1132010 the first shot of la motta is performance as

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11/3/2010 The first shot of La Motta is performance as metaphor. From the slow motion, to the hazy lighting, of the boxer, the grand prize fighter that is very romanticized. The second is performance as a foreign event, he is not well versed and should not be in the unfamiliar territory of public speech. The first fight has a similar texture as the opening sequence, the haze and the smoke/fog. The high contrast lighting between the very crisp and the diffuse (spread out, low key) There is a compressing sense of space; very confining. At one point Scorsese fades the ref out in a burning sort of image. The following scene in the locker room. Shot brings back patterns of mirrors, Scorsese's camera is always circumnavigating attempting to get a new shot on the cameras. Scorsese's use of irony in the film...the fights that not only break out in the ring, but in the crowd as well. The announcer signals to the pianist to play the national anthem. Juxtaposition in sounds and images, violence overriding coexistence. Domesticity, the home feeling of the social club contrasts the civil making up between Joey and the guy he beats up. The Steady Cam allows the filmmaker create a very complex shot yet retain control and very clear filming. Shot from the training room all the way down the ring is one continuous shot, unbroken by different angles.
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Expressions on the Streets Older generations learned their craft intuitively by watching and following what they saw. The construction of a Scorsese film is never completely at the service of the viewer or the story he is creating. He frequently creates an allusiveness through references to other films and cinematic practices He often chooses a camera movement over a cut to make a narrative or character point.
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  • Fall '10
  • The Streets, Martin Scorsese, Film editing, Establishing Shot, · Scorsese

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