Sam out of focus in the foreground whilst ‘Sis is in focus in background, medium shot – Dietetic Music begins to play from piano with high fidelity – Dietetic sound continues from conversation – Attached shadows evident on both Sam and ‘Sis Cut to shot 3 Duration: 9 seconds Shot 3 – ‘Sis is centered, her face well lit, medium shot – Eyeliner match with Sam breaks, ‘Sis gazes at table – Conversation sparks again, eyeliner match reconnected – Cut to shot 4 Duration: 8 seconds Shot 4 – Sam is centered, medium shot – Process of shot/reverse shot creates effective conversation – Score continues
Cut to shot 5 Duration: 3 seconds Shot 5 – Sam is symmetrical on the left hand side, ‘Sis on the right -Dietetic conversation re- initiated Cut to shot 6 Duration: 18 seconds Shot 6 – Sam is in focus and symmetrical in the middle of the screen – Score is broken, dietetic conversation continues – Medium shot Cut to shot 7 Shot 7 – Medium shot, ‘Sis’s face – Symmetrical composition, centered – Dietetic conversation continues – Dialogue overlap from Sam Cut to shot 8: Duration: 11 seconds Shot 8 Medium shot of Sam on the piano, neutral expression – Symmetrical, centered Cut to shot 9
Duration: 4 seconds Shot 9 – Cut back to ‘Sis, centered, symmetrical, medium shot – Three point lighting keeps face well lit, however allowing for attached shadows elsewhere – Dietetic sound from as she hums the song Cut to shot 10 Shot 10 – Medium shot, Sam begins to play, neutral expression gazing into air – High fidelity with piano music as it matches ‘Sis’s humming Duration: 3 seconds Cut to shot 11 Shot 11 – Medium close-up, ‘Sis expression turned to a downward motion as if remembering cut to Shot 12 Shot 12 – Medium shot, Piano music is cut, Sam eyeliner turns to ‘Sis then back to the piano –
Dietetic sound from piano and Cam’s voice evident in shot Cut to shot 13 Shot 13 – Medium close-up, ‘Sis appears in deep nostalgia as Sam continues to play the song (As time goes by) – Eye position moves left and right and finally to the floor Cut to shot 14 Duration: 27 seconds Shot 14 – long shot to medium long shot as Rick approaches from distance – Expression changes with an eyeliner match seconds into shot – Costume suggests an aura of importance associated with Rick – White blazer with background shadows and black and white filming makes Rick stand out in the shot – Background action unfocused, Rick in focus Rick continues towards his eyeliner match Cut to shot 15 Shot 15 – Centered on Sam singing, still looking into air Cut to shot 16 Shot 16 – Rick walks towards Sam in haste while the camera tracks his action – Sam appears in the shot as tracking sees Rick approach the piano – Shot becomes symmetrical with Rick on left hand side and Sam on right hand side -medium shot – Score is cut, dietetic conversation initiated between Rick and Sam – Conversation cut, Rick eyeliner matches with ‘Sis Cut to shot 17 Duration: 5 seconds Shot 17 – Medium close up ‘Sis is centered featuring glassy eyes from crying – Non-dietetic mound of piano creates dramatic effect – Cut to shot 18 Shot 18 – Medium close shot of Rick’s reaction to ‘Sis Cut to shot 19 Duration: 4 Seconds Shot 19 – Medium shot, Non-dietetic sound effects continue – Sam leaves piano, then exits shot – Cut to shot 20 Duration: Shot 20 – Medium close up, Sisal glassy eyed – Sequence concluded with the Joining of Laszlo and Captain Renault The process of creating a film involves critical decisions regarding the use of salient techniques to most effectively portray an idea. A significant scene from the melodramatic romance ‘Sibilance’ will be analyzed to assess how techniques such s Miss-en-scene, editing, sound and cinematography can be combined to achieve this. The sequence I chose is important as it marks the reunion of two leading characters in the story, for the first time in the films plot.
This sequence marks the beginning of a complicated love triangle between Rick, ‘Sis and Laszlo and is critical in forming opinions of characters and plot development. Salient techniques allow the audience to infer about the relationship between Sam, ‘Sis and Rick. Sam appears a stranger to ‘Sis however the dietetic conversation immediately suggests a common knowledge of ACH other as they call one and other by name. Intrigue is created as the sequence continues and conversation develops allowing viewers to learn more about the characters relationship without directly stating it. This sequence, as with many in the film, uses the process of shot/reverse shot to portray the conversation to it’s viewers.
It is the effective use of editing and a dissolve flashback that informs the audience of their previous affiliation in Paris, later in the films plot. The flashback in the plot allows for the effective compression of the story to create efficient and intriguing plot. Sound is used effectively to stimulate the characters emotions and expressions, and thus create further intrigue around the characters background. When asking Sam to “play some of the old songs,” ‘Sis’s facial expression suggests the old songs are representative of a time shared together in a previous part in their lives. A switch to emotions of reminiscence following the commencement of the dietetic sound leads the audience to further deduce that such songs are associated with a more happy time in her life.
Upon being told that She shouldn’t see Rick, ‘Sis requests Sam play “as time goes by. This song leaves ‘Sis glassy eyed hinting a previous romantic relationship between Rick and ‘Sis. Later in the sequence Rick’s reaction to the music and the non-dietetic sound effect when ‘Sis and Rick lock eyes allow the audience to infer a dramatic or unfortunate dismissal of their relationship. The use of sound allows the audience to infer details about relationships, emotions and opinions without expressly describing the detail. This is effective as although viewers may infer, they are still left with unknowing of the true nature of the characters until it is shown later in the film through Rick’s flashback.
Aspects of Miss-en-SCnee tell us more about the visual aspects of the film and allow for further interpretation. Effective use of costumes, lighting, set design and props are parallel with what one would expect given the year the story is taking place. The set displays gambling tables, indoor smoking, a piano and largely soldiers of personnel of high status. Effective use of costume is seen with in this sequence through ‘Sis’s glamorous white dress and diamond broach showing us she is of high wealth or status. The black and white color scheme with a low-key lighting creates ark shadows and allows for ‘Sis and Risks costume to stand out and thus making them the focus.
The use of studio setting allows for the use of artificial lighting and thus gives greater control to highlight the characters in focus. Symmetrical frames allow for the focus on this sequence to remain on the conversation between Sam and ‘Sis with little regard to the happenings of the background. Shot/reverse shooting allows for deep space composition when the camera is on Sam with shallow-space composition when ‘Sis is being filmed. This gives indication of space and the characters position within the setting. Miss-en-SCnee allows the film further control over the elements surrounding the characters, setting and other details related to the film’s story. This sequence displays a simplistic yet effective use of cinematography.
Deep focus is used momentarily when Rick is at a distance as to effectively make note of his distance and expression, however the majority of the sequence is shot in shallow focus, highlighting major character conversation with little regard to the background. The use of eyeliner match tells viewers that a person or object out of the shot has drawn the attention of a character. Rick’s eyeliner match upon entering the room shows that he has had a reaction to the music being played thus re-enforcing the effective use of sound in this sequence. Tracking is used as Rick makes his way toward the source of the sound and Sam is revealed as the culprit to his distress when it draws to a static shot. Camera distance fluctuates between medium close-up, medium and medium long shots consistent with a straight-on camera angle.
