Group analysis
group analysis
'Haywire'
The sequence starts with an eyeline match, showing both the characters perspectives when they look at one another. There's no speech, just glances at one another; it could be implied that the two characters have had a dispute of some kind, we experience a little tension within the car. The shot is taken at eye level as though its through the car windows, thus the shot is slightly blurry, and the lighting is low key; this could be symbolic of the distance between the two characters, their relationship is blurry, not entirely in focus and the lack of distinguishable facial features due to the low key lighting reveals how the mood of the situation may be quite dark. This sequence makes me feel sympathetic to the two characters, I'm left guessing what could have happened and how the relationship could have became distant, as a result the mood of the whole situation is dark and a little daunting, if the characters feel distant, I start to feel distant.
Transitioning to the next shot, we are shown a pieces of a broken mirror, laying on the floor. This could imply how the characters we saw in the previous shot are themselves broken. The broken mirror is the main focus of the shot, in the background there is a body being dragged but it and its surroundings are blurry, the effect this has is that its establishing conflict, such as the dead body in the background shows a physical conflict, and the broken mirror revealing metaphorically the mental conflict. This makes me feel more sympathetic towards the characters, its almost as if the characters cannot see it themselves, instead we see it through their actions and surroundings; in turn this makes the characters more relatable, we all have our own conflicts.
In the next shot, we se the same body that was dragged trough the room, lay in a bath tub with the tap water running, the non-diegetic sound of the guitar cords and the diegetic sound of the water running create a strangely soothing, it seems calm and relaxed, which juxtapose's what the sequence shows entirely: there is a dead body yet i feel relaxed. This shot could show how the female character may also feel relaxed, she can certainly take a shower and do her makeup in a relaxed fashion, which leads me to believe that the killing was almost a relief, before we saw the conflicts both characters had with one another, now the conflicts have somewhat been resolved; the atmosphere is calm and collected, and we are at a peace of mind.
The next sequence shows a low angle tilt showing the character looking in a coat on the floor, to which she finds a mobile phone, transitioning to her POV: a close up of the phones screen as she rings the last number called on the phone. Parallel editing reveals the character on the receiving end of the phone call is sat at a dinner party in a high key lighted area, he then determines who the caller is and moves onto a low key lighted area. This as a result looks rather secretive, he leaves the table to go and speak to the caller in a dark area where he cannot be seen; this makes gives a rather sinister atmosphere and in turn i fell a little intimidated.
The receivers actions in the next shot to me suggests he knows the caller and is probably fully aware of the situation she is in. The conversation reveals that the female character and the male character were in a relationship, the receiver asks "is the divorce final" *pause* " where are you?", to me this looks as though the receiver has concluded that the female character has murdered her partner; to which the female hangs up the call, and for the first time we see the female panic. Again we are introduced to yet more conflict: now the receiver knows about the murder, naturally he is opposed to it making him a threat to the female character which in turn creates physical conflict; and in hanging up the call in what seems to be a panic to me could suggest that she for a brief second contemplated whether it was a right move of a bad one, thus creating mental conflict
Eyeline match is used as the female character leaves the building she is in to reveal an man across the street, we are unsure of the identity of the man, but its possible that even the character wonders the same. We can see the conflict of her guilty conscience as she follows the man down the street, she even tilts her hat slightly to hide her own identity from the man. Further down the street as she comes to traffic lights, she ignores the red light telling her to stop by crossing the street; this highlights the conflict that the character faces and could also forecast later happenings. If indeed she is suspicious to the man its possible the truth get revealed and she is taken to prison, in which case the red light indicates caution.
'Haywire'
The sequence starts with an eyeline match, showing both the characters perspectives when they look at one another. There's no speech, just glances at one another; it could be implied that the two characters have had a dispute of some kind, we experience a little tension within the car. The shot is taken at eye level as though its through the car windows, thus the shot is slightly blurry, and the lighting is low key; this could be symbolic of the distance between the two characters, their relationship is blurry, not entirely in focus and the lack of distinguishable facial features due to the low key lighting reveals how the mood of the situation may be quite dark. This sequence makes me feel sympathetic to the two characters, I'm left guessing what could have happened and how the relationship could have became distant, as a result the mood of the whole situation is dark and a little daunting, if the characters feel distant, I start to feel distant.
Transitioning to the next shot, we are shown a pieces of a broken mirror, laying on the floor. This could imply how the characters we saw in the previous shot are themselves broken. The broken mirror is the main focus of the shot, in the background there is a body being dragged but it and its surroundings are blurry, the effect this has is that its establishing conflict, such as the dead body in the background shows a physical conflict, and the broken mirror revealing metaphorically the mental conflict. This makes me feel more sympathetic towards the characters, its almost as if the characters cannot see it themselves, instead we see it through their actions and surroundings; in turn this makes the characters more relatable, we all have our own conflicts.
The next sequence shows a low angle tilt showing the character looking in a coat on the floor, to which she finds a mobile phone, transitioning to her POV: a close up of the phones screen as she rings the last number called on the phone. Parallel editing reveals the character on the receiving end of the phone call is sat at a dinner party in a high key lighted area, he then determines who the caller is and moves onto a low key lighted area. This as a result looks rather secretive, he leaves the table to go and speak to the caller in a dark area where he cannot be seen; this makes gives a rather sinister atmosphere and in turn i fell a little intimidated.
The receivers actions in the next shot to me suggests he knows the caller and is probably fully aware of the situation she is in. The conversation reveals that the female character and the male character were in a relationship, the receiver asks "is the divorce final" *pause* " where are you?", to me this looks as though the receiver has concluded that the female character has murdered her partner; to which the female hangs up the call, and for the first time we see the female panic. Again we are introduced to yet more conflict: now the receiver knows about the murder, naturally he is opposed to it making him a threat to the female character which in turn creates physical conflict; and in hanging up the call in what seems to be a panic to me could suggest that she for a brief second contemplated whether it was a right move of a bad one, thus creating mental conflict
Eyeline match is used as the female character leaves the building she is in to reveal an man across the street, we are unsure of the identity of the man, but its possible that even the character wonders the same. We can see the conflict of her guilty conscience as she follows the man down the street, she even tilts her hat slightly to hide her own identity from the man. Further down the street as she comes to traffic lights, she ignores the red light telling her to stop by crossing the street; this highlights the conflict that the character faces and could also forecast later happenings. If indeed she is suspicious to the man its possible the truth get revealed and she is taken to prison, in which case the red light indicates caution.
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