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Shine Essay, Research Paper

Film Techniques & # 8211 ; Shine

In the movie Shine, Scott Hicks uses many different cinematic techniques to portray the singular events and turning points in the life of piano ace, David Helfgott. Helfgott is an highly hard character to accurately stand for. His unusual and slightly fickle behaviour creates traits really hard for an histrion to expose, but even harder for Hicks to direct. This makes this movie such a benchmark for Hick & # 8217 ; s work. Shine was Scott Hicks 5th accomplishment as a manager, he has since go on to direct a larger budget movie, Snow Falling on Cedar & # 8217 ; s.

The movie seems divided into two half & # 8217 ; s. The first half is used to construct up David & # 8217 ; s life, analyzing his yesteryear, and the experiences that bring him to Moby & # 8217 ; s. In the first half of the movie we besides experience some flashbacks and flash-forwards, this gives the audience an penetration into David & # 8217 ; s life. The 2nd half is used more to state how David regains his life after mental unwellness The character doesn & # 8217 ; t age, but we are giving a really in deepness expression into his life and the people around him.

The movie starts off with David running down the street in the pouring rain, he stops at Moby & # 8217 ; s eating house. Hick & # 8217 ; s uses this presentation to give us an penetration into David at the worst point in his life. Hicks & # 8217 ; speech patterns that this is a difficult clip by the usage of lighting, music, and sound. When David is looking into Moby & # 8217 ; s from the street, he is viewed through a bluish filter with a ruddy visible radiation blinking on him. This bluish filter gives us the feeling David & # 8217 ; s life is really down, the ruddy flashing visible radiation shows a sense of urgency in the scene. Continuing with this depressive subject, the background music is slow and played in a low key, as for other sounds, all we can hear is the rain, a reoccurring subject all through out the film.

As David is being driven place, shadows screen half his face, one time once more the ruddy visible radiation is used, demoing that even when in the company of others David is still sing a really dark portion of his life. As the auto thrusts, we can hear the sound of the tyres traveling over the land ; this makes a reoccurring sound of clump, clump, clump. Hicks & # 8217 ; uses this sound to go on on into the following scene at the community hall.

Another of import turning point occurs after David is told he can non travel to America. This scene, set in the Helfgott & # 8217 ; s bathroom is highly powerful. Hick begins this scene with a close-up of a dripping pat, the H2O fluxing in slow gesture. As the camera pans out to the remainder of the bathroom we can see it is a dark a cold topographic point, similar to the remainder of the house. Once once more the manager has used shadows on David & # 8217 ; s face to demo his temper. When Peter discovers that David has excreted in the bath, he begins to crush him with the towel. The manager creates the consequence of rapidly repeated hits by cutting between each hit. Then each hit is filmed from a somewhat different angle, this is a really strong consequence, and highly good done. It gives the audience the feeling that this is even more a barbarous onslaught so is really is. The scene coatings with a cautious, shuddering David sitting in the bath. Without looking to deeply into it, it could be said that even in this scene, the symbolism of H2O is still being used.

This scene is so of import because it shows the first glance of David & # 8217 ; s bitterness toward his male parent, while besides leting for the relationship between David and Katharine to intensify.

Katherine was an highly influential character in David & # 8217 ; s life, she was warm and sort, and through her actions gave David the strength to stand up to his male parent. Hicks & # 8217 ; has reflected Katherine & # 8217 ; s personality through out the scenes where David and her are together. Her house is warm and inviting, soft lighting over soft colourss, any panning or zooming is slow and good maneuvered, the soft sounds of the shrub, or David at the piano the lone breaks in the duologue between her and David. One more interesting symbolism explored within these scenes in which Katherine appears was the usage of ruddy. When we foremost run into Katherine at the Soviet Friendship Society, the subject of ruddy is overriding. Bookshelfs are covered in ruddy books, the tablecloth has spots of ruddy, and the cardigan worn by the miss who introduces herself to David is besides red in colour. When David tells Katherine that H

vitamin E is be aftering to travel to England, she gives him a brace of ruddy baseball mitts. Possibly this is symbolic of her association with the Communist motion in Australia back so.

Possibly the most polar turning point in David & # 8217 ; s life occurs when he moves to England to analyze at the Royal College of Music. Soon into the scene we discover that David has decided to play Rachmaninoff for his musical piece at the Concerto Medal. Through out the scenes to come, everything is viewed with some sort of urgency. Example of this include, the sound of the Rach 3 is of all time present in the background. The camera work is frenetic, one good illustration being when David is foremost seen to play the Rach 3. The camera pans up and down and from side to side. When Cecil is speaking to David he uses many metaphors in his description of the Rach 3 ; he calls it a monster that has to be tamed. When these factors are combined with David & # 8217 ; s fickle behaviour, expressed in his sudden inability to dress himself or do a steady determination with out the influence of his friends, we can see that David is easy losing his head.

This comes to a caput when he finally plays at the Prince Albert Hall. As David starts playing the piece all we can see is the contemplation of his custodies in the piano, easy the camera pans up onto his face. Hicks & # 8217 ; he filmed this in such a manner we ne’er see on facet of David for to long, the camera continually moves from David & # 8217 ; s face, to his manus, to the audience and the orchestra. Through out the scene there are cuts to David & # 8217 ; s father listening to a recording of his boy playing the Rach 3, this is an highly cagey redacting technique as it appears that Peter is listening to David in existent clip.

As the music acquire more frenetic, so does the camera work. What we see of David & # 8217 ; s face is obscured by silhouettes, and ne’er in frame. The camera runs across the keyboard about as if it was seeking to catch up with his fingers. At one point Hicks & # 8217 ; wholly stops the sound of the music and put the scene into slow gesture. This gives us the feeling that we are seeing things from David & # 8217 ; s point of position, the music has lost sound and significance and now is nil more than a dull thump on the keyboard.

The concluding cinematography technique used in this scene occurs right at the terminal. David finishes his piece and prostrations, this is filmed with two camera & # 8217 ; s the first is place to see David as he is sitting at the piano, when he falls off his chair onto the floor, another camera, lying on at a lower degree, films the autumn. The clever cutting sequence at this point is really effectual.

The concluding, more uplifting turning point for David centres around his visual aspect at Moby & # 8217 ; s towards the terminal of the movie.

As David enters Moby & # 8217 ; s we are shown the eating house from a first individual position, people turn to gaze at him. Then the focal point it on the piano, David sits down and starts playing. The three major shooting used in the sequence during David & # 8217 ; s public presentation of flight of the Bumblebee, include a framed close-up of David & # 8217 ; s face and fingers, reaction shootings of both Sylvia and Sam, and broad shootings of the audience. Flight of the Bumblebee is the perfect pick of music for this scene, it is playful and speedy, but besides has such a grade of trouble that it can foreground David & # 8217 ; s endowment.

As David finishes his public presentation, the audience starts to applause, everyone is on their pess with congratulations for his endowment. The camera points this out by panning around the eating house, as the camera pans back onto David, it glances over a posting on the wall, and it reads, & # 8220 ; The classics at Moby & # 8217 ; s, David Helfgott, Pianist & # 8221 ; . When the camera reaches David we can see that he has changed wholly, he is now have oning a suit, has his hair tied back, and is on the having terminal of a batch of attending.

Hicks & # 8217 ; uses this scene to hi-light a passage in David from the unusual untidy creep that originally walked into Moby & # 8217 ; s, to the star attractive force at an highly popular eating house.

In Shine, it is apparent to see Hicks & # 8217 ; took some hazards with camera techniques, and you can be pretty certain much of the movie ended up on the editing room floor. This is a good thing. The hazards he decided to take decidedly paid off. It is non frequently that we can appreciate an Australian movie of this criterion, merely inquire the Oscar choice commission, who gave Shine movie 7 nominations.

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