When we do a "close analysis" of a film we are examining each shot for elements of mise-en-scene, montage, and story. We want to see how the elements and principles work together to make a better film, a film where good continuity and pacing blend together to tell a compelling and believable story. We don't always need to do a shot by shot analysis of classic films. Good high school students film productions can be used as models. Here we examine the first five minutes of "The Sacred Stones of Rokute." By pausing frequently you can better see how a film has been constructed and composed. Instead of just watching a film and escaping into the fantasy, we are reading it. The Stones of Rokute is an example of high school filmmaking excellence.
We begin with a well designed DVD menu page. Red easily separates foreground from background but more importantly, the color red is thematic, it helps tell the story. The sword prop lets us know this is a samurai video. The sword also creates a vector or leading line that connects the title text with the character. The position of the arms also forms triangle that leads to the sword resulting in a unified composition.
The narrative introduces us into the film with the classic hero's tale.
In this opening establishing shot, Duncan takes advantage of strong diagonals and sharp angles which help center the character. The distant, long shot emphasizes the solitary warrior. Backlighting for a silhouette shot hides the identity lending to mystery. The low angle shot makes us look up to lofty heights.
The hero's identity is still unrevealed, however we see him practicing his moves as a shadow play. He is still mysterious and solitary. His actions are a play of light and shadow. He is ethereal and spiritual rather than physical.
In this full shot we first see the hero only from the back. His identity is still not revealed. He merges with the strong diagonals or the stairs helping to center him but also throwing us off balance, it gives us a sense of vertigo. He descends into the physical arena.
Close-up of the red sack containing "The Stones." Notice the color red which was introduced in the menu. The color will appear later in the film.
At this distance our warrior's face is still not revealed, however we see his feet are bare. This tells us about the character without full revealing who he is. Shoes are only an impediment.
He enters labyrinth,
and he stops. He is introduced using the "dolly zoom" effect. He has completed his descent from his higher location.
Close up of sword allows the audience to anticipate the upcoming battle. Close-ups call our attention.
Low angle shot shows the setting. Contrasting scale makes the buildings look small compared to Sumitsu but he is again reduced in size in the next high angle long shot.
An extreme low angle shot throws us off balance and helps introduce next scene .
Sumitsu enters the arena. Close-up of eyes match position of enemy. Close-up of sword being drawn anticipates the battle.
Extreme high angle shot lets us see what Sumitsu can't.
Excellent shot. Sumitsu turns his head making eye line to square.
Sensing trouble, Sumitsu's first spoken line revealing his frustration with his invisible enemy, "come out and fight me."
Ninjas enter scene from multiple directions
We begin the movement from isolation to conflict. Good high angle shots could be improved with better blocking. Most shots are short and the audience doesn't have time to study them. They need clean compositions to see the action in a short period of time. The three black ninjas were masked and layered to increase their numbers.
Over the shoulder shots make good solutions for conversation. Be careful of awkward merging. Notice how the sword intersects the characters in both shots. Sword also intersects tree. The bench in the background is unnecessary. Look through the viewfinder of your camcorder and observe the background foreground relationships. You may have to reposition your actors for better placement.
In this high angle shot it is easy to see the scroll. The sword doesn't conflict with the characters
This shot works well to introduce the second act of the film, the battle. The red princess is introduced in the third act.