The first still from Pulp Fiction, the second is from Planet Terror, the third from Die Hard and the fourth and final one from Old Boy.

Pulp Fiction is a hybrid genre with some indie blended with some gangster in the still. The lighting in Pulp fiction isn't what you would expect in a thriller film however they are wearing the props you'd acpect and the action code is still there.

Planer Terror was produced by Tarintino who created Pulp Fiction but is directed by Rodrigez.
The gun is the action code but the fact that its her leg shows that the film could have a humourous side. Despite the gun the lighting is still low key but with a high contrast. This is to show that while the movie is a thriller horror movie there is a less serious side behind it.

The fourth still, Die Hard, is a long shot. The reason why the director went for a long shot was to signify that huge explosion behin Willis. This connotes that the protaginist is very powerful; almost as a one man army. The blood is highly contrasted to the background to signify that he's been in battle.

The fourth and final still is from Old Boy. It's a close-up of the protaginist cutting is tounge. The fact that it's a close-up shows the film's ultra-violent side. The lighting is high key which connotes that he could be inside. The fact that he's using a cloth shows his human side and that he could be good or even a normal person to surpress the blood (so he can survive).

Seven Samurai (1950s)

The classic point of view shot which is used whenever a confrontation is used in this scene. The samurai looks at the bandits and vice versa. The time between each cut increases dramatically as they draw out their sword and the camera pans incredibly as he fights the first bandit. As he finished off all the bandits the camera is panning slightly as if we were there. The camera movement is similar to Reservoir Dogs in the sense that the camera movement feels like we're watching it firsthand. While in Seven Samurai the panning isn't as real as it was in Reservoir Dogs it was still powerful at the time.

Reservoir Dogs (1900s)

The camera pans around as he's playing with the razor blade. The panning adds a sense of realism in the movie, and creates an awkward and intense atmosphere. Then while "Mr. Blonde" is dancing the camera has a medium shot but then does a big close up on the police officer who's bleeding heavily. This is to connote Blonde's insanity as he's playing an upbeat song and is dancing while the officer is about to die. When he's about to cut his ear off the camera pans slowly to the right as if we're there but we don't see it. The scene maintains its' realism when he's walking out the garage the camera tracks behind him and uses almost a handheld effect. While he's pouring the gasoline onto the officer the camera pans around them two which looks to real to be comfortable and creates a awkward atmosphere. The camera pans around when Orange shoots him to create the same effect. The camera moves as we are the fourth person in the scene. It was pioneering cinematography used throughout the film.

Film Noir

Film Noir:

Film noir is associated with a low key black and white visual style. The term film noir (French for "black film"), first applied to Hollywood movies by French critic Nino Frank in 1946, was unknown to most American film industry professionals of the era. Film noirs embrace a variety of genres, from the gangster film to the police procedural to the so-called social problem picture, and evidence a variety of visual approaches, from meat-and-potatoes Hollywood mainstream to outré. While many critics refer to film noir as a genre itself, others argue that it can be no such thing. Though noir is often associated with an urban setting, for example, many classic noirs take place mainly in small towns, suburbia, rural areas, or on the open road, so setting can not be its genre determinant, as with the Western. Similarly, while the private eye and the femme fatale are character types conventionally identified with noir, the majority of film noirs feature neither, so there is no character basis for genre designation as with the gangster film. Nor does it rely on anything as evident as the monstrous or supernatural elements of the horror film, the speculative leaps of the science fiction film, or the song-and-dance routines of the musical.

Extention 2



There is high lighting used in the shot. Most of the light is coming from the open door. A silhouette is created from the woman who's standing by the door. This suggests that where she's coming from (the room) has importance as it wouldn't have been signified through the lighting.

There is top-lighting coming from the door to glamourise the man's face. His facial expression and his cigarette stereotypically means he's a detective who has found an idea. Top lighting wouldn't have been used if the director didn't want us to pay attention to him.

The silhouette created by the filter lighting suggests that the women is mysterious and may have a darker motive. We can tell she has this villainy/uneasy look to her as how she's posing.