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