But even though the film's camera work is mainly conventional, it does feature some surreal-looking shots and sequences, e.g., Boo Radley's shadow hovering over Scout's older daredevil brother Jem, as Jem, having intruded on the Radleys, cowers on their front porch in terror. The storytelling is interesting but like the camera work, not especially unconventional on the whole. The story is told in two ways: (1) in voiceovers as Scout,

film noir movement by examining two films from the genre made at two different times within the movement. This will first mean looking at definitions of what classifies a film as noir and then looking at conventions of the movement such as: story, character and setting. This will explore how production value expresses the story and acts as an important filmic tool. The first movie to be discussed is

By allowing his children to address him by hist first name, Atticus is dismantling one of the many traditions that serve to reinforce and perpetuate traditions that ultimately only serve to delegitimize the experience and perspective of certain people. This forces the viewer to take Scout's recollections and narration more seriously, because although they are the memories of a relatively young child, the viewer cannot help but treat them

Cain (afterward coupled by Mickey Spillane, Horace McCoy, and Jim Thompson) -- whose books were also recurrently tailored in films noir. In the vein of the novels, these films were set apart by a subdued atmosphere and realistic violence, and they presented postwar American cynicism to the extent of nihilism by presuming the total and hopeless corruption of society and of everyone in it. Billy Wilder's acidic Double Indemnity

Kill Bill Scene Analysis Quentin Tarantino's approach to cinema is unique and refreshing. In Kill Bill, Vol. 1 (2003), Tarantino tells the story of a woman, The Bride, hell-bent on seeking revenge on the elite group of assassins, the Deadly Viper Assassination Squad, and their leader, Bill, after they attacked and killed her wedding party and left her for dead. Tarantino's use of mise-en-scene and scene composition helps to establish an

In the heist itself, time overlaps, and actions that have already been shown are repeated from another character's point-of-view. The audience is left to pout the pieces together so that we see a character do something and then se how it helps the next action lead to the desired conclusion. At the racetrack, with the announcement of the start of the fifth race, the film cuts to Johnny, in the