappearance of Amy. Den of Geek says, It's their abiding association with the supernatural. As an omen of things to come,  that makes their representation in horror films particularly interesting.” The cat is viewed as the omen of Amy's disappearance. 
      The film continues to carry the notion “things aren’t what they seem.” Director Flincher uses elements of suspense in plot and character building to engage viewers into the story. Escalation is implied as the speakers in the scene, officer Rhonda accuse Nick of withholding the pregnancy of his missing wife. The point of view is focused as an over the shoulder shot, as the back of Nick's head is only visible and the evidence of credit card debt and life insurance forms the officers are staging. Movement is used to escalate the emotions of the character in the scene… as officer Rhonda stomps on the ground and ironically the couple's pictures fall flat on their face, as a physical sign of their relationship turmoil. Nearing the end of the interaction between officer Rhonda and Nick it is revealed through a phone call the question of Amy’s pregnancy was in fact true. Nick thrashes his drinking glass on the floor, stating he will not speak to law enforcement moving forward without a lawyer. This abrupt action by Nick establishes a sense of dominance and acts as a symbolic representation of the peak of the film. The framing of the sense switches to a back of the head shot of Nick, putting spotlight on officer Rhonda and her fellow detective. This choice seemed to have been made to redirect the power and experience of Nick's shock and building aggression, as well as to establish the foggy distance between Nick and his interaction with the delivering of this news. Nick’s experience in this scene has been highlighted in the space his reaction takes up in the frame, which lacks the viewing of his facial expression. Nick’s statement adds to an overall sense of weary conclusion as the audience now assumes Amys husband committed the murder, but the pieces of the puzzle don’t fully fit yet. 
    When the Officer throws down the folder of images used for evidence, these pictures hold more color than the background. The tint of the room is filled with intense brown and yellow colors. This implies that Nick is stuck in the false reality that his wife Amy has created for them. Even so, everyone else has fallen victim to her tactics. There is a dark shadow that covers half of Nick and the officers face as they are facing each other and arguing. Almost all of the furniture and walls are a mixture of yellow and dark brown. Vishnevetsky from the AV Club says, “Fincher’s style—with its looming ceilings and motel-murder-scene lighting—can make something as simple as a man going out for a cup of coffee look like a procedural.” I believe Flincher made this obvious for the viewers to realize that Nick and law enforcement officers are in a false constructed reality, much different than Amy’s.

Cinematic - The choice of camera angles was definitely intentional. Blue and yellow lenses often come into play for almost all of the scenes with Nick. Theatrical - Nick and Amy’s cat is definitely a symbol. The cat is viewed as an omen for what lies ahead. Literary - Smooth Dialogue. Narration is overwhelmingly cool and sensual. Almost to trick the viewer into the real mood of Amy Dunne. “Amy not only crafts her own narration, but controls it.”

Breaking down the Anatomy =

Joshua Rothmen (The New Yorker) “I enjoyed Fincher’s film on its own terms, in all its abstract, intellectual, postmodern glory.” Rothmen says that the film is full of texture and detail, a psychological thriller. The twists that upturn the plot really change the narrative which makes it so interesting to watch. Ignatiy Vishnevetsky (AV Club) “The movie traffics in flashbacks and backward twists that purport to reveal more and more about its dissatisfied central couple, but which only uncover facades.” Visgnevestsky also says “Fincher’s style—with its looming ceilings and motel-murder-scene lighting—can make something as simple as a man going out for a cup of coffee look like a procedural.”

                                             Sources

Flincher, David, director. Gone Girl. YouTube, YouTube, 27 Jan. 2022, https://www.youtube.com/watch?v=HmkfeIsZYP8. Accessed 23 May 2022. Harrison, Mark. “The Importance of Cats in Horror Cinema.” Den of Geek, 31 Oct. 2018, https://www.denofgeek.com/movies/the-importance-of-cats-in-horror-cinema/.

Matt. “David Fincher Directing Style: Learn from the Modern Master • Filmmaking Lifestyle.” Filmmaking Lifestyle, 12 Mar. 2022, https://filmlifestyle.com/david-fincher-directing-style/.

Miller, Jenni. “Is Cheeto the Cat the Real Star of Gone Girl?” Gone Girl Cat Star, https://www.refinery29.com/en-us/2015/01/80778/gone-girl-cat.

Rothman, Joshua. “What ‘Gone Girl’ Is Really About.” The New Yorker, 8 Oct. 2014, https://www.newyorker.com/books/joshua-rothman/gone-girl-really.

Vishnevetsky, Ignatiy. “Gone Girl Is a Trick Only David Fincher Could Pull Off.” The A.V. Club, The A.V. Club, 20 July 2018, https://www.avclub.com/gone-girl-is-a-trick-only-david-fincher-could-pull-off-1798181471.

YOUTUBE LINK : https://www.youtube.com/watch?v=_Vs74jwz_qA&t=4s

My Capstone was made to support all the teachers with the staff bathroom. The way I did that was by creating a table connected to the wall and being able to be used by all the teachers to but any accessories on it when needed and to put all the air fresheners on it. I began my journey by setting up a plan on how to build the table. The picture below shows all the views of the table and the measurements for it. I also wanted to add that going into this project I had no knowledge of wood work and most of the tools to use for it. So the entire time I was learning a lot of working with wood.

For my capstone project I volunteered with the organization Special Olympics. Every Sunday from October to May since 2016. I shadowed a high school senior who was working with an athlete, Sammy. When she graduated I took over her place as Sammy’s coach. We worked on his skating skills and his program and soon (in March of 2019) went to York, PA for the national competition that they hold yearly. Each year we worked on his skating skills, skating accuracy, and his final program which has elements that are determined by the rule book for the competition. I have been a part of the Special Olympics since I was a young teenager. Having the Special Olympic values ingrained in me from a young age made me have a more open minded look on life.

My capstone is a 13 minute video about the class of 2022’s high school experiences. This includes interviews of students and videos students took throughout high school. The project is meant to give incoming high schoolers an idea of what their high school experience may be like and to allow current seniors to reflect. Although my final product is not what I had previously thought it would be, and there were a lot of scheduling issues and filming mistakes that I would change if I could, I am proud of what I created.

The thing that inspires me most is those who advocate for firearms and gun violence to be taken off the streets. I have things that I am passionate about in my personal life but I decided to base my capstone around something that I had never talked about or expressed my feelings on rather than doing a project on a topic i had previously spoken about. This Capstone/Video will give the audience the chance to dig deeper inside the meaning of BLACK LIVES MATTER, how hurt and destroyed families become when they hear that their loved one has been taken away from them due to a bullet.

CASHMERES CAPSTONE VIDEO

https://youtu.be/T819f-EY4I4