Narrative Structure
The film is moved along by both the actions and the dialogue of the characters, as that explains what is exactly going on, in a linear structure.
Thriller Codes and Conventions
- The Heroic Romance- Lisa is just a normal person who is thrown into this terrible situation on the plane, and she must react and adapt to it at that point, as she has no time to adjust.
- The Question and Answer model- Probability and Morality factor.
Camera Work
- Scene One- Begins with the camera panning along some photos of Lisa at a close up. It zooms out as the audience sees legs walk past
- Scene Two- Zoom in on the wallet
- Scene Three- Mid-shots of this 'conspiracy' beginning to take place
- Scene Four- Pans left to the characters and a shot reverse shot occurs
- Scene Five- Shot reverse shot between Lisa in the car and the girl in the hotel as they talk on the phone
- Scene Six- Shot reverse shot between Lisa and her dad over the telephone.
Mis-En-Scene
The scene begins with pictures of our main protagonist as a young girl and then a set of legs walk past. the owner drops a set of keys and a wallet onto the table, and then someone else off screen grabs the wallett and takes it away.
There is then a montage of pictures, files and pictures once again of our main Protagonist and curiosity is raised as the audience begins to wonder what was going on.
When her dad calls her back, the audience are able to see that he lives a lonely lifestyle as he still has her childhood bedroom set up, whereas she lives an extremely busy lifestyle.
Sound
Where Lisa is and where she works, there is always the hustle and bustle of city life, indicating she is always busy. This is contrasted with Lisa's fater, as when they are talking over the phone, his end is silent, showing he is alone.
The tense music in the beginning informs the audience that this was the situation, this was why everything in the movie is taking place.
Editing & Graphics
The credits are found before the film showing the director didn't want to cut between scenes.
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