How is editing, sound and mise en scene used to create meanings and effects in the title sequence of Se7en

EDITED: How can the use of compositional techniques such as Quadrants can make a scene or movie feel 'alive'?

How can the use of compositional techniques such as quadrants can make a scene or movie feel 'alive'?

This video explores how the use of compositional techniques such as quadrants in the film 'Drive' create an unpredictable, organic one which in turn makes the film feel alive.

The quadrant system involves splitting a shot in to four quarters- hence quadrant. By positioning things in different quadrants, the focus of a scene can be pulled around and different emotions of characters can be simultaneously portrayed in an interesting and clever way. As well as this, the position of charters in different quadrants in consecutive shots can portray to the audience the relationship between them. For instance if two characters appeared in the same quadrant one after the other, this could represent a power equality between them or it could represent a feeling of love between the characters. The subtlety of this technique is the reason why it can give a film a sense of a reality or unpredictability. Our eyes may be being pulled between two simultaneous story lines without us even knowing, keeping us engaged and interested in the seemingly 'alive' storyline.

Figure 1

For example in Figure 1, one half of the shot is covered leaving only the top half or the top two quadrants. In this half are three characters' shoulders and heads. From this, emotions can be displayed through the speech that occurs as well as by the emotions portrayed through the actors faces. Furthermore, this suggests that this half is portraying the more dominant, lead story as shown through the triangle of faces representing the three way relationship on
show.

Figure 2

Figure 2 shows the other half of the shot. In these two quadrants a more subtle, underlying story is being told through the actors body language and more specifically through their hands. By portraying the emotions of the characters as well as the relationship between them through very obvious speech and facial expression as well as through subtle body language, the whole scene gains as sense of reality. This is because, instead of the shot focusing on one thing and therefore almost instructing what the audience to focus on, the eye is being pulled back and forth between one thing then another, allowing the audience to pick up on more subtle, more life like behaviours.

Figure 3

In Figure 3, the use of all four quadrants can be seen; in each one a different story is being highlighted. The incredible complexity nd diversity created through simple compositional techniques is why the linked video describes Drive as feeling 'alive'. In reality, our eyes take in far too much information to even process however in film, specific things can often be highlighted to ensure the audience has seen it and so understands the plot. But by utilising the quadrant system effectively, the middle ground can be reached between these two extremes. The main plot can be presented to ensure the audience understands the film but at the same subtle, references and hints towards the characters relationships of behaviours can also be shown, such as in real life. It's this unpredictability and organic composition that engages the audience and makes film feel complete and realistic.

By using the quadrant system in almost every shot, Drive obtains this realistic and alive tone throughout. This in combination with the actors own performances creates an effective, realistic representation of the films characters. The quadrant system is a simple technique but if used well can produce highly effective results.

what techniques or ideas can I take from this that i could use in the planning or filming of my own thriller opening?

The quadrant system is a relatively simple compositional technique that if used carefully and thoughtfully -such as in 'Drive'- can be extremely powerful and effective in portraying to the audience context in regards to characters personal story lines. 'Drive' is described as feeling alive by audiences and this is a result of using the quadrant system to portray simultaneous storylines at once. As in real life, Drive portrays to the audience in almost every shot more than one plot or context that makes the film a fuller, more vivid piece of work. Whilst planning my thriller opening, incorporating compositional techniques in the storyboarding of the shots, such as quadrants, could help make the opening feel alive. This would immerse the audience as they would relate to the more realistic tone of the opening. Additionally the quadrant system is perfect for portraying meanings and metaphors such as relationships between characters. Because the acting ability of the actors in my opening isn't likely to be high, this could be an effective way to establish character. In conclusion, while story boarding my thriller opening, taking in to consideration simple compositional techniques such as quadrants could raise the quality of the opening considerably; it could make the piece feel alive. Meanings, metaphors and relationships between characters could be established engaging the audience more. In the practical filming of the piece, making sure that the shots planned in the storyboarding are shot well is key in creating these compositional techniques. It is a simple technique that if done well can make a huge impact on the final quality of the piece.

How does the sewer scene from The Third Man use framing and composition techniques, mise en scene and cinematography to create meaning metaphors and effects?

 How does the sewer scene from The Third Man use framing and composition techniques, mise en scene and cinematography to create meaning metaphors and effects?

The sewer scene from The Third Man uses a combination of framing and composition techniques, mise en scene and cinematography to create a tense, claustrophobic atmosphere that engages the audience and enhances the scene. An inescapable, uncomfortable tone is maintained throughout the entirety of this film noir classic to portray the paranoia and tension within Europe at the time. This scene showcases this, using the sewer setting as an extended metaphor of the evil and darkness that surrounded Europe and it's people.

Figure 1

In this shot, sharp, angular edges as well as geometrically aggressive shadows create a German Expressionist like composition. This technique creates connotations of paranoia and claustrophobia to the audience and this along with Orson Wells' character physically crawling up a narrow staircase creates an uncomfortable atmosphere. The use of a high angled shot makes the character of Harry Lime seem powerless and as if the audience is the only one who can aid him. This strengthens the tense, uncomfortable tone as it puts in to question the audiences own morality. The high intensity key light positioned below Orson Wells, creates strong, bar like shadows which is symbolic of prison bars, further strengthening the tight trapped atmosphere created by the shot. The unnatural triangle shapes used for the stairs implies that the evil of humanity is trapping and destroying Harry Lime. As well as this the sharp vertices of the triangles strengthen the link to German expressionism as well as the connotations of inner human evil and paranoia.

Figure 2

The use of a blocked, central vanishing point in Figure 2, makes the audience feel trapped and hopeless as the symbolic hope of the light is blocked. This sense is heightened by the tunnel like setting, making the audience feel as if this is the only way to escape. By blocking the vanishing point, the audiences eye is dragged to somewhere that is obscured and that they can not see. This in combination with the void like atmosphere in the shot gives the audiences a sense of vertigo as if they themselves are falling in to the darkness and evil of the sewer. The use of water in this scene is symbolic as, historically, water is used to represent cleanliness; to wash away sins. However in this shot, the water appears to be black as an effect of the chiaroscuro lighting. As a result the water strengthens the implication that everything within Vienna -and a larger level, Europe- has an inner evil and darkness which can not be escaped. The use of intense Key lighting as well as slight backlighting creates a silhouetted figure. The chiaroscuro lighting intensifies this as well emphasising the charter shadow on the wall. This very dark portrayal of this character is symbolic of the darkness man had had to battle and deal with shortly before the creation of this film, post World War Two. The position of the man in the shot is dead centre. This pulls the audiences eye towards him making him the focus of the shot. By doing this both the obstruction of the vanishing point and the darkness of the man are emphasised strengthening the two techniques effects. In addition to this, the matrix of lines and shadows created by the shadows of the bricks on the wall, create connotations of German expressionism. This in turn maintains a sense of paranoia and aggression in the shot, giving it a continuity with the rest of the sewer and scene and the film as a whole.

Figure 3

In Figure 3, the use of quadrants adds to the intensity of the chase. In the upper half of the shot, the police can be seen searching for the character of Harry Lime, where as in the lower half of the shot, Harry Lime can be seen running away. By doing this, the audiences eye is dragged back and forth between two simultaneous events, creating a intensity which strengthens the portrayal of the chase. As well as this, connotations to heaven and hell are created, as in the top half of the shot, good is situated, trying to catch the criminal where as in the lower half of the shot, the criminal who represents evil is escaping. By doing this, a metaphor of morality is created, highlighting the inner morality crisis that resides in the character of Harry Lime. The representation of him as both a good and bad character symbolises the inner questioning Europe was experiencing as a result of World War 2. This metaphor is extended through the high contrast, chiaroscuro lighting used in the shot. By using this technique, opposing deep blacks and bright whites are created, again symbolising good and bad and further strengthening the metaphor of morality. Finally, hints of German expressionism are again created through the sharp angles of the railing in the upper half of the shot. This creates tones of paranoia and aggression which links to the context of the chase.                                  

In Figure 4, the use of a central, on screen vanishing point adds a sense of finality to the scene as well as the film as a whole. By allowing the audience to finally see the vanishing point, after constantly obscuring it for the entirety of the film, this shot implies to the audience that a sense of evil has been defeated and therefore the film as well as the moral crisis is being resolved. The vertigo felt in previous shots is removed and so the audience no longer feels as if they are falling to the darkness and evil within the sewer,and Vienna as a whole. This feeling of closure is strengthened by the metaphorical light at the end of the tunnel, symbolising that hope remains even after the darkness and uncertainty of the film. This is on a larger scale symbolic of the emotions felt after World War 2 of which the film explored throughout. However there are still hints of darkness within this shot. The silhouetted figure at the end of the tunnel, while not blocking the light, partially obscures some of the vanishing point.This in combination with the figure's shadow on the side of the wall is a metaphor for the fact that in life endings are never perfect. It's symbolising that even after the source of evil within the film, Harry Lime, is killed, a moral crisis still remains as it was his friend who killed him.This imperfection is strengthened via the position of the character in the light. Instead of being dead central, he is slightly to the right. Further more instead of being a perfect final shot, elements such as the darkness which surrounds the character, the slight obstruction of the light and the off centre position of the character implies to the audience that while one moral situation had been solved, a moral crisis still remains. This is symbolic of the societal state of European at the time.