HW 3b - Existing film continuity sequence analysis (BLK)

LILO AND STITCH

SHOT LIST:

1. ELS of Lilo running around the corner
2. LS of Lilo licking Nani
3. High angle LS of Nani
4. Eyeline MS of Nani against the wall
5. LS establishing shot of laundry room
6. MS of Nani's legs walking in the frame in new room, becoming LS of both characters in the room
7. MS of Lilo struggling
8. MLS of both characters struggling
9. LS of both characters struggling
10. MCU of Nani listening to Lilo mumbling on floor
11. LS of both characters on floor from behind Lilo
12. OTS LS shot of Lilo, over Nani's shoulder
13. High angle LS of Lilo walking up the stairs as Nani walks into frame at bottom of the stairs
14. Low angle LS of Lilo from the bottom of the stairs
15. High angle LS of Nani at bottom of the stairs shouting up at Lilo
16. Low angle LS of Lilo shouting down to Nani
17. MLS of Nani screaming into a pillow
18. LS of Lilo  screaming into a pillow

CAMERA MOVEMENT:

• Shot 2 pans across the setting following the two characters, making the scene immersive and almost putting the audience in the character's point of view, and therefore immersing the audience in the action (extended by the eye level framing). The camera then stays static as the characters walk out of frame and into the next shot, leading to more accurate match on action.
• The camera pans again to follow Nani through the setting in shot 5, allowing the audience to see more of the establishing shot, and again to follow the action in the scene. Similarly to shot 2, the camera stays static as the characters leave the frame.
• Shot 6 zooms out from a close up shot of Nani's legs to a long hot of both of the characters, allowing for more effective framing.
• The camera pans left and up in shot 17 as it follows Nani through the frame again.
• All the shots with camera movement follow Nani through the shot, suggesting the audience is from her point of view in this scene, contrasting to the overall point of view of Lilo throughout the whole film.
  

CONTINUITY TECHNIQUES:

• Scenes 13-16 (inclusive) are a shot-reverse-shot sequence of the argument between the two characters. This sequence is very visually engaging, as it places the audience in the middle of the argument, looking up at Lilo when she speaks, and down at Nani when she speaks. This makes the scene far more immersive and involves the audience in the argument, making it more engaging and exciting. This sequence also keeps the 180º rule, as it is always facing each character when they talk, enhancing the continuity of the scene.
• Shots 7-18 always keep the audience on Nani's left side, and while Lilo moves around the frame a lot more, the camera never crosses the line to the other side of her character, keeping the 180º rule. 
• Neither of the two characters break the 30º rule, for example, had the transition from shot 3 to 4 been from a high angle LS to a high angle MLS, or to a slightly lower angle LS, it would have created a jump cut by breaking the 30º rule.
• Master shots are used throughout the scene, for example shot 3, giving the first establishing shot of the house in the whole film, and shot 5, establishing the scene, and linking the action together.
• Shot 5 is used as a master shot, as it links the strange sound heard in shot 4 with the action in the scene. Wihtout this shot, the scne e would not make sense.
• In shots 2 and 5, the characters leave the frame before it cuts, in order to help create continuity with match-on-action, so it make sit easier for the characters to be in the right place for the next shot to mak esnese.
• Shots 16 and 18 create ellipsis as the audience do not see Lilo walk to her bed and sit down to scream into a pillow, but the audience can fill it in. This is made easier by shot 17, which shows Nani grabbing a pillow and screaming into it, giving us a sense of what might come next, and also making sense of what does come next.