After reading Roger Ebert’s article, “How to Read a Movie” I started mentally analyzing any movie I had ever watched, wondering if the rules he found from his extensive experience really held true. And it did! I had never analyzed a movie in the manner Ebert describes, but as I imagined my favorite scenes from movies I saw that his positive-negative trend held true as did the various movements he describes. Another concept I found intriguing was the “Rule of Thirds” because I never noticed how a slight displacement of a character changes how we feel watching the film because of the way we understand the scene unfolding.

Next, I watched several clips. The first, “Hitchcock Loves Bikinis” demonstrates how a pure cinematics works. His demonstration uses a clip of a mans expression when he sees a woman holding a child and them exchanges the clip of a woman holding a child to a woman in a bikini, the mans facial expression is not edited. He explains how when we see the man smile from looking at the child we define him as a sympathetic, kind character. However, when the central clip is exchanged and the mans expression is still the same we describe him as a “dirty old man” instead of the gentleman of before. This helps us understand how film generates ideas in the minds of the audience using societal cues.

The second clip I watched, One-Point Perspectives by Kubrick, is a string of various clips from films showing a literal one-point of view for the viewer, they are all images of things seen from only one angle. For example, there is a image of a firing squad about to shoot three criminals (assumed), but we see it only from the view of the firing squad, not from the view of the criminals about to be shot at. This video demonstrates how the use of film creation technique makes the audience feel as though a character is directly talking to them, like they are following a character down a hallway, or even make them feel like they are part of the film. It makes the audience almost fall into a trance, whether they are following the main character into a room they suspect holds a threat or as if they are in control of a line of militia about to kill criminals.