MICRO E

LEMENTS

IN F

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OPENIN

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EXTREME CLOSE UP

The extreme close up gives detail of the emotions of the character the shot is being used on. In this shot we can see the fear and desperation of young magnetos mother as she is dragged away from her only son.

CLOSE UP

Close up shots shows the expression of the character in less detail than a extreme close up by showing the the character and some of his surroundings. In this shot we can see young magneto pressed up against a wall, in fear and distraught of his parents being taken away.

MEDIUM SHOT

A medium shot can show more than one character and up to the bottom of their torso. The important characters are usually put into the middle of the shot. In this shot we can see young magnetos father trying to remain strong in the face of their nazi captors.

LONG SHOT

A long shot is used to show either the location or a crowd of people usually with the most important character somewhere in the middle. In this shot we see the location of the chimneys used in what I assume to be the gas chambers the jews are being sent to.

TRACKING SHOT

A tracking shot is used to follow a character, usually a main character, while they’re moving through a scene. This shot is tracking young magnetos father as the Jews walk to their death.

PAN

A pan movement is used to show more of the scene or to switch slowly from one character to another. In this shot we follow the gaze of young magnetos father looking at young magneto.

TILT

A tilt movement is used to show more of a scene or to show a characters body. In this shot we see one of the Jews in the camp looking at the number on her wrist to her face which looks very sad and sorrowful.

ZOOM

A zoom movement is used to lead into another shot such as a medium, close up or extreme close up or is used to show more or less of a scene. In this scene we see the gates bent by young magentos powers in more detail.

CUT SHOT

A cut shot is primarily used to show something in great detail. Like a extreme close up by as a movement rather than a shot. In this shot we see young magneto using his powers from his hands in detail.

PACE

At first in the sequence the editing is slow, but as the story thickens, the setting becomes clear, the situation is known and the drama intensifies the editing becomes quicker. It’s almost as if the editing matches the anger of young magneto.

PERFORMANCE

The child playing young magneto shows that he’s in great distress when his parents are taken away from

him and he’s being pulled away by the soldiers.

DIEGETIC

Throughout the scene you can hear the Jewish prisoners all talking and soldiers shouting to each other in German as well as other prisoners working. There is diegetic sound also edited in by the looks of it as you can hear some of the things in great detail than if you were to record it with the original shot.

NON-DIEGETIC

The non-diegetic sound does not start straight away. It starts about 43 seconds into the opening sequence and as the drama builds so does the volume and the intensity of the music while fading away near the end when he is knocked to the floor and the scene tilts up towards the sky fading out into normal diegetic sound.

MISE EN SCENE

The scene suggests that this is the character ‘Magneto’ at a young age as a Jew in the concentration camps, by the fact that he’s bending the gate back on itself with his powers. We know this because the actors are either wearing simple clothes or army uniforms. The people in simple clothes also have the yellow star to mark them as a Jew, which was used in WW2. The army men have guns and helmets and are very violent in their way of working. The scene is very dark as it is raining and has black gates, puddles and mud all over the place with grey, depressing buildings. They’re all speaking either Polish or German. The young magneto is screaming as he is dragged away from his parents and being pulled back by the troops.