The first thing seen in the opening of the film is a quaint woodland area with very light atmosphere, with two establishing shots that linger on to show the setting. A deer is then introduced, and for the next few shots it's in the centre of the frame, which aligns the audience with the animal but this allegiance is quickly revoked. A variety of different shot types are used to enforce this alignment, mostly the close up right before a sound is heard by the deer, in which the shot quickly cuts to an unknown figure hiding in the bushes. We're then given a POV type shot from the perspective of this mysterious person watching the animal, which provides an almost looming sense of tension which further pushes the idea that the audience is supposed to feel a strong sense of alignment with the deer. More shots of the animal are shown, in which it's just going about its business, until the figure is now present in the frame with the deer. The figure, who is now clearly seen as a yo...
Narratively, Shaun of the Dead plays with the conventions of two genres, those being the classic romance-comedy and the popular zombie thriller. Throughout the film, each of these genres twist and intertwine to create the well loved zom-rom-com. Both genres have a starting equilibrium, a major disruption and a new equilibirum, all of which fit with the conventions of both sides.
Short Film Scene 1: INT car Open in a car, as if the camera is on the dashboard. We see a child in the passenger seat idling about, humming along to a relatively happy tune on the radio. Warm sunlight comes from the passenger window, saturating her and the bear sitting on her lap. The bear is rather small, and it’s ears are lined with pink felt that’s worn down to reveal the old felt underneath. It’s a small pooh bear that is no longer the golden yellow it should be, and instead is a dirty tan from years of love and affection. The child has a grip on the bear with one of her hands, the other is tapping on the door in time to the music. Jarring cut to the driver of the car, who is the father of the young girl. His point of view is very dark, there is a lack of music and instead a single low note is playing in the background. He is gripping the steering wheel so hard that his knuckles are turning white, a clear signal of his stress. The lighting turns very cold, missing...
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