Characteristics of the Movie The Shinning Essay Example | Topics and Well Written Essays - 750 words

Characteristics of the Movie The Shinning - Essay ExampleThe plot of the photograph is setting the family in a haunt hotel in winter and then introducing the evil theme. This creates the best recipe for a horror cinema (King 32). This paper analyzes the mise-en-scene characteristics of the movie, with emphasis on the frame, composition and design and proxemic patterns. The sort The clear-cuting frame for the movie begins with a tracking shot of the ocean with surrounding mountains. This is a sign of an isolated area to depict confined bombastic spaces away from the city surrounded by nature. The music gets faster parallel with the tracking shot, and slows down as the pace of the tracking shot slows. This creates nervous and flighty feeling for the audience. There is suddenly an aerial shot of a vehicle driving, an effective camera shot as it makes the vehicle look isolated and small. The movie frame produces some aspect of denotation as the vehicle continues travelling until i t approaches a blue, cold, white and grey area with a visible mansion oer the mountains (King 134). The scope and grace of the rest of the shots is hypnotic, but there is a moment prior to a low fly-by pass of a yellow car where the shadower of the helicopter capturing the scene becomes clearly visible in the lower right corner of the shot. The shots of the movie are fully academy aperture, with compositions and design for 1.851 by choice for projection in the theatre. The screens were marked and masked off with the ratio of 1.851. The helicopter shadow is visible in about four or five frames towards the move on of the masking at the 1.851 ratio (King 213). Composition and Design The set design and composition of the movie is epic. The movie incorporates limiting between warm and aplomb colors in peak moments, including some major turning points. Lower severalise composition often precedes the heightened shots, subsequently developing some form of contrast between the shots. T he interior of the movie feels mundane, yet so evil. The most dramatic weight of the film is the Overlook Hotel. The producer seems to create a perfect conglutination between the interior and exterior shots. The producer uses violent color contrasts to heighten the audiences unease feeling. One such key moment is when Grady ushers maw into the washroom and urges him unsubtly to help his family. This scene is so intense that the audience may not notice the surrounding. The washrooms are full of stark artificial light, in sharp contrast to the ballroom with the boozy gold and warm (King 289). The pure white floor and ceiling in the washrooms accentuate the scary crimson walls. The composition and design of the movie is best highlighted at the managers room where Jack goes through an interview. The office is a typical 1970s office, with salmon-colored walls full with framed pictures. The office is exclusively different from the evil-looking washroom and the supernatural ballroom. Fr om the set design of the office scene, it is evident that the designer took inspiration from actual hotel rooms in the American society. It seems that the producer built anomalies designedly into the layout of the hotel to confuse the spatial awareness of the audience (King 325). A quick analysis of the plan view may reveal the drawing of the architects. The layout makes no sense, with hotel rooms open and straight onto balconies and internal windows with external light, as well as abrupt ends of the corridors. Proxemic Pattern Of the four proxemic