Evaluation

Due to the four ‘must have’ elements of the brief, the narrative was formed in such a way that allowed us to contain them. The use of POV inspired us to centre the film on the idea of stalking and voyeurism as it was decided from the start that it was through this we were able to incorporate them without having to emulate the idea that the camera is used to represent a person’s existence. It’s this use of the POV that Hitchcock despised; He (Hitchcock) was very critical of point of view shots that called attention to themselves, for instance, in the kind of experimental film that substitutes a camera entirely for someone's view and consciousness, replete with their arms waving into the corner of the screen and that sort of thing." (Fawell, 2004) We too wanted to avoid these cliché shots and so relied a lot more on false POV, as Hitchcock did, to create tension and keep the audience guessing as to who or what the camera was representing. The use of tracking shots were doubled up as POV, set at eye level and often moving slowly toward an unsuspecting character, only to be revealed moments later as a false POV. The fact that the film contains both real and false variations of this shot was intentional, giving each one of the shots more depth due to the fact the audience wouldn’t ever be sure of exactly what they’re watching.

The watching of the Coen brother’s No County For Old Men during one of the sessions was of great help in understanding the power that lighting can have on the mood of a scene and how more importantly for us, how it can reveal a lot about a character with very little dialogue. The particular scene of which I’m referring employs a simple lighting set up to both reveal and hides elements of the shot. We imitated this idea while also incorporating a lighting change, as the light is brought up, importance is brought to the murder weapon. As I've previously stated, we choose to be surreal in the use of the four stated elements and as result we felt it was justifiable to use red gels in conjunction with Dedo's to extenuate the mood of the scene. While this sudden red glow would look out of place in a conventional film, mainly for breaking the suspension of disbelief, in this exercise it fits the brief and adds to the scene. Without dialogue, it has the secondary effect of helping tell the story, not only in regards to the emotions felt, but explaining the narrative. The glow of red being the growing anger of the killer who, because of this, is understood to be aware of the intruder. 

Lighting change; Dedo w/ blue gel + Kino 

As i mentioned in my research, I would have liked to imitate the use of light in one particular scene from The Shawshank Redemption. Although not exactly the same, I liked the idea of going for complete darkness to light in a way that drives the narrative. I believe we adopted the concept and made it work in our film.   

The third element constraint was that of colour and its use in driving the narrative. I've mentioned the use of red gels; however, the use of the colour red is quite prevalent in the shots filmed in Grindleford too. Again, this was intended to better explain the theme’s of the film, by using cutaways containing red intermixed with the violent shots of our character disposing of a body, we set the audience up as to what to expect from the rest of the film. We also made the connection of the colour with the character himself, a point we come back too in his home when he is seen bathed in red light. Being that the film contains no dialogue, we felt it important that emotional ties such as pain, passion and anger were established and then associated with the murderer. Essentially, using colour alongside action to better explain his character. An interview in Masters of Light: Conversations with Contemporary Cinematographers was inspirational for the use of colour representing certain psychological conditions. Vittorio Storaro talks of the “symbol of light” and how “"In psychoanalysis, every colour represents something specific in an emotional sense." (Schaefer 1984: P225) This, along with researching Night Shyamalan's films gave me a good indication of the validity of how the use of red can be significant in creating mood and increasing depth through mise-en-scene. 

The use of a long take was also compulsory; it was this element that I was most ambitious with. The idea of combining this with a POV seemed like an obvious option given the narrative of the film. While we were without the use of a steadicam, Kubrick’s The Shining was of great inspiration when it came to a tracking POV. Rather than sourcing a steadicam or equivalent, we were forced to use the best part of three track and dolly kits in order to travel the desired distance. As a result some compromises had to be made, chiefly the fact that once a track gets so long it’s impossible to shoot forward while hiding the end of it from coming into shot. We got around this through the use of a pan to introduce the first character, and then made sure the second character blocked the sight of the track. Inevitably, this then throw up yet more issues we had to overcome, pulling focus with a DSLR while tracking down a hill became a skill I had to learn very quickly. Despite all the trouble, I’m very pleased with what we managed to achieve. Come the end we’d managed to incorporate a false POV, a real POV, a pan, a track and a focus pull all in one take. I’m also pleased that it’s done in such a way that adds to the narrative, rather than it seeming like it was done for the sake of including all the above camera techniques. The way in which the killer looms into frame and the calm, steady pace of the track while he goes about his ‘work’ is creepier than I had imagined.

The second ‘long take’ is the handheld section where the audience follows the killer around his house as he hunts down an intruder. I’m pleased with how this sequence came out, despite it being shot hand-held, the shakiness doesn’t distract as it often can when using a dslr. I feel the fact it’s a slow sequence (to aid the camera operator) crates more tension than originally hoped for, the duration of the shot forces the audience to expect a cut, when this doesn’t happen the tension is raised, they expect a ‘jump’. The way in which the frame is often obscured by the actor and switching focus between the face and the knife further adds to this tension, not being able to see what the killer can see is disconcerting, it’s also a good chance for the audience to read the emotion of the character, if the acting is good this too will add to the tension.      

In all, with regard to following the brief, I think we did well to incorporate and make good use of the four outlined elements. This being said however there are a few flaws that I’d like to bring to light. Firstly, there are a few issues with over exposure, the scenes in Grindleford for example where the sun was very bright over head, we should have compensated and expected the problems. Another reason for the over exposure, this time when filming in the house, was due to the annoying mistake of not setting the white balance. When we came to review the footage it was obvious that we’d have to grade it in post, unfortunately the solution of raising the whites simultaneously washed out areas of the frame which contained non-shielded bulbs.

Over exposed

The second technical error we encountered was a result of our choice to shoot the kitchen scenes in near darkness. There’s a big continuity error in the way that the lighting in the room leading off the kitchen keeps jumping around in brightness. We would have liked to colour correct those said areas of the frame however time became a restraint and we were forced to accept it. Costume is something that I would pay more attention too also, we made an attempt, for example dressing the killer in dark clothing. The stalker was briefly thought of too, wearing a blue shirt to match the blue lighting sequences in the house, our aim was to suggest an element of sorrow and loneliness, hence the stalking. I woulds have liked to dress the second victim in red had we thought of it at the time. As a result of making this film I feel far more aware of how touches of colour can make a big difference.      

In terms of evaluating my group I would say we worked exceptionally well together. From the begging we all met up on a number of occasions to discus narrative suggestions and agree on what are influences would be. During the actual production we had no problems either, the roles were shared all round, despite both Ben and James acting in the film, we would all discus the cinematography as a group before shooting some of the more complex shots.

If I were to se-sit this module and have the chance to make the film again the aspect the only things I’d change would be technical aspects. Lighting for example, I’d pay more attention to the set up in the house. I’m happy with the effect we achieved however I feel the importance of lighting continuity was over looked.         

Bibliography

Fawell, J. (2004). Hitchcock's rear window: The well made film. (2nd ed., p. 41). Illinois: SIU 
Press.

Schaefer, D. (1984). Masters of light: Conversations with contemporary cinematographers . (reprint ed., p. 225). USA: University of California Press

Lars von Trier's antichrist was of inspiration to our film, particularly when planning the shoot in Grindleford. We wanted to capture the beauty of nature and juxtapose it with the horror of whats happening within it.

Here are a couple of examples of what we wanted to recreate while in Grindleford;

Our shots;

Screen Grabs

In this section I'll provide proof of using the four required techniques through screen grabs of the edit.

P.O.V

We used a large number of both POV's and false POV's, due to the 'stalker' theme we chose to base the film on, we felt that the use of the false POV would be as poignant, if not more, as a real POV.

False POV;

One

Two

Three

These shots were designed to confuse the audience, by using a slow track towards the character (as can be seen in grab one & two) it's suggested that the killer is being crept up on. By then reversing the shot, revealing an empty space, keeps the audience guessing as to who is watching and where they are. By repeating the tracking shots (one & two) we hoped to suggest its the same stalker. Example three is the most obvious POV, despite it being a false one, its the closest we went to a fully 'conscious' POV, meaning it represents entirely a characters  consciousness. 

POV;

four

five

six

seven

     
These are all POV's of an actual character within the film. Examples four and five are straight forward POV shots of the killer as he scans the crowd for a victim. Examples six and seven aren't as clear, the fact that in six our actor looked into camera, the audience may be expecting this to be the POV of the established killer. As the camera pans further however it reveals the killer stood in front of the camera then as the killer walks toward his next victim the the camera tracks behind, following him. While this may confuse the audience as to who's POV they are watching, all is revealed when after the attack takes place a reverse shot reveals a third character peering around the corner. This establishes the fact that the audience have been watching this third characters POV. 

Colour/Lighting; 

We utilized the colours red and blue in order to establish a mood and help explain the narrative without the use of dialogue. 

eight

Ten. The increasing red light, symbolic of anger 

Eleven

  We used blue when the stalker was present to suggest a sad and lonely existence;

Twelve

Thirteen

These shots (above) are meant to be reminiscent of Chan-wook Park's visual style in his Vengeance trilogy. The stylised lighting, the gritty locations and dark costumes all come together to create, in my opinion, two very interesting shots.

Shot twelve was an interesting shot to compose as it was very hard to capture the hammer being raised whilst leaving framing him correctly, in thirds, left of the frame. To get around this, we used the already present Dedo lighting kit to project a definitive shadow of the hammer on the wall behind him. Through this, the action is more suggestive and left somewhat to the imagination, a far more frightening tool than watching reality.

The screen grabs below illustrate how we have matched elements of colour shot by shot, centering the audiences attention on a part of the frame that is then replaced with an image of violence.

This creates sharp contrast between the scenes of beauty with the scenes of death,

Fourteen

Fifteen

Kubrick is famous for using one point perspective in many of his films. Its a style of shooting that we attempted in a number of shots.

The narrow hallways suggest entrapment and force the audience's attention onto one specific point in the frame. The perfect symmetry of it feels strangely unnatural, for an audience it can be quite hard to watch, causing an uncomfortable aura.    

Story Board Exercise

While re-watching The Usual Suspects, directed by Bryan Singer, I noticed a long take that made use a very slow track and pan. By have this small amount of motion it stops the shot from feeling like its dragging or, quite literally, too static. The camera movement also helps intensify the dialog, as the conversation gets more serious and Byrne's character gets closer to accepting a job that will take bring him out of 'retirement'.            

Watch from 28.55 - 30.09

It's an interesting way of portraying one long conversation sequence. Though the film I'm planning won't contain any sound, it's technique that I'd like to use at some point. What I like about it is it's simplicity. From the research I've done over the past few weeks its come to my attention that a lot of the time, over complicating a scene with lots of shot-reverse-shot style cinematography can take away from the emotion or mood you may wish to create. 

Below is a draft copy of the screenplay for our 5-10 minute short film. 

A great example of a non naturalistic lighting change in mainstream cinema. The fade of light coinciding with the slowing of the visuals and the introduction of music is a subtle way of telling the audience everything they need to know about whats to come. The colour of the light helps to create a warm, protective feeling and despite seconds earlier having seen a gun and knowing the probable outcome, from the moment the lights dim and the music comes up, there seems to be an overwhelming sense of peace. I believe this effect was desired because it sets up an opportunity for Gosling to show both extreme's of his previously reserved personality. The intense kiss highlights his ability to be compassionate and protective and his violent capabilities, emphasised as a result the tranquil sequence just before.

Below is a story boarded scene that involves both a long take and elements of P.O.V. Ideally this scene would be done with a track and dolly as it offers much more stability for what will be quite challenging focus pulls. Perhaps playing with pans while moving will help get away from the obvious look of a straight track.

POV of killer.

shot, reverse shot conversation sequence

POV track of killer following woman 

Camera stops tracking. Killer walks past camera, into frame - no longer POV

The murdur takes place. Camera starts to track away from the scene, starts panning  to the left

Pan rests on the face of the stalker 

 Here is the second set of storyboards I drew up, the idea that during the sequence when  the killer is looking for the stalker he enters a number of room and flicks the light on, revealing empty room after empty room. I took inspiration for this from looking at Roger Deakin's work in The Shawshank Redemption. As I've shown in my initial research, I really like the way in which light flooding a room can have the effect of seeming almost brutal. An attribute I'd try to mimic.  

Track Practice

After deliberating as to what to do for a track we found out we could get hold of an actual track and dolly from stores. We quickly booked one out and did a few tests. Below are the results. 

After seeing the kind of footage we could achieve by using the track, the possibility of producing the kind of long take we hope for seems closer within our grasp. Though the amount of track in one kit wont be long enough, we have the option of using a number of kits to attain a much longer rail. 

A Run Down

The premise for our ten minuet film is that of a serial killer who unbeknownst to him is the target of a second female murderer. The film will employ the use of P.O.V and long uncut takes to achieve a sense that the characters being stalked. 

The films begins with a scene in the woods (Grindleford) when the audience witnesses the male disposing of a body and is then seen leaving the location. Shot with the intention that it feels as if he's being watched.

Cut to a city street/alley. The male is in the act of pursuing a prostitute. After successfully picking one up he takes her to a shady area where he continues to kill her. This is seen by a third character, the female killer, who watches the act but does nothing.

Cut to the male's home. The man is relaxing in his house being watched by the witness from the previous scene, partially hidden from view, spying on the killer. 

Cut to street/alley location. The Female voyeur from the previous scenes lures the man to her by posing as a prostitute. Once both hidden from view she steals his weapon, informing him that she knows what he's been doing and a fight to the death breaks out. End. 

This basic plot allows for some interesting uses of both light and colour. The dark subject matter itself goes hand in hand with strong colours i.e. reds and the fact that a lot of the film will be set during the evening/night lets us play with light in a more noticeable way. The fact that the film is largely about being stalked is due to the fact we have to include P.O.V shots, through using such a technique it'll be easy to get this theme across to the audience. The long take we have to include has been suggested to take place during the killing of the prostitute, due to there being three characters in the same space at the same time we saw this as an opportunity to have fun with a long track back, focusing first on the stalk, then on the murder itself and lastly as it tracks back even further the reaction of the witness.  

     

RESEARCH

For this brief there are four attributes that need to be considered and included within the ten minuet film: colour, lighting, P.O.V & a single long take. Below are extracts from work I deem to be useful in both inspiring my work and explaining techniques I plan to use.

Long Take:

I'm looking at Oldboy, directed by Chan-Wook Park, specifically at a scene that uses a long, uncut fight sequence.
     

This is relevant to our film as one idea for the long take includes a brawl between two characters. What i like about this example is that it looks as if the choreography hasn't been meticulously planned, it's messy, an aspect that gives it a better sense of reality. The camera movement too isn't meticulously planned either, it jerks back and forth as it follows the action. If we were to take one long take of our fight scene I would hope for this kind of result, while in film making planning is essential, for this type of action it can sometimes leave the result looking static and faked if you don't know what your doing with choreography. Being that we as film makers have little or no experience in staging fight scenes, by telling the actors to just 'go for it,' it may be possible to achieve more realistic results. This style of fighting will also be better suited to the fact in our film the characters they are meant to be mindless killers, rather than trained professionals, employing no particular fighting style but rather just trying to beat their opponent by any means.

An aspect other than the filming techniques that stand out in this scene is the use of lighting (or lack of it). It looks as if its been light very simply from above and this does three things. Firstly, the darkness creates great mood and its interesting from a cinematic sense to see the actors moving in and out of the light. Secondly, the fact that the mood dictates darkness allows the 'free for all' fighting style to be believable, what i mean by this is that if the whole scene was well lit there would be a bigger margin for error in relation to the choreography and chances are the audience would be able to spot the fake hits, kicks and stabs of the actors. Lastly, by having all the light coming from above the shot is kept simple in regard to shadows. When a camera has movement it can be easy to get in the way of lighting and momentarily prevent spill from falling into frame, since this has all been lit from the ceiling it gives the actors more freedom to move as they please and lets the camera move with them without any problems.  

Taking from this, it would seem like a good idea to use low levels of light when conducting our fight sequence. We'll be able to create a sense of dread and grittiness while in a practical sense be able to get away with using untrained actors in a non-choreographed fighting scene.  

The second opportunity for a long take would be the part in the film where the male character leads a prostitute away in order to kill her but is witnessed doing so by a second, female serial killer. Ideally this idea could also incorporate an element of P.O.V. The shot would start with a P.O.V from the man's perspective approaching then subsequently leading the prostitute away, once both characters are part way down the alley way the camera would stop, allowing the male character to move into shot as if the camera passed over his shoulder. The camera would remain stationary as the characters walked further down the alley, becoming softer in focus the further they went. During the actual murder the camera would slowly track backwards revealing a witness peering around the corner, watching the scene unfold. While this would take a high degree of rehearsal and planning, I don't believe its beyond us, the main factor to consider would be the focus. As we would be using either a DSLR or Sony Z1, in each case there is no easy method of pulling focus while the camera is moving. Another limitation is the lack of a quality steadicam, it would be possible to use a track for this shot however making sure it was never in shot may limit us in regard to framing. The scene above gets around it by moving only from side to side, the scene we wish to create involves moving back and forth. Perhaps the use of close ups may get around this, however, that will then take away from the cinematic quality I would hope for.

The clip below is from Magnolia (Paul Thomas Anderson - 1999) and does a great job of following more than one character in one consecutive take.



This kind of shot is only possible through the use of a steadicam and more importantly a good steadicam operator, two things our crew lacks. When it comes to the shooting of our scene the best way may be to come prepared to use a track but also shoot it using a glidecam or even a hand held tripod, using two of the three legs as counter weights and balance the camera. The main issue I can foresee in regard to going with the hand held option is controlling the focus, while on a track it won't be easy, at least it provides a more steady base for the camera when having to touch it to pull focus. A way around this would be to forget focus pulling and use a small aperture in order to create a large depth of field, the problem with this is that we'd need a lot of light to prevent under exposing the images. From watching the clip above its obvious they had to be meticulous with planning the focus pulls, the best example of this comes at around 22 seconds where there's a pull from the man and the young boy to the woman who is walking quickly towards them, from here the focus is pulled back, maintained on the approaching woman until she is next to at which time the focus resumes its previous position.

Below is a clip From Kill Bill Vol. 1 (Tarantino - 2003) and below that is a clip from Children of Men (Alfonso Cuarón - 2006), both have pushed the boundaries in how audiences are led through a scene. While these scene's inspire me, its unrealistic to think we'd be able to achieve something of this degree given time, money and equipment restraints. 
 






P.O.V:  


"He (Hitchcock) was very critical of point of view shots that called attention to themselves, for instance, in the kind of experimental film that substitutes a camera entirely for someone's view and consciousness, replete with their arms waving into the corner of the screen and that sort of thing." (Fawell, 2004)

I think this is a valid point, while there are occasion, such as in experimental films where this type of POV shot works, to include it in 'pure cinema' takes away from what power the shot can hold. 

"Hitchcock emphasised that successful subjective filming was the result of an interplay between first person voyeuristic shots and objective reaction shots." (Fawell, 2004)

When dealing with the theme of stalking or voyeurism, as Hitchcock often does, I feel it important not to labor the point of any given shot being a POV. It gives the shot greater uncertainty and therefore an added uneasy quality, something that when dealing with these themes is often an intention. 

Kubrick is a great example of a director who uses lots of unassuming point of view shots in The shining (1980) in order to create the feeling of another, unseen character, in the case of this film to highlight the theme of the supernatural. He uses a lot of high angle shots when shooting scenes with the character Danny Torrance (Danny Lloyd) to suggest a presence that can only be felt by him. This is added to through the way Kubrick implemented a very small amount of camera shake, not enough to be noticed first time around, yet sufficient to subconsciously suggest an invisible inhabitant of the hotel. The famous steadicam shots too also connote a point of view quality. While on the one hand its a simple cinematic technique of showing the audience the vast open, emptiness of the hotel, it also gives way to the sensation of being chased, as if the camera is a silent tormentor, always just out of view. Further more, Kubrick's use of track is subjective to which character he's tracking. Danny, for example, is always filmed from behind, emphasising a voyeuristic quality which keeps the audience feeling uncomfortable when he's on screen. 

This use of point of view can be described as a false perspective as in the reality of the film the camera angle isn't reflective of any particular character, only made to look as if it is. The Shining for example, as I've mentioned, suggests but never confirms the presence of Danny's spectator. Hitchcock too was a pioneer of this method, used to confuse the audience and make them feel uncomfortable. In Vertigo (1958) during the famous 'restaurant' scene, he uses a point of view shot that is presumed to be that of John 'Scottie' Ferguson (Stewart) however as Madeleine Elster (Novak) walks over to him and stands directly in front of his supposed view, the angle cuts, revealing that he is actually looking away, avoiding eye contact. The result is a scene that includes no dialogue, but through clever use of point of view framing puts the audience on the spot and forces them to be a spectator of an awkward, yet defining and highly emotive moment neither of the two characters actually experience.



The use of colour Hitchcock implements into this scene is well worth discussing. The rich red that covers the walls is symbolic of the passion, danger, obsession and love that all act as themes of the film. The green dress and matching green necklace Madeleine is wearing is also a clear nod to the theme of jealousy and envy within the narrative.  

Below is a music video for Cinnamon Chaser's song Luv Delux. While it has little to do with anything I wish to produce for this particular brief, I thought while on the topic of P.O.V it was an interesting film to bring to light. Similar to the Prodigy's Smack My Bitch Up music video, this film is an interesting example of what can be achieved when ignoring Hitchcock's approach. 






Lighting & Colour 

Roger Deakin's is a British cinematographer who's most famous films include The Shawshank Redemption, (1994) The Big Lebowski (1998) & No Country for Old Men (2007). His work is interesting as its his preference is to work with as simplistic lighting set up's as possible. 

Below is a scene from The Shawshank Redemption and I've chosen it because it highlights the fact you don't need a complex set up to achieve a powerful and meaning full lighting change. 

*Ignore the langage - Watch from 2.00 on wards.  



The overall use of light throughout the film is interesting given the themes of the narrative, this scene in particular suggests that in opposition to convention, submitting to the darkness both figuratively and physically is a far easier and safer solution than striving for the 'light'. It also inspires me to try something similar, there's ample opportunity in the screenplay to adopt a scene like this one.  Something as simple as turning on a light on set to reveal a character, as we have seen, can be a great way to shock an audience and catch them off guard.     


Again, Deakins has employed a simple, yet very effective lighting set up. Without any prior knowledge of the film or plot, the second you see Bardem's character you know what he is and what he has planned. By highlighting important elements of a scene, in this case the hands of a murderer, the use of light can be as informative as the actions of the actors or any dialogue they may say. This goes back to The Shawshank Redemption scene, Hadley doesn't open his mouth but despite this, the fact that amoungst the dark its his face illuminated, the audience knows whats coming. 

In terms of colour, we hope to link specific colours to moments in the film, just as in M. Night Shyamalan's The Sixth Sense and The Village. He uses the colour red is used as a symbolic identifier for when something bad is going to happen, one can argue that this isn't the most original use of colour in a film however it does add a degree of depth and allows the audience to be subconsciously suggested too. 

A way in which we plan to include meaningful colour is through filming the scenes in the woods relatively soon, while there is some reds and oranges to whats an otherwise very green area. Costumes too is a controllable aspect in which we can add meaningful colour. For example the girl who gets killed off, or the killer himself could be wearing red. "In psychoanalysis, every colour represents something specific in an emotional sense." (Schaefer 1984: P225) Storaro talks about how he uses colour due to the subconscious effects it has on an audience, for example using yellow to produce an energy and using blue to relax or to reduce an energy.

This approach can be seen in Kubrick's The Shining, though there is much debate on the meaning behind it, the changing pastel colours within the hotel are certainly deliberate. One such theory is that it represents the levels of sanity, or lack of, of Nicholson's character as he succumb to the hotels infectious madness. The sickly green interior of the room 237 bathroom is no 'happy accident', any number of emotions that this shade connotes be it greed, sickness, envy, all fit the tone of the scene. If it was painted a blood red for instance the audience would presume danger. As it is, Kubrick, as he often does, has chosen to be ambiguous.    

Lighting Change:

The use of a lighting change is one of the four criteria for our ten minuet film, I've looked to a number of films/directors for inspiration and to find out how and why it can be used. 

Tarantino is a example of a director that uses light in ways that may seem unusual. Unusual in the sense that often the change is very noticeable and done almost in a gimmicky way, rather than for naturalistic reasons. In Pulp Fiction, two light changes occur in a short space of time, the first being when Vincent opens a brief case, letting an unexplained, golden light pour out. The effect of this is to bring greater attention to the would-be uninteresting object and get audiences asking themselves what importance the light could hold. The second instance is when both Vince and Jules murder a character by repeatedly shooting him. During the shooting, Tarantino has chosen to apply flashes of light, presumably in post production, to once again better over dramatize the action. It could also be a nod to the biblical reference Jules quotes before the killing; "And you will know my name is the Lord when I lay my vengeance upon thee." The flashes could be interpreted as a sort of divine intervention, a theme thats raised almost immediately after. 

From this, it would seem that lighting change need not be naturalistic and can be more than a visual stimulant for the audience, alerting them to some importance within the shot. With this in mind it would seem appropriate to include the lighting change at a point in the film where the audiences attention should be focused on a particular object, in the case of Our film, perhaps the murder weapon. 

     

Bibliography:

Oldboy, 2003 [Film] Directed by Chan-Wook Park. South Korea: Show East

Magnolia, 1999 [Film] Directed by Paul Thomas Anderson. USA: New Line Cinema

Kill Bill Vol. 1, 2003 [Film] Directed by Quentin Tarantino. USA: Miramax Films

Children of Men, 2006 [Film] Directed by Alfonso Cuaron. UK/USA: Universal Pictures

Vertigo, 1958 [Film] Directed by Alfred Hitchcock. USA: Paramount Pictures 

Cinnamon Chaser - Luv Delux, 2009 [Music Video] Directed by Saman Keshavarz. USA: Koch Entertainment  

The Shawshank Redemption, 1994 [Film] Directed by Frank Darabont. USA: Castle Rock Entertainment

No County for Old Men, 2007 [Film] Directed by Joel & Ethan Coen. USA: Paramount Vantage

The Sixth Sense, 1999 [Film] Directed by M. Night Shyamalan. USA: Barry Mendal Productions

The Village, 2004 [Film] Directed by M. Night Shyamalan. USA: Touchstone Pictures  

Fawell, J. (2004). Hitchcock's rear window: The well made film. (2nd ed., p. 41). Illinois: SIU 
Press.

Schaefer, D. (1984). Masters of light: Conversations with contemporary cinematographers . (reprint ed., p. 225). USA: University of California Press

Pulp Fiction, 1994 [Film] Directed by Quentin Tarintino. USA: A Band Apart