{"id":26370,"date":"2021-03-14T11:54:52","date_gmt":"2021-03-14T11:54:52","guid":{"rendered":"https:\/\/writingcommons.org\/?post_type=section&#038;p=26370"},"modified":"2024-09-09T12:28:51","modified_gmt":"2024-09-09T11:28:51","slug":"rhetorical-analysis-of-film","status":"publish","type":"section","link":"https:\/\/writingcommons.org\/section\/research\/research-methods\/textual-methods\/rhetorical-analysis\/rhetorical-analysis-of-film\/","title":{"rendered":"Rhetorical Analysis of Film &#8211; Elements of Film"},"content":{"rendered":"<div class=\"tts_content_wrapper_2\" >\n<p>This article focuses on film. It describes some terminology to use when writing about the rhetorical devices used in film. It explores of how elements of a film work together to communicate ideas and create specific audience orientations, identifications, feelings, and attitudes.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_69_1 counter-hierarchy ez-toc-counter ez-toc-grey ez-toc-container-direction\">\n<div class=\"ez-toc-title-container\">\n<p class=\"ez-toc-title\" style=\"cursor:inherit\">Table of Contents<\/p>\n<span class=\"ez-toc-title-toggle\"><a href=\"#\" class=\"ez-toc-pull-right ez-toc-btn ez-toc-btn-xs ez-toc-btn-default ez-toc-toggle\" aria-label=\"Toggle Table of Content\"><span class=\"ez-toc-js-icon-con\"><span class=\"\"><span class=\"eztoc-hide\" style=\"display:none;\">Toggle<\/span><span class=\"ez-toc-icon-toggle-span\"><svg style=\"fill: #999;color:#999\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"list-377408\" width=\"20px\" height=\"20px\" viewBox=\"0 0 24 24\" fill=\"none\"><path d=\"M6 6H4v2h2V6zm14 0H8v2h12V6zM4 11h2v2H4v-2zm16 0H8v2h12v-2zM4 16h2v2H4v-2zm16 0H8v2h12v-2z\" fill=\"currentColor\"><\/path><\/svg><svg style=\"fill: #999;color:#999\" class=\"arrow-unsorted-368013\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"10px\" height=\"10px\" viewBox=\"0 0 24 24\" version=\"1.2\" baseProfile=\"tiny\"><path d=\"M18.2 9.3l-6.2-6.3-6.2 6.3c-.2.2-.3.4-.3.7s.1.5.3.7c.2.2.4.3.7.3h11c.3 0 .5-.1.7-.3.2-.2.3-.5.3-.7s-.1-.5-.3-.7zM5.8 14.7l6.2 6.3 6.2-6.3c.2-.2.3-.5.3-.7s-.1-.5-.3-.7c-.2-.2-.4-.3-.7-.3h-11c-.3 0-.5.1-.7.3-.2.2-.3.5-.3.7s.1.5.3.7z\"\/><\/svg><\/span><\/span><\/span><\/a><\/span><\/div>\n<nav><ul class='ez-toc-list ez-toc-list-level-1 eztoc-toggle-hide-by-default' ><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/writingcommons.org\/section\/research\/research-methods\/textual-methods\/rhetorical-analysis\/rhetorical-analysis-of-film\/#Introduction\" title=\"Introduction\">Introduction<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/writingcommons.org\/section\/research\/research-methods\/textual-methods\/rhetorical-analysis\/rhetorical-analysis-of-film\/#Camera_Range\" title=\"Camera Range\">Camera Range<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-3\" href=\"https:\/\/writingcommons.org\/section\/research\/research-methods\/textual-methods\/rhetorical-analysis\/rhetorical-analysis-of-film\/#Close_up\" title=\"Close up\">Close up<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-4\" href=\"https:\/\/writingcommons.org\/section\/research\/research-methods\/textual-methods\/rhetorical-analysis\/rhetorical-analysis-of-film\/#Medium_shot\" title=\"Medium shot\">Medium shot<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-5\" href=\"https:\/\/writingcommons.org\/section\/research\/research-methods\/textual-methods\/rhetorical-analysis\/rhetorical-analysis-of-film\/#Long_shot\" title=\"Long shot\">Long shot<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-6\" href=\"https:\/\/writingcommons.org\/section\/research\/research-methods\/textual-methods\/rhetorical-analysis\/rhetorical-analysis-of-film\/#Camera_Angles\" title=\"Camera Angles\">Camera Angles<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-7\" href=\"https:\/\/writingcommons.org\/section\/research\/research-methods\/textual-methods\/rhetorical-analysis\/rhetorical-analysis-of-film\/#High_angle_shot\" title=\"High angle shot\">High angle shot<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-8\" href=\"https:\/\/writingcommons.org\/section\/research\/research-methods\/textual-methods\/rhetorical-analysis\/rhetorical-analysis-of-film\/#Low_angle_shot\" title=\"Low angle shot\">Low angle shot<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-9\" href=\"https:\/\/writingcommons.org\/section\/research\/research-methods\/textual-methods\/rhetorical-analysis\/rhetorical-analysis-of-film\/#Canted_angle_shot\" title=\"Canted angle shot\">Canted angle shot<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-10\" href=\"https:\/\/writingcommons.org\/section\/research\/research-methods\/textual-methods\/rhetorical-analysis\/rhetorical-analysis-of-film\/#Point_of_View\" title=\"Point of View\">Point of View<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-11\" href=\"https:\/\/writingcommons.org\/section\/research\/research-methods\/textual-methods\/rhetorical-analysis\/rhetorical-analysis-of-film\/#Establishing_shot\" title=\"Establishing shot\">Establishing shot<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-12\" href=\"https:\/\/writingcommons.org\/section\/research\/research-methods\/textual-methods\/rhetorical-analysis\/rhetorical-analysis-of-film\/#Reaction_shot\" title=\"Reaction shot\">Reaction shot<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-13\" href=\"https:\/\/writingcommons.org\/section\/research\/research-methods\/textual-methods\/rhetorical-analysis\/rhetorical-analysis-of-film\/#Point_of_view_shot\" title=\"Point of view shot\">Point of view shot<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-14\" href=\"https:\/\/writingcommons.org\/section\/research\/research-methods\/textual-methods\/rhetorical-analysis\/rhetorical-analysis-of-film\/#Lighting\" title=\"Lighting\">Lighting<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-15\" href=\"https:\/\/writingcommons.org\/section\/research\/research-methods\/textual-methods\/rhetorical-analysis\/rhetorical-analysis-of-film\/#Backlighting\" title=\"Backlighting\">Backlighting<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-16\" href=\"https:\/\/writingcommons.org\/section\/research\/research-methods\/textual-methods\/rhetorical-analysis\/rhetorical-analysis-of-film\/#Low-key_lighting\" title=\"Low-key lighting\">Low-key lighting<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-17\" href=\"https:\/\/writingcommons.org\/section\/research\/research-methods\/textual-methods\/rhetorical-analysis\/rhetorical-analysis-of-film\/#High-key_lighting\" title=\"High-key lighting\">High-key lighting<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-18\" href=\"https:\/\/writingcommons.org\/section\/research\/research-methods\/textual-methods\/rhetorical-analysis\/rhetorical-analysis-of-film\/#Editing\" title=\"Editing\">Editing<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-19\" href=\"https:\/\/writingcommons.org\/section\/research\/research-methods\/textual-methods\/rhetorical-analysis\/rhetorical-analysis-of-film\/#Fast_cutting\" title=\"Fast cutting\">Fast cutting<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-20\" href=\"https:\/\/writingcommons.org\/section\/research\/research-methods\/textual-methods\/rhetorical-analysis\/rhetorical-analysis-of-film\/#Long_take\" title=\"Long take\">Long take<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-21\" href=\"https:\/\/writingcommons.org\/section\/research\/research-methods\/textual-methods\/rhetorical-analysis\/rhetorical-analysis-of-film\/#Dissolve\" title=\"Dissolve\">Dissolve<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-22\" href=\"https:\/\/writingcommons.org\/section\/research\/research-methods\/textual-methods\/rhetorical-analysis\/rhetorical-analysis-of-film\/#Dramatic_irony\" title=\"Dramatic irony\">Dramatic irony<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-23\" href=\"https:\/\/writingcommons.org\/section\/research\/research-methods\/textual-methods\/rhetorical-analysis\/rhetorical-analysis-of-film\/#Sound\" title=\"Sound\">Sound<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-24\" href=\"https:\/\/writingcommons.org\/section\/research\/research-methods\/textual-methods\/rhetorical-analysis\/rhetorical-analysis-of-film\/#Film_score\" title=\"Film score\">Film score<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-25\" href=\"https:\/\/writingcommons.org\/section\/research\/research-methods\/textual-methods\/rhetorical-analysis\/rhetorical-analysis-of-film\/#Diegetic\" title=\"Diegetic\">Diegetic<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-26\" href=\"https:\/\/writingcommons.org\/section\/research\/research-methods\/textual-methods\/rhetorical-analysis\/rhetorical-analysis-of-film\/#Non-Diegetic\" title=\"Non-Diegetic\">Non-Diegetic<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-27\" href=\"https:\/\/writingcommons.org\/section\/research\/research-methods\/textual-methods\/rhetorical-analysis\/rhetorical-analysis-of-film\/#Related_Concepts\" title=\"Related Concepts\">Related Concepts<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-28\" href=\"https:\/\/writingcommons.org\/section\/research\/research-methods\/textual-methods\/rhetorical-analysis\/rhetorical-analysis-of-film\/#Film_Synopses\" title=\"Film Synopses\">Film Synopses<\/a><\/li><\/ul><\/nav><\/div>\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Introduction\"><\/span>Introduction<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p>When you study rhetorical devices, you are studying how a <a href=\"https:\/\/writingcommons.org\/section\/rhetoric\/rhetorical-situation\/text-composition\/\">text<\/a> uses symbols to elicit particular responses or suggest particular meanings. These \u201csymbols\u201d might be words, sounds, or images, and a \u201ctext\u201d can be anything from a famous speech to the back of a cereal box. [ Semiotics: Sign, Signifier, Signified ]<\/p>\n\n\n\n<p>In looking at how meaning is constructed in film, try to trace your observations back to use of specific devices. Consider which device (or combination of devices) generates the <a href=\"https:\/\/writingcommons.org\/section\/rhetoric\/rhetorical-stance\/tone\/\">tone<\/a> and atmosphere that you associate with a scene, as well as any symbolic representations of the film&#8217;s themes that you may identify in a scene.<\/p>\n\n\n\n<p>Every element of a film represents a set of choices, including choices about lighting, camera placement, sound, and shot duration. Even a camera set in one place and left to run for hours (as in Andy Warhol\u2019s 1964 <em>Empire<\/em>) represents a set of choices with implications for how you experience the film. Studying these choices may not necessarily reveal the purposes of filmmakers themselves, but it will give you greater insight into how cinematic rhetorical devices convey meaning, which can help you better understand your responses to film.<\/p>\n\n\n\n<p>Rhetorical choices in film are made on the narrative level (of story\/plot), the visual level (of how all onscreen elements are presented), and the audio level (of how the volume levels of all sound elements are mixed in relation to each other), so focus on how meaning is shaped on each of these levels.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-camera-range\"><span class=\"ez-toc-section\" id=\"Camera_Range\"><\/span>Camera Range<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p>The term&nbsp;<em>mise-en-scene<\/em>&nbsp;refers to the composition of all objects within the film frame in any given shot. Note the placement of the main subject or subjects of a shot in relation to the environment, as well as the placement of objects in the foreground and the background of the film frame. A key consideration in analyzing <em>mise-en-scene<\/em> is the degree to which our perception and understanding of the subject(s) is shaped by the use of close range or long range, and the use of other visual elements in the frame to possibly suggest certain characteristics associated with the subject.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-close-up\"><span class=\"ez-toc-section\" id=\"Close_up\"><\/span>Close up<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>A shot that tightly frames a subject.<\/p>\n\n\n\n<p><em>Some applications:<\/em><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Identify a character as important.<\/li>\n\n\n\n<li>Communicate a character&#8217;s emotions.<\/li>\n\n\n\n<li>Encourage viewers to empathize or identify with a character.\n<ul class=\"wp-block-list\">\n<li>note:\u00a0<em>Withholding<\/em>\u00a0of close-ups can create distance and impede audience identification with a character.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img decoding=\"async\" width=\"450\" height=\"330\" src=\"https:\/\/writingcommons.org\/wp-content\/uploads\/2021\/03\/close-up-Detour.jpg\" alt=\"Close-up of character's head. Head almost fills the frame.\" class=\"wp-image-26448\" srcset=\"https:\/\/writingcommons.org\/wp-content\/uploads\/2021\/03\/close-up-Detour.jpg 450w, https:\/\/writingcommons.org\/wp-content\/uploads\/2021\/03\/close-up-Detour-300x220.jpg 300w\" sizes=\"(max-width: 450px) 100vw, 450px\" \/><figcaption class=\"wp-element-caption\">Close up. <em>Detour<\/em>. Directed by Edgar G. Ulmer. PRC Pictures, 1945.<\/figcaption><\/figure><\/div>\n\n\n<h3 class=\"wp-block-heading\" id=\"h-medium-shot\"><span class=\"ez-toc-section\" id=\"Medium_shot\"><\/span>Medium shot<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>A shot that shows the subject from approximately the waist up.<\/p>\n\n\n\n<p><em>Some applications:<\/em><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Show both body language and facial expression.<\/li>\n\n\n\n<li>Focus attention on the subject while retaining some contextual information.<\/li>\n\n\n\n<li>Show interactions among characters.<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-image aligncenter size-large\"><img decoding=\"async\" width=\"450\" height=\"338\" src=\"https:\/\/writingcommons.org\/wp-content\/uploads\/2021\/03\/medium-shot-Laser-Mission.jpg\" alt=\"Medium shot. Figure seated at desk with American flags in background.\" class=\"wp-image-26455\" srcset=\"https:\/\/writingcommons.org\/wp-content\/uploads\/2021\/03\/medium-shot-Laser-Mission.jpg 450w, https:\/\/writingcommons.org\/wp-content\/uploads\/2021\/03\/medium-shot-Laser-Mission-300x225.jpg 300w\" sizes=\"(max-width: 450px) 100vw, 450px\" \/><figcaption class=\"wp-element-caption\">Medium shot.\n<em>Laser Mission<\/em>. Directed by BJ Davis. Turner Home Entertainment, 1989.\n<\/figcaption><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-long-shot\"><span class=\"ez-toc-section\" id=\"Long_shot\"><\/span>Long shot<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>A shot that includes the entire subject as well as the subject\u2019s surroundings.<\/p>\n\n\n\n<p><em>Some applications:<\/em><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Focus attention on context and surroundings.<\/li>\n\n\n\n<li>Suggest relationship between scene and character.<\/li>\n\n\n\n<li>Show body language.<\/li>\n<\/ul>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img decoding=\"async\" width=\"450\" height=\"300\" src=\"https:\/\/writingcommons.org\/wp-content\/uploads\/2021\/03\/long-shot-jane-eyre.jpg\" alt=\"Long shot. Entire figure is visible walking through verdant outdoor space.\" class=\"wp-image-26452\" srcset=\"https:\/\/writingcommons.org\/wp-content\/uploads\/2021\/03\/long-shot-jane-eyre.jpg 450w, https:\/\/writingcommons.org\/wp-content\/uploads\/2021\/03\/long-shot-jane-eyre-300x200.jpg 300w\" sizes=\"(max-width: 450px) 100vw, 450px\" \/><figcaption class=\"wp-element-caption\">Long shot. <em>Jane Eyre<\/em>. Directed by Delbert Mann. Omnibus Productions, 1970. <\/figcaption><\/figure><\/div>\n\n\n<h2 class=\"wp-block-heading\" id=\"h-camera-angles\"><span class=\"ez-toc-section\" id=\"Camera_Angles\"><\/span>Camera Angles<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p>Note how the camera establishes its baseline depiction of everyday reality through the choice of straightforward, level views of the subject(s). An awareness of the construction of this sense of everyday reality will make it clear when a sense of heightened reality is introduced through the use of different camera angles that provide us with a different vantage point that calls attention to the subject in different ways.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-high-angle-shot\"><span class=\"ez-toc-section\" id=\"High_angle_shot\"><\/span>High angle shot<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>Shows the subject from a high angle.<\/p>\n\n\n\n<p><em>Some applications:<\/em><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Cause subject to appear vulnerable.<\/li>\n\n\n\n<li>Elicit viewer concern or sympathy for the subject.<\/li>\n\n\n\n<li>Heighten intensity of a scene.<\/li>\n<\/ul>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img decoding=\"async\" width=\"450\" height=\"300\" src=\"https:\/\/writingcommons.org\/wp-content\/uploads\/2021\/03\/high-angle-shot-tnt-jackson.jpg\" alt=\"High angle shot. Two figures fighting, viewed from above.\" class=\"wp-image-26450\" srcset=\"https:\/\/writingcommons.org\/wp-content\/uploads\/2021\/03\/high-angle-shot-tnt-jackson.jpg 450w, https:\/\/writingcommons.org\/wp-content\/uploads\/2021\/03\/high-angle-shot-tnt-jackson-300x200.jpg 300w\" sizes=\"(max-width: 450px) 100vw, 450px\" \/><figcaption class=\"wp-element-caption\">High angle shot. <em>TNT Jackson<\/em>. Directed by Cirio Santiago. Premiere Productions, 1974.<\/figcaption><\/figure><\/div>\n\n\n<h3 class=\"wp-block-heading\" id=\"h-low-angle-shot\"><span class=\"ez-toc-section\" id=\"Low_angle_shot\"><\/span>Low angle shot<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>Shows the subject from a low angle.<\/p>\n\n\n\n<p><em>Some applications:<\/em><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Cause subject to appear more imposing.<\/li>\n\n\n\n<li>Cause setting to appear more imposing.<\/li>\n\n\n\n<li>Show the perspective of a depicted or implied character positioned below.<\/li>\n<\/ul>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img decoding=\"async\" width=\"450\" height=\"336\" src=\"https:\/\/writingcommons.org\/wp-content\/uploads\/2021\/03\/low-angle-shot-Prisoners-of-Lost-Universe.jpg\" alt=\"Low angle shot. Bearded muscular man in red sleeveless shirt, viewed from below.\" class=\"wp-image-26453\" srcset=\"https:\/\/writingcommons.org\/wp-content\/uploads\/2021\/03\/low-angle-shot-Prisoners-of-Lost-Universe.jpg 450w, https:\/\/writingcommons.org\/wp-content\/uploads\/2021\/03\/low-angle-shot-Prisoners-of-Lost-Universe-300x224.jpg 300w\" sizes=\"(max-width: 450px) 100vw, 450px\" \/><figcaption class=\"wp-element-caption\">Low angle shot. <em>Prisoners of the Lost Universe<\/em>. Directed by Terry Marcel. Marcel\/Robertson, 1983 <\/figcaption><\/figure><\/div>\n\n\n<h3 class=\"wp-block-heading\" id=\"h-canted-angle-shot\"><span class=\"ez-toc-section\" id=\"Canted_angle_shot\"><\/span>Canted angle shot<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>Tilts the camera on its x-axis.<\/p>\n\n\n\n<p><em>Some applications:<\/em><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Mark an altered psychological state in a character (such as disorientation, or a mental drift into memory or fantasy).<\/li>\n\n\n\n<li>Create a sense of disorientation in the viewer.<\/li>\n\n\n\n<li>Suggest sinisterness (as when a villain is shot from a \u201ctwisted\u201d angle).<\/li>\n<\/ul>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img decoding=\"async\" width=\"450\" height=\"338\" src=\"https:\/\/writingcommons.org\/wp-content\/uploads\/2021\/03\/canted-angle-Detour.jpg\" alt=\"Canted angle shot. Singer in foreground and silhouettes of horn players in background. Image appears tilted.\" class=\"wp-image-26447\" srcset=\"https:\/\/writingcommons.org\/wp-content\/uploads\/2021\/03\/canted-angle-Detour.jpg 450w, https:\/\/writingcommons.org\/wp-content\/uploads\/2021\/03\/canted-angle-Detour-300x225.jpg 300w\" sizes=\"(max-width: 450px) 100vw, 450px\" \/><figcaption class=\"wp-element-caption\">Canted angle. <em>Detour<\/em>. Directed by Edgar G. Ulmer. PRC Pictures, 1945.<\/figcaption><\/figure><\/div>\n\n\n<h2 class=\"wp-block-heading\" id=\"h-point-of-view\"><span class=\"ez-toc-section\" id=\"Point_of_View\"><\/span>Point of View<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p>The depiction of the subject via camera range and camera angles is presented through a point of view that determines how much access we are granted into the subject&#8217;s range of action. Think of how the camera&#8217;s point of view is always being strategically utilized to give us a very focused perspective on whatever action is taking place, forcing the spectator to view unfolding events through the very specifically-defined window of the film frame.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-establishing-shot\"><span class=\"ez-toc-section\" id=\"Establishing_shot\"><\/span>Establishing shot<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>A type of long shot, this shot is taken from a distance and shows the broad context in which the action will unfold.<\/p>\n\n\n\n<p><em>Some applications:<\/em><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Orient the viewer in space and time.<\/li>\n\n\n\n<li>Draw upon a set of significations associated with a particular location.<\/li>\n\n\n\n<li>Create a sense of realism.<\/li>\n<\/ul>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img decoding=\"async\" width=\"450\" height=\"300\" src=\"https:\/\/writingcommons.org\/wp-content\/uploads\/2021\/03\/establishing-shot-black-fist.jpg\" alt=\"Shot of rundown house with one-way sign in foreground.\" class=\"wp-image-26449\" srcset=\"https:\/\/writingcommons.org\/wp-content\/uploads\/2021\/03\/establishing-shot-black-fist.jpg 450w, https:\/\/writingcommons.org\/wp-content\/uploads\/2021\/03\/establishing-shot-black-fist-300x200.jpg 300w\" sizes=\"(max-width: 450px) 100vw, 450px\" \/><figcaption class=\"wp-element-caption\">Establishing shot. <em>Black Fist<\/em>. Directed by Timothy Galfas, Richard Kaye. L-T Films, 1975.<\/figcaption><\/figure><\/div>\n\n\n<h3 class=\"wp-block-heading\" id=\"h-reaction-shot\"><span class=\"ez-toc-section\" id=\"Reaction_shot\"><\/span>Reaction shot<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>Shows the response of a character, or any onlooker, to an action.<\/p>\n\n\n\n<p><em>Some applications:<\/em><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Guide viewer\u2019s understanding of the action.<\/li>\n\n\n\n<li>Guide viewer\u2019s understanding of a character\u2019s experience of the action.<\/li>\n\n\n\n<li>Invite positive or negative judgment of the reacting character based on the reaction.<\/li>\n<\/ul>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img decoding=\"async\" width=\"450\" height=\"335\" src=\"https:\/\/writingcommons.org\/wp-content\/uploads\/2021\/03\/reaction-shot-WithinOurGates.jpg\" alt=\"Medium shot of audience members. Main figures are crying baby and woman with head buried in handkerchief.\" class=\"wp-image-26457\" srcset=\"https:\/\/writingcommons.org\/wp-content\/uploads\/2021\/03\/reaction-shot-WithinOurGates.jpg 450w, https:\/\/writingcommons.org\/wp-content\/uploads\/2021\/03\/reaction-shot-WithinOurGates-300x223.jpg 300w\" sizes=\"(max-width: 450px) 100vw, 450px\" \/><figcaption class=\"wp-element-caption\">Reaction shot. <em>Within Our Gates<\/em>. Directed by Oscar Micheaux. Micheaux Book &amp; Film Company, 1920. <\/figcaption><\/figure><\/div>\n\n\n<h3 class=\"wp-block-heading\" id=\"h-point-of-view-shot\"><span class=\"ez-toc-section\" id=\"Point_of_view_shot\"><\/span>Point of view shot<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>Shows the scene as viewed from a particular character&#8217;s perspective. Can be objective (as in an over-the-shoulder shot) or, less commonly, subjective (as if the viewer shares the same eyeballs as the character).<\/p>\n\n\n\n<p><em>Some applications:<\/em><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Reveal a character&#8217;s perspective.<\/li>\n\n\n\n<li>Bring the viewer into a character&#8217;s world view.<\/li>\n\n\n\n<li>Suggest a character\u2019s emotional or physiological state.<\/li>\n<\/ul>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img decoding=\"async\" width=\"450\" height=\"300\" src=\"https:\/\/writingcommons.org\/wp-content\/uploads\/2021\/03\/point-of-view-shot-Dr-Jekyll-and-Mr-Hyde.jpg\" alt=\"Man wearing bow-tie, directly facing camera.\" class=\"wp-image-26456\" srcset=\"https:\/\/writingcommons.org\/wp-content\/uploads\/2021\/03\/point-of-view-shot-Dr-Jekyll-and-Mr-Hyde.jpg 450w, https:\/\/writingcommons.org\/wp-content\/uploads\/2021\/03\/point-of-view-shot-Dr-Jekyll-and-Mr-Hyde-300x200.jpg 300w\" sizes=\"(max-width: 450px) 100vw, 450px\" \/><figcaption class=\"wp-element-caption\">Point of view shot.<em> Dr. Jekyll and Mr. Hyde<\/em>. Directed by Rouben Mamoulian. Paramount Pictures, 1931.<\/figcaption><\/figure><\/div>\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img decoding=\"async\" width=\"910\" height=\"338\" src=\"https:\/\/writingcommons.org\/wp-content\/uploads\/2021\/03\/lighting-to-express-pov-Detour.jpg\" alt=\"two still  images from diner scene, one considerably darker than the other\" class=\"wp-image-26461\" srcset=\"https:\/\/writingcommons.org\/wp-content\/uploads\/2021\/03\/lighting-to-express-pov-Detour.jpg 910w, https:\/\/writingcommons.org\/wp-content\/uploads\/2021\/03\/lighting-to-express-pov-Detour-300x111.jpg 300w, https:\/\/writingcommons.org\/wp-content\/uploads\/2021\/03\/lighting-to-express-pov-Detour-768x285.jpg 768w\" sizes=\"(max-width: 910px) 100vw, 910px\" \/><figcaption class=\"wp-element-caption\">Character\u2019s mental state communicated through shift to expressionistic lighting. <em>Detour<\/em>. Directed by Edgar G. Ulmer. PRC Pictures,1945.<\/figcaption><\/figure><\/div>\n\n\n<h2 class=\"wp-block-heading\" id=\"h-lighting\"><span class=\"ez-toc-section\" id=\"Lighting\"><\/span>Lighting<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p>Similar to the process of analyzing point of view, look first at how shots are lit in order to produce a straightforward depiction of a naturalistic environment. With this in mind, you can then notice when different lighting techniques are used to emphasize or undercut certain aspects of characters or settings. Note how the lighting-related rhetorical devices described here can be supplemented with the use of <em>fill lighting<\/em>, smaller lights used to accentuate even more specific parts of characters, objects, and settings.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-backlighting\"><span class=\"ez-toc-section\" id=\"Backlighting\"><\/span>Backlighting<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>Light source is positioned behind the subject.<\/p>\n\n\n\n<p><em>Some applications:<\/em><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Create a glowing, otherworldly effect.<\/li>\n\n\n\n<li>Suggest romance.<\/li>\n\n\n\n<li>Suggest virtuousness.<\/li>\n<\/ul>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img decoding=\"async\" width=\"450\" height=\"300\" src=\"https:\/\/writingcommons.org\/wp-content\/uploads\/2021\/03\/backlighting-power-passion-murder.jpg\" alt=\"Man and woman in foreground, closely facing each other, with bright sun in background.\" class=\"wp-image-26446\" srcset=\"https:\/\/writingcommons.org\/wp-content\/uploads\/2021\/03\/backlighting-power-passion-murder.jpg 450w, https:\/\/writingcommons.org\/wp-content\/uploads\/2021\/03\/backlighting-power-passion-murder-300x200.jpg 300w\" sizes=\"(max-width: 450px) 100vw, 450px\" \/><figcaption class=\"wp-element-caption\">Backlighting. <em>Power, Passion, Murder<\/em>. Directed by Paul Bogart. BCI Eclipse, 1987.<\/figcaption><\/figure><\/div>\n\n\n<h3 class=\"wp-block-heading\" id=\"h-low-key-lighting\"><span class=\"ez-toc-section\" id=\"Low-key_lighting\"><\/span>Low-key lighting<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>Lighting that produces shadowy areas.<\/p>\n\n\n\n<p><em>Some applications:<\/em><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Create an atmosphere of mystery.<\/li>\n\n\n\n<li>Suggest ambiguity or hidden motivations.<\/li>\n\n\n\n<li>Heighten sense of harshness or misfortune.<\/li>\n<\/ul>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img decoding=\"async\" width=\"450\" height=\"338\" src=\"https:\/\/writingcommons.org\/wp-content\/uploads\/2021\/03\/low-key-lighting-Prisoners-of-Lost-Universe.jpg\" alt=\"Woman's head and shoulders behind bars. Bars form shadows on her face.\" class=\"wp-image-26454\" srcset=\"https:\/\/writingcommons.org\/wp-content\/uploads\/2021\/03\/low-key-lighting-Prisoners-of-Lost-Universe.jpg 450w, https:\/\/writingcommons.org\/wp-content\/uploads\/2021\/03\/low-key-lighting-Prisoners-of-Lost-Universe-300x225.jpg 300w\" sizes=\"(max-width: 450px) 100vw, 450px\" \/><figcaption class=\"wp-element-caption\">Low-key lighting. <em>Prisoners of the Lost Universe<\/em>. Directed by Terry Marcel. Marcel\/Robertson, 1983.<\/figcaption><\/figure><\/div>\n\n\n<h3 class=\"wp-block-heading\" id=\"h-high-key-lighting\"><span class=\"ez-toc-section\" id=\"High-key_lighting\"><\/span>High-key lighting<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>Bright lighting producing even illumination with few shadows.<\/p>\n\n\n\n<p><em>Some applications<\/em>:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Suggest optimism.<\/li>\n\n\n\n<li>Suggest cheerfulness.<\/li>\n\n\n\n<li>Create an atmosphere of clarity.<\/li>\n<\/ul>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img decoding=\"async\" width=\"450\" height=\"338\" src=\"https:\/\/writingcommons.org\/wp-content\/uploads\/2021\/03\/high-key-lighting-Prisoners-of-Lost-Universe.jpg\" alt=\"Man in orange plaid shirt stands against orange and white background. His face and figure are brightly lit, with almost no shadowing.\" class=\"wp-image-26451\" srcset=\"https:\/\/writingcommons.org\/wp-content\/uploads\/2021\/03\/high-key-lighting-Prisoners-of-Lost-Universe.jpg 450w, https:\/\/writingcommons.org\/wp-content\/uploads\/2021\/03\/high-key-lighting-Prisoners-of-Lost-Universe-300x225.jpg 300w\" sizes=\"(max-width: 450px) 100vw, 450px\" \/><figcaption class=\"wp-element-caption\">High-key lighting. <em>Prisoners of the Lost Universe<\/em>. Directed by Terry Marcel. Marcel\/Robertson, 1983.<\/figcaption><\/figure><\/div>\n\n\n<h2 class=\"wp-block-heading\" id=\"h-editing\"><span class=\"ez-toc-section\" id=\"Editing\"><\/span>Editing<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p>Shots are combined into scenes, which represent continuous actions\/moments in time. An analysis of editing as a rhetorical device might entail making a claim about how tone\/atmosphere or characterization is affected by the pacing of a scene as constructed through editing techniques.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-fast-cutting\"><span class=\"ez-toc-section\" id=\"Fast_cutting\"><\/span>Fast cutting<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>Technique in which shots appear in rapid succession.<\/p>\n\n\n\n<p><em>Some applications<\/em>:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Create an energetic or frenzied feeling.<\/li>\n\n\n\n<li>Create a sense of urgency.<\/li>\n\n\n\n<li>Quickly communicate information (as in movie trailers).<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"fast cutting TNT Jackson\" width=\"1200\" height=\"900\" src=\"https:\/\/www.youtube.com\/embed\/lYEWsvajBpU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n<\/div><figcaption class=\"wp-element-caption\">Fast cutting. <em>TNT Jackson<\/em>. Directed by Cirio H. Santiago. New World Pictures, 1974.<\/figcaption><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-long-take\"><span class=\"ez-toc-section\" id=\"Long_take\"><\/span>Long take<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>A shot which is held for a long duration of time.<\/p>\n\n\n\n<p><em>Some applications<\/em>:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Force concentrated attention on the subject(s) within the frame.<\/li>\n\n\n\n<li>Introduce a location.<\/li>\n\n\n\n<li>Create the experience of the passage of &#8220;real time.&#8221;<\/li>\n<\/ul>\n\n\n\n<p>One of the most famous long takes in American film history is the opening scene of Orson Welles\u2019s 1958 <em>Touch of Evil<\/em>:<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"The Long Take: Touch of Evil\" width=\"1200\" height=\"675\" src=\"https:\/\/www.youtube.com\/embed\/RaN4R6KRSY0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n<\/div><figcaption class=\"wp-element-caption\">Long take. <em>Touch of Evil<\/em>. Directed by Orson Welles. Universal-International, 1958.<\/figcaption><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-dissolve\"><span class=\"ez-toc-section\" id=\"Dissolve\"><\/span>Dissolve<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>A transition from one image to another in which one image disappears while the next appears, with the two images temporarily superimposed.<\/p>\n\n\n\n<p><em>Some applications<\/em>:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>communicate a change in scene or time.<\/li>\n\n\n\n<li>signal a relationship between two scenes.<\/li>\n\n\n\n<li>expose a character\u2019s thoughts (as when a close-up dissolves to a person or place the character is thinking about).<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"dissolve Detour\" width=\"1200\" height=\"900\" src=\"https:\/\/www.youtube.com\/embed\/dhs81ezJ2JY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n<\/div><figcaption class=\"wp-element-caption\">Dissolve. <em>Detour<\/em>. Directed by Edgar G. Ulmer. PRC Pictures, 1945.<\/figcaption><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-dramatic-irony\"><span class=\"ez-toc-section\" id=\"Dramatic_irony\"><\/span>Dramatic irony<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>Dramatic irony is generated when the audience possesses knowledge not shared by the character\/s\u2014as when a scene cuts away from a character\u2019s field of vision and furnishes the audience with information not available to that character.<\/p>\n\n\n\n<p><em>Some applications<\/em>:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Sustain audience interest.<\/li>\n\n\n\n<li>Create a sense of anticipation for the moment when the character learns what the audience already knows.<\/li>\n\n\n\n<li>Elicit audience sympathy for a character.<\/li>\n<\/ul>\n\n\n\n<p>In the example below, the audience sees that a mysterious man has switched the main character\u2019s drink, but the character himself lacks this knowledge.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"dramatic irony DOA\" width=\"1200\" height=\"900\" src=\"https:\/\/www.youtube.com\/embed\/dunm7Eo9W9o?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n<\/div><figcaption class=\"wp-element-caption\">Dramatic irony. <em>D.O.A<\/em>. Directed by Rudolph Mat\u00e9. United Artists, 1950.<\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-sound\"><span class=\"ez-toc-section\" id=\"Sound\"><\/span>Sound<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p>The term <em>sound design<\/em> refers to the art of recording, selecting, and combining dialogue, music, and sound effects to craft the audio component of a scene. In analyzing sound design, also pay attention to the adjustment of the volume levels of each sound in relation to the other sounds in a given scene. As with camera-related techniques and editing techniques, think of how the manipulation of sound shapes our perception of space and time, and why or for what reasons this is done with respect to the film&#8217;s theme(s).<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-film-score\"><span class=\"ez-toc-section\" id=\"Film_score\"><\/span>Film score<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>Music composed to enhance the visual narrative.<\/p>\n\n\n\n<p><em>Some applications<\/em>:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Heighten dramatic impact.<\/li>\n\n\n\n<li>Guide the audience\u2019s emotional response to the narrative.<\/li>\n\n\n\n<li>Construct a specific mood or atmosphere.<\/li>\n\n\n\n<li>Suggest interior states of characters (sadness, fear, confusion, etc.).<\/li>\n<\/ul>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-diegetic\"><span class=\"ez-toc-section\" id=\"Diegetic\"><\/span>Diegetic<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>Any sound that originates within the story world, including dialogue, music, and noises made by objects.<\/p>\n\n\n\n<p>Just as our real-life hearing is selective (as when we &#8220;tune out&#8221; nearby conversations, or fixate on a displeasing sound), film sound represents a set of selections. Sounds may be stressed, muted, or gradually amplified or lessened. They can align with a particular point of view, and they can conjure images or elicit particular feelings.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-non-diegetic\"><span class=\"ez-toc-section\" id=\"Non-Diegetic\"><\/span>Non-Diegetic<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>Any sound that has no source within the story world. The most common example is the film score. Non-diegetic sound can encourage particular affective\/emotional responses.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-related-concepts\"><span class=\"ez-toc-section\" id=\"Related_Concepts\"><\/span>Related Concepts<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p><a href=\"https:\/\/writingcommons.org\/section\/rhetoric\/\">Rhetoric<\/a><\/p>\n\n\n\n<p><a href=\"https:\/\/writingcommons.org\/section\/research\/research-methods\/textual-methods\/rhetorical-analysis\/\">Rhetorical Analysis<\/a><\/p>\n\n\n\n<p><a href=\"https:\/\/writingcommons.org\/article\/visual-literacy\/\">Visual Literacy<\/a><\/p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-film-synopses\"><span class=\"ez-toc-section\" id=\"Film_Synopses\"><\/span>Film Synopses<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p><a href=\"https:\/\/www.imdb.com\/title\/tt0074210\/?ref_=tt_ch\" target=\"_blank\" rel=\"noreferrer noopener\">Black Fist<\/a><br><a href=\"https:\/\/en.wikipedia.org\/wiki\/Detour_(1945_film)\" target=\"_blank\" rel=\"noreferrer noopener\">Detour<\/a><br><a href=\"https:\/\/en.wikipedia.org\/wiki\/D.O.A._(1950_film)\" target=\"_blank\" rel=\"noreferrer noopener\">D.O.A.<\/a><br><a href=\"https:\/\/en.wikipedia.org\/wiki\/Dr._Jekyll_and_Mr._Hyde_(1931_film)\" target=\"_blank\" rel=\"noreferrer noopener\">Dr. Jekyll and Mr. Hyde<\/a><br><a href=\"https:\/\/en.wikipedia.org\/wiki\/Jane_Eyre_(1970_film)\" target=\"_blank\" rel=\"noreferrer noopener\">Jane Eyre<\/a><br><a href=\"https:\/\/en.wikipedia.org\/wiki\/Laser_Mission\" target=\"_blank\" rel=\"noreferrer noopener\">Laser Mission<\/a><br><a href=\"https:\/\/www.imdb.com\/title\/tt0093602\/\" target=\"_blank\" rel=\"noreferrer noopener\">Power, Passion, Murder<\/a><br><a href=\"https:\/\/en.wikipedia.org\/wiki\/Prisoners_of_the_Lost_Universe\" target=\"_blank\" rel=\"noreferrer noopener\">Prisoners of the Lost Universe<\/a><br><a href=\"https:\/\/en.wikipedia.org\/wiki\/TNT_Jackson\" target=\"_blank\" rel=\"noreferrer noopener\">TNT Jackson<\/a><br><a href=\"https:\/\/en.wikipedia.org\/wiki\/Touch_of_Evil\" target=\"_blank\" rel=\"noreferrer noopener\">Touch of Evil<\/a><br><a href=\"https:\/\/en.wikipedia.org\/wiki\/Within_Our_Gates\" target=\"_blank\" rel=\"noreferrer noopener\">Within Our Gates<\/a><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n<\/div>","protected":false},"author":127,"featured_media":0,"parent":14999,"menu_order":0,"template":"","tags":[],"chapters":[1904,2217],"class_list":["post-26370","section","type-section","status-publish","hentry","chapters-research","chapters-research-methods"],"acf":[],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/writingcommons.org\/wp-json\/wp\/v2\/section\/26370","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/writingcommons.org\/wp-json\/wp\/v2\/section"}],"about":[{"href":"https:\/\/writingcommons.org\/wp-json\/wp\/v2\/types\/section"}],"author":[{"embeddable":true,"href":"https:\/\/writingcommons.org\/wp-json\/wp\/v2\/users\/127"}],"version-history":[{"count":26,"href":"https:\/\/writingcommons.org\/wp-json\/wp\/v2\/section\/26370\/revisions"}],"predecessor-version":[{"id":67697,"href":"https:\/\/writingcommons.org\/wp-json\/wp\/v2\/section\/26370\/revisions\/67697"}],"up":[{"embeddable":true,"href":"https:\/\/writingcommons.org\/wp-json\/wp\/v2\/section\/14999"}],"wp:attachment":[{"href":"https:\/\/writingcommons.org\/wp-json\/wp\/v2\/media?parent=26370"}],"wp:term":[{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/writingcommons.org\/wp-json\/wp\/v2\/tags?post=26370"},{"taxonomy":"chapters","embeddable":true,"href":"https:\/\/writingcommons.org\/wp-json\/wp\/v2\/chapters?post=26370"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}