The Rock Camera Movement Analysis

The Rock Camera Movement Analysis
1.	There are stationary people in the frame. The action moves behind and passed them, allowing the audience to feel a sense of urgency, due to the sudden movement of the car being stolen by Sean Connery. There is close-up framing, which allows the audience to focus on the man saying he doesn’t want his car to be damaged, and then the car being stolen behind him, which links to the car chase which results from the car theft. The action moves past us, but does not pan, so the audience has a restricted view of the scenario unfolding in the scene. The audience are encourages to make a judgement about the guy who owns the car, judging that he is a selfish, self centred man who deserves what comes to him (his car being stolen).
2.	The action moves towards us, and the camera is mostly stationary, which makes the audience feel as if the action was about to come straight at them – if they were actually in that situation, and not watching a film, they would get out of the way quickly. The camera is placed low down which creates a low angle shot, which shows that the man (Nicholas cage) has power over his position, and the people surrounding him. We are tracking away as the action moves quickly towards us, creating an increasing sense of pace.
3.	There is a worms’ eye view shot. The camera is placed low down, showing that the car has power over the surrounding area, as it is an expensive make of car. The camera is right in the action, attached to an object like a hydrant behind the car. There is close up framing. The audience sees the same action from more than one point of view. The action moves away from the camera position, and the camera does not follow it. The camera is in extreme close up to the car.
4.	The action moves away from the camera position, and the camera does not follow it. The camera is in extreme close up to the car. The camera rapidly cuts between different angles and positions. The camera is high up and produces a high angle shot. The camera drops down from a higher level to mid level, where the actin is taking place. The camera is on a dolly. The camera is right in the action, attached to the rear of the car. There is close up framing. The camera is placed where no person could realistically be. The action moves away from the camera, and the camera moves with it, making the action seem extremely close.
5.	The camera rapidly cuts between different angles and positions, allowing the audience to see much more of what is actually happening and can fully see the impact of said action. The camera movement is panoramic. The camera movement is handheld and smooth. The camera movement is handheld and wobbly, making them feel as if they are right in the action.
6.	Camera movement is handheld and wobbly. The audience sees the same action from more than one point of view. There is parallel editing. The camera is in extreme close up to the police detective. The camera is right in the action, attached to a cop in the back seat, giving the audience a feeling of involvement in the scene, but also letting them feel safe, as they know that they will not be touched by anything happening on screen. Then the camera is placed where no person could realistically be, allowing the audience to gain a better view of the action.
7.	Camera movement is handheld and wobbly. The camera is in extreme close up to Sean Connery, allowing the audience to focus on the dialogue. Then the camera is placed where no person could realistically be. There is a slight canted angle, making the audience feel slightly disoriented. The audience sees the same action from more than one point of view, allowing them to gain a more rounded idea of what exactly is going on, and predict roughly what will happen next. The action comes towards us, and the camera is mostly stationary,  which makes the audience feel as if the action was about to come straight at them – if they were actually in that situation, and not watching a film, they would get out of the way quickly. The camera is placed low down. The action moves past us, but the camera does not pan. The camera is placed where no person could realistically be. The camera movement seems to be extremely wobbly and out of focus.
8.	The camera is in extreme close up, allowing the audience to focus on the dialogue of the detective speaking into his police radio. The camera is placed where no person could realistically be. The camera movement seems to be extremely wobbly and out of focus.