AS Coursework

Film coursework - Orphan (horror film)
How is cinematography used within the scene in Orphan to create effect?

The film runs in a linear narrative which is not always that common with horror films. The scene starts off with a close up of the monster which is a little girl called Esther. This is not a common horror convention as it usually involves a child as a victim. The close up allows me to see the serious expression on her face and with the non-diegetic music varying between low and high extremes it makes me feel nervous and makes the tension of the scene grow. It then moves to a close up of Max who smiles which suggests her innocence. The mid shot of Esther shows her with sets of tools which foreshadows the type of weapon which will be used in a later scene. 

The tension is again increased with the contrast of the low non-diegetic music and the diegetic rattling of pens and keys whilst there is no speech taking place. This then cuts back to a close up of the hammer in Esther’s hand a long with the non-diegetic music using the high and low extremes again makes me think that the hammer will be her weapon of choice. The camera then tracks up to a close up of her face before moving to a mid-shot of her placing the hammer into the backpack. A shot reverse shot is now used between Max and Esther as it shows a mid-shot of Max jingling the keys before cutting back to a close up of Esther where her eyes appear to be very black which makes me feel uneasy. The scene then moves to a close up of the keys which suggests they are of some significance, maybe the link to the next part of the scene. This is followed with an eye line match from Esther to the safe. As the camera zooms in of the safe the non-diegetic music is very high pitched and increases in volume and pitch the further the camera zooms, this creates a lot of tension and suggest the terror that is yet to come. A high angle long shot is now used as Esther is unlocking the safe which makes it look like they are being watched before it jumps to a close up of the safe being opened and a gun being revealed inside. The non-diegetic music is very high pitch extremes creating more tension as there is another eye line match between Esther and the gun. The close up of Esther shows her smirk which a hints at danger. It then jumps to a close up of Max and her concerned expression again emphasises her innocence before a close up of the gun as Esther places a single bullet in before it moves to a mid-shot of Esther pointing the gun at Max. It moves to a long depth of field to a short depth of field which leaves the focus on the gun but the camera has positioned it so the gun feels like it is pointed directly at me. This is similar to the scene in "Run Lola Run" when the police officer is pointing the gun as if it is straight at me. This again begins to make me feel uncomfortable as I feel on the spot and the non-diegetic music again rises which is a key horror convention. The closeup of Max emphasises her vulnerability before moving to a closeup with the gun in the shot as Max shakes her head. As the pitch of the non-diegetic music increases there is a shot reverse shot between a closeup of Esther and a long shot of the nun through the window. This is also an eyeliner match as Esther turns around to look and then I see a long shot of the nun leaving. It then moves back to the long depth of field with the gun pointed directly at me before it cuts to a closeup of Esther moving the catch of the gun. The non-diegetic music hits a very high pitch extreme which emphasises the danger. 

The next part of the scene is the nun getting into the car. Parallel editing is used as it cuts to a long shot of Esther and Max running through the woods. The clear sharp tones of non-diegetic music as the car begins to drive through the snow is similar to the location of "The shining". Furthermore the isolation of the house on its own is a clear horror convention and again intertextuality with "The shining" as that was also set in an isolated area surrounded by snow. It continues with the parallel editing as it moves from a long shot to an extreme long shot of the girls by a bridge which suggests this will be the location of the action. This moves to a closeup of Esther looking through the bridge before the camera follows along the bridge before moving onto a closeup of Max. There is a jump cut to a long shot of the girls from behind them. As Esther starts talking it moves to a closeup of Max which allows me to see her scared expression which again suggests her innocence before moving back to Esther which is another shot reverse shot. The birds eye view of the car coming down the road portrays it as prey and very vulnerable, this is further emphasised with the drop of pitch in the non diegetic music. The closeup of the wheel foreshadows that something will happen involving the car which makes me start to feel nervous. This idea of foreshadowing is emphasised more as the camera cuts to a closeup of the nun driving the car with a serious expression which makes me think she is concentrating because the roads are dangerous and icy. An eye line match is then made from a closeup of Esther's eyes to a long shot of the car coming down the road which suggests Esther is about to cause trouble. A mid shot of Esther signing to Max is then cut to a mid shot of Max looking very scared and not like she wants to be part of Esther's plan. This makes me feel bad for Max and nervous for what is about to happen. It then moves back to the previous closeup of the wheel before another long shot of the car coming over the bridge but the non-diegetic music is climaxing and hitting extreme high notes which suggests that the danger is near. A closeup of the nun reaching into her bag before an over the shoulder shot of her placing a cigarette in her mouth shows that she has moved her concentration from the road making her vulnerable. The shots jump quickly between a long shot of Esther pushing Max into the road and the long shot of the wheel but this time with Max placed in the right hand side of the frame. This the jump cuts to the car coming towards Max but it feels as if it is coming directly at me which sets me on the edge of my seat. The closeup of Max allows me to see the terror in her eyes which is also exaggerated by the extreme high pitch non diegetic music. The closeup of the nun emphasises her fear accompanied with a diegetic scream. It then moves back to the wheel again but this time a closeup with Max in the right of the frame. The closeup is used to show how close the car is to Max. As the car goes past Max the shot moves to make me feel like I am Max and the car has only just missed me. Next is a montage of shots moving quickly between a closeup of the brakes then the wheel before a closeup of the nun, this is accompanied with very high pitch non diegetic music which is so high that it sounds like screams. There is a long shot showing me the car going out of control before moving to a high angle shot which again suggests the idea of vulnerability. 

There is a closeup of the nun accompanied with the diegetic sound of her sigh suggesting how relieved she is yet she has no idea the terror yet to come. This cuts to another closeup but of Max crying before cutting to a shot from behind the nun as she gets out the car, this further emphasises the vulnerability again as it is like she is being watched. As there is a long shot of the nun running towards Max the non-diegetic music begins to intensify. There is a shot reverse shot starting with an over the shoulder shot which focuses on the nuns concerned face as she begins to fuss Max, then an over the shoulder shot which focuses on Max crying before switching back to the over the shoulder shot which focuses on the nun but this time as the nun moves it reveals Esther stood over her. There is an extreme closeup of Max's eyes before an eye line match . As the non-diegetic music hits a climax we see a closeup of the nun as she turns her head but it feels like it is direct at me like she is looking at me for help. There is a closeup of Esther before it cuts to a closeup of the hammer we saw earlier in the scene. You hear the diegetic crunch as the hammer hits the nun’s head and a closeup of Max as she begins to scream and cry again. A closeup of her head bleeding before a closeup of Esther showing no remorse. The non-diegetic music is now low tones. The scene ends as with a long shot of Esther throwing the hammer as it hits the snow you see the contrast of the white pure snow with the red blood. Blood being another key horror convention.