Vishal Bhatia 1

Shot analysis of‘The Descent’

By Vishal Bhatia

Vishal Bhatia 2

This is an establishing shot which shows the viewer where the scene is taking place and what is happening.Niel Marshal has made this shot look ordinary, maybe even boring, as a set up so that the viewer will not expect a scare or major event to occur, which amplifies the scare even more, making it shocking.

The Car Crash

Two Shot – features a close up of Sarah in the foreground, and a medium shot of the husband in the background.The conversation between Sarah and her daughter allows us to see what sort of character Sarah is, and her relationship with her daughter. Marshal also uses this conversation to give more impact to the daughter’s death.

Vishal Bhatia 3

Side close-upThis shot, along with the audio of Sarah/daughter conversation tells us that the husband is disconnected from his family. The actor’s expression also gives a feeling that he is uncomfortable, and as we know he is hiding his affair. The trees moving past in the background also show the speed he is travelling

Wide angleFurther shows his distance from the family.The expression on the actor’s face also tells us that he is uncomfortable and something is wrong. This sets up a strange mood throughout the scene, and also makes the viewer anticipate something to happen (husband to come clean about affair), however they are given something completely unexpected…

Vishal Bhatia 4

Wide AngleThis shot is set up in a similar way to the last – Sarah and husband on either side in foreground, and the daughter in the middle of the screen in the background. Marshal has chose this angle again to tell the audiences that the car is going to kill the daughter.The reflection of the husband in the mirror tells further shows how he is not paying attention to the road.

Vishal Bhatia 5

Marshal now uses a series of shots cut inbetween quickly, to shock and scare the audience. The sound effects of the glass, and cutting sound enhance the shock.

Vishal Bhatia 6

In the final shot of the scene, Marshal uses a overhead view and slowly pulls out so we see the true damage of the accident. This contrasts from the previous fast cuts.

Vishal Bhatia 7

Wide close upShows Sarah’s physical scars from the accident, and where she is. The way the actor looks around tells us that she is scared and confused.The green hue of the scene contrasts from the colour scheme of the crash scene, which Marshal uses to tell us that nothing is the same for Sarah.

Hospital Scene

Wide AngleThe green hue becomes stronger in this shot, and gives an eerie, surreal atmosphere.Sarah is places in the center of the screen, in the distance – this connects with previous shots in the car crash scene, of the daughter, and van, and makes her feel isolated.The lights turning of in the distance further creates an unsettling but dreamlike feeling.

Vishal Bhatia 8

Close upThis shot uses a ‘dolly zoom’, when the camera simultaneously moves in but zooms out. This technique is typically used to show Shows us that Sarah has realized something.

Vishal Bhatia 9

Wide shot, similar to shot on slide 10. Shows us what Sarah saw. The lights turning off, darkening the scene also makes Sarah look isolated, and lonely.

Further shows Sarah’s loneliness, both metaphorically and physically. Darkness literally closes in on her.

10

Sarah runs into Beths’s arm. The complete change in lighting and sudden appearance of Beth is used to startle the audience.The performances of the actors tells us from a narrative perspective that husband/daughter did not survive.Further the image of an injured, disheveled Sarah in hospital clothes makes her look crazy, which is purposefully done by Marshall to make the audience question her insanity (which continues right to the end).

Vishal Bhatia

Vishal Bhatia 11

Wide AngleThe camera moves around the actors, like the ‘Crawlers’ do. The objects in the foreground and shapes of the rocks, further add tension and fear into the scene by making them have similar shapes to the ‘Crawlers’. This is enhanced by the sound of ‘Crawlers’ hissing and snarling. The shadows and sparseness of light also builds fear and suspense as both the characters and audience cannot see properly, which creates a fear of the unknown.The reddish/brown hue of the scene foreshadows the bloodshed.

First reveal of the ‘Crawler’

Marshal uses darkness and large shadows to set up a jump scare. The darkness along with the continuing sounds of the ‘Crawlers’ and isolation of ‘Juno’, adds to the fear and suspense.

Vishal Bhatia 12

Medium close-upAfter Marshal shows us frantic images of the group running away, shrouded in darkness, he shows the ‘Crawler’. He only holds on it for a second but he makes it seem longer by using the scary design of the ‘Crawler’, it’s screech, and how we see it’s face lighted in full, to make the image stick into the viewers head. However we do not see the ‘Crawlers’ whole body, which still keeps a suspense of fear of the unknown.

Vishal Bhatia 13

The shots revert back to chaotic – barely visible action, quick cuts, and loud sound effects (screaming, water splashing). However we still get to see important details, such as ‘Juno’ and another person tripping over.

Vishal Bhatia 14

Medium wide shotMarshal reveals more of the ‘Crawlers’ body, in a very quick movement. He also makes a jump scare by having the ‘Crawler’ jump out suddenly after the first visible shot.

Marshal quickly shows us close ups of the ‘Crawler’, and ‘Holly's’ reaction.

Vishal Bhatia 15

Quick cuts again. We see the ‘Crawler’ pounce at ‘Holly’, then her getting bit.