An analysis of the cinematic construction of blade runner Posted on marzo 30, by Roy Batty: Patel glutinosico reissues their sofas abysmally.
And they ate her. Those aren't your memories. No really, I'm sorry. I'll get a glass. First, the quality of the writing. The dialogue is beautifully written. The first stroke of brilliance is to have Rachael offer a photograph of her with her mother as proof that she's human.
Photographs are a universal means of capturing the unique memories that constitute personhood. The second stroke of genius is Deckard's response of reciting her memories. As he recites very specific incidents that only she could know, Rachael's shock of discovery is registered by a series of reaction shots, which we'll discuss in more detail later.
Rachael's verbal response is beautifully timed as she moves toward Deckard, repeats his line about the spider: He finally shows some human feeling as he tries to tell her it was just a joke. But the damage has been done.
Second, the "dialogue" is actually Deckard's monologue with only three brief statements from Rachael. And yet Rachael is the dominant presence in the scene because the focus is on her reactions to what Deckard is saying.
So her reaction-shots are the key element in the scene. Reaction shots The scene has a simple shot construction: Rachael's reaction-shots are the central element that makes the scene emotionally powerful.
As Deckard begins to recite her memories, Scott cuts in four medium close-up reaction-shots to what Deckard is saying. All we see is the same medium close-up of her with the same expression of silent attention. The key moment and the most brilliantly conceived shot begins with a cut to a CU of her reacting to Deckard's: The camera stays focused on her face, allowing time for her to convey deep emotion by means of head movement and a variety of facial expressions of pain and sadness.
He registers for a moment shock at what he has done to Rachael. Then he tries to save the situation by claiming he was joking.
Her CU reaction-shot shows that she doesn't believe him. Back to Deckard who lies: Only this time the camera stays with her as Deckard moves past her into the kitchen to get her a drink. As the camera stays focused on her reactions, the sound track adds the sounds of her crying to reinforce the effect of her tear-laden face.
The scene concludes with D. In the final long shot of her, her gestures, rather than her face, convey the sad resolution: The scene ends with a series of Deckard's reaction shots, which allow the audience time to digest the emotion of the scene.
Blade Runner: Filmic Transformation My intention in this document is not to do an exhaustive analysis of Blade Runner 's film technique. I'll concentrate on a few artistic issues that intrigue me by . Jun 11, · Join me as I take an in-depth look at the construction of Ridley Scott’s Blade Runner and how its cinematography techniques created such a fascinatingly detailed world. Rumination Analysis. My blog about all things filmmaking. “Vashi Frames” is my project of capturing every individual shot from my favorite films and compiling them into a single high-resolution image for cinematic analysis.
Music The simple but subtle use of a soft piano piece is a major factor in creating the emotional intensity of the scene. It's effectiveness is all about timing. The music begins precisely at the dramatic climax of the scene, when Rachael begins her move toward Deckard reciting her lines about the spider.
From there on through the scene, the elegiac piano reiterates, intensifies the emotions which Rachael is conveying through her reaction-shots.
The pacing is impecable.
Roy meets Tyrell Pris: I don't think there's another human being in the whole world who would have helped us. What can I do for you Sebastian. Queen to Bishop 6. What are you thinking about?
Bishop to King 7.Blade Runner: Filmic Transformation My intention in this document is not to do an exhaustive analysis of Blade Runner 's film technique. I'll concentrate on a few artistic issues that intrigue me by . Abstract This thesis examines contemporary cinematic adaptations of the Ovidian Pygmalion story.
The films Blade Runner (), Lars and the Real Girl (), Ruby Sparks (), and Her () are analyzed. Jun 11, · What can Blade Runner teach us about the art of filmmaking? was a big year for movies—an existential cyberpunk noir film had a tough time competing with . Blade Runner: Filmic Transformation My intention in this document is not to do an exhaustive analysis of Blade Runner 's film technique.
I'll concentrate on a few artistic issues that intrigue me by discussing the major scenes. Blade Runner 1 is a Ridley Scott adaptation of the Philip K.
Dick novel Do Androids Dream of Electric Sheep? As a dystopia (dark future) it uses the glazed cinematic techniques of film noir that tends to distance us from the characters and actions.
(retitled Blade Runner: Do Androids Dream of Electric Sheep? in some later printings) is a science fiction novel by American writer Philip K. Dick, first published in The novel is set in a post-apocalyptic San Francisco, where Earth's life has been greatly damaged by nuclear global war.