Task 2 – Unit 1

THE DESCENT - CINEMATOGRAPHY MICRO ANALYSIS

SHOT 1

This is a slow paced tracking shot that comes out of focus , then focuses on the cake & then becomes more clear. It moves towards to cake & the writing upon it, then cuts away to Sarah in hospital. The zoom & focus slowly reveals what is happening in the shot. This shot seems very surreal due to the orange glow of the cameras and the glare & out-of-focus blur of the candles.

SHOT 2

The hospital shot is of a blue/green tint, which indicates loneliness, harshness and brutality. This makes the scene seem very real and different from shot 1, in the fact that the colour scheme is the polar opposite & she is covered with medical equipment and wounds.

SHOT 3

This shot shows Sarah’s dead daughter, Jessie, blowing out the candles on her 5th birthday cake. It is a POV (Point of View) shot from Sarah looking at her daughter. It is a static & surreal shot, allowing the viewer to see the surroundings from Sarah’s view.

SHOT 4

This is a very short close-up static shot of the last candle on the cake before it goes out. This indicates the metaphorical death of her child and the end of her dream in her coma (The light going out). She then wakes up.

SHOTS 5 & 6

These 2 shots show Sarah in her hospital bed, back in ‘reality’, and they are both at a cantered angle. Shot 5 is a close-up of Sarah’s face and her expression as the tried to understand what is going on, then Shot 6 is a mid-shot in which some of the background is revealed to the viewer & we see that something is not right.

SHOT 7

This shot is a close-up of the heart monitor, which is revealed when Sarah’s out of focus head moves away. We also see her reflection in the monitor as she walks away – the shot is once again at a cantered angle & with a green tint, to give the impression that something is not right.

SHOT 8

This is a static mid shot, in which Sarah enters from the right hand side with a confused face. The focus changes from the doors at the back of the shot to the foreground in which Sarah is situated – this draws the viewer’s attention to Sarah.

SHOT 9

This shot is zoomed out from shot 8, and is a wide shot. It shows more of the hospital corridor. We see the lights going off in the background before Sarah does – this is an example of a different kind of horror in which the viewer knows that is coming.

SHOT 10

This is a close-up Trombone shot. The camera physically tracks towards Sarah, but it zooms out giving the effect that the background is moving away from the camera. The movement of the background gives the impression that the character feels more isolated.

SHOT 11

This is a steadicam wide shot, which is moving backwards away from Sarah as she runs away from the darkness approaching her down the hallway. This shows that the is afraid of the dark(ness) and shadows. A steadicam allows for smoother camera movement that is more portable than tracks.

SHOT 12

This is a wide POV shot of from whatever is chasing Sarah, and we do not find out what it is. It could be the personification of Sarah’s fear of the darkness, and whatever she may think is behind her. This gives a scary reality and personality to the darkness chasing her.

SHOT 13

This is a dynamic 360’ mid shot, which is most likely filmed with a steadicam. It serves as a dynamic dramatic shot showing both peoples’ facial expressions and reaction, whilst also showing that Sarah running from the darkness was all a hallucination – it also serves as an establishing shot for reality.

SHOT 14

This is a reaction shot of Juno, Sarah’s friend. It is a close-up of her crying facial expression and serves the classic purpose of a reaction shot – to add to the emotional impact of something by showing Juno reacting to Sarah’s meltdown.