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ela0049

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About ela0049

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  1. The last shot of this scene, which is revealed to us by the quick swinging of the camera to tell us that Miland has just walked out of an insane asylum, reminds me of the last scene in the clip we saw from M, in which the murderer's shadow appears on the poster just as abruptly. Similarly, we see Miland's shadow on the wall of the asylum slinking away until it is off the wall and the man is back out in the world. Both scenes end with a reveal that most likely intends for the audience to feel uneasy.
  2. While the contributions this scene makes to the film noir style are perhaps the most apparent in any opening scene we have yet studied (an intriguing, eccentric character, introduction of a mystery from the beginning, cynical attitudes of both main characters) I did not find myself liking either man so far; I agree that Waldo is most likely an unreliable narrator. However, after the first watch of this scene, I reconsidered my take on both characters. As this scene was narrated by and focused largely on Waldo and his take on the murder, I found McPherson to be lacking in any character by the e
  3. Not only are the first-person POV shots a creative choice, but they function to serve the story as well. Since Bogart's character must undergo plastic surgery later on to hide from police, the director uses these shots in order to hide what the character's face looks like pre-Bogart. The chosen POV reminded me of a video game, which was interesting. The shots establish our place as an audience right with Bogart; we gain information when he gains it and discover what concerns him (such as the way the camera turns and looks directly behind the car as they begin driving).
  4. I found the implementation of the moon and clouds for the scene's lighting to be extraordinary. The perfect stillness of Davis's expression is thrown off for a moment when she whips her head around to see the clouds uncover the moon and shed light on the murder she has just committed. This scene did not necessarily surprise me in terms of the quick murder, as others have pointed out that film noir is often about jolting us awake to reality. However, the scene had me wondering what kind of position Davis's character must hold at the plantation and how she is able to trust everyone present with
  5. Very nice observations. The fire/hell reference in the first shot is great, I'm glad you Film401 pointed it out. The gritty appearance of the engineers is also helpful to note, SGA3349, thank you for the insight!
  6. If I had viewed this scene outside the context of a film noir course, I don't believe I would have associated it with the genre. However, trying to keep noir in mind while watching it, I did pick up on a few elements that contribute to the style. For example, the beautiful shadows cast by the train and tunnels of course stood out to me. The long, stretching black tracks on which the train moved also resembled a kind of shadow to me. The smoke billowing toward the end of the scene summoned images of cigarette smoke always present in the shadowy noir that I am more familiar with, although this w
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