Chicken Run Camera Angles
Chicken Run has many uses of camera angles. Camera angles can be used in many different ways, (low, high or mid angles), especially in Chicken Run. In Chicken Run camera angles are used to give the viewer a sense of what is going on and influence the viewer on how a character is regarded e. g. if the camera angle is gazing directly upwards towards a character this would usually indicate that the character in question has a lot of power or they are in charge. Camera angles can be used to show effects such as panic and calm on characters depending on what is taking place around them.
A great example of this effect takes place as Ginger and the other chickens are being chased through the chicken yard by guard dogs. The camera angle in this scene flickers backwards and forwards constantly, keeping in tempo with what is taking place at present throughout the chase. As the chase comes to a climax Mrs Tweedy appears in front of Ginger and the camera angle changes to a low angled shot and stays fixed, this proves that all is calm again and The very first shot is of the moon.
Chicken Run Camera Angles Essay Example
This instantly implies the genre and sets the tone of the film: the shot is very typical of the horror movie genre of films from the 20th century (which is also when the film is set). 3. The first shot pans down across to where Mr Tweedy and his two dogs are walking. The view of the fence surrounding the farm closely resembles the prisoner-of-war films which inspired the film itself. There is almost no sound and the music is quiet and mysterious to effect. He has dogs with him, most likely for protection, with fierce expressions, showing the mood of the scene.
4. Match-on-action shot of Mr Tweedy’s hand checking the lock on the gate. This suggests that he does not want anything or anyone getting in or out, and that he may be hiding something. Cut to an extreme low-angle close-up of his feet walking away. We never see his face in the first part of this sequence. This creates a sense of mystery as to who he is. It could mean that he is the main antagonist of the film because of this. 5. A figure emerges and tries not to be noticed.
This further suggests the first character we see (Mr Tweedy) is the antagonist since a character wants to hide from him, but we still don’t fully understand why the figure is hiding from him. There is mystery surrounding the figure as well as we cannot see (yet) who it is. Foot emerges before the rest of the body, suggests the figure is nervous of showing him/herself. 6. The water tower in the background connotes a guard tower in a typical prisoner-of-war film, so again there is reference to films such as ‘The Great Escape’ which the film closely parodies, and also that there is a greater force on Mr Tweedy’s side.
The shadow (Ginger) makes a run for it, again trying not to be caught. The way the dog hears Ginger first suggests the danger is nearer; she is about to be caught. 8. Ginger is nearly caught; an example of a ‘false alarm’ where we believe the character has been caught but hasn’t. 9. Match-on-action shot shows her frustration as she digs. Shot of the spoon being thrown back onto the floor; she is forced to leave everything but herself behind. 10. We are misled to believe she is safely across and all the danger is over, but in the next shot more chickens arrive.
These two shots echo the previous shots of Ginger running across, so the risk of danger is repeated. 12. Cutting between the two actions of the chickens trying to escape and the dogs running towards them; again this shows frustrationand pressure for the chickens and a sense of danger. The sound and music both add to this effect by suddenly increasing dramatically, rising as the dogs near. 13. The sound and music have now increased to their full volume as Ginger turns to run.
We finally see the face of the character we saw at the beginning, albeit for two brief seconds. The camera zooms in sharply on his triumphant expression. 14. Short, sharp cuts between shots, as well as the camera following the dogs, creates a feel of speed and shows the impact of the chase. Ginger stops and turns back in this shot; she has nowhere to turn. 15. Shot-reverse-shot between Ginger and the dogs is used to show she is trapped. The camera also backs away with Ginger; there is a slow zoom out on this shot of the dogs closing in. 16.
The dog eating the gnome head (that Ginger tries to force them away with) shows her helplessness and what is destined for her. We don’t see the impact of the head being eaten, implying violence. 17. Close-up shot of her head, slowly panning in. The attention is on her terrified expression, as the camera zooming in slowly shows how her ‘doom’ is coming nearer and nearer. 18. Both Ginger and the dogs turn at the light from behind her. The lighting has changed and is like a light ‘from heaven’ as if Ginger is being called or summoned, as if everything has already happened.
The music has also stopped suddenly. 19. Cutting back to the curious faces of the chickens. There is no music and very quiet sound; everyone has stopped to look, creating suspense of what they are looking at. 20. The camera pans up revealing the true main antagonist, with a short piece of dramatic music for this shot. Her height suggests she is dominative over all the other characters, since tall characters stereotypically prevail. 21. She even dominates over Mr Tweedy, who no longer has the same power or authority we believed he had before.
The dogs also show terrified looks. Mrs Tweedy’s anger is expressed by her fierce eyes and her arms on her hips. 22. Ginger is thrown into a coal bunker as punishment, a spoof on the bunker where prisoners spend the night in prisoner-of-war films. She also plays the same activities to pass the time later in the film. The music adds to the reference, echoing drums in a military march. 23. Mr Tweedy’s P. O. V. ; showing that because he is taller he dominates over the prisoners (the chickens).
Shot-reverse-shot is used so that we can see the expressions from both Mr Tweedy and the chickens, and the way they contrast (they are terrified (of him), he is furious (at them)). 24. The camera pulls out and reveals the location where almost all of the film (except for the last scene) is set. Both this and the final piece of dialogue now reveal properly that the film is set on a farm. The title is shown. The font (albeit in italics) is similar to the title on the poster for ‘The Great Escape’.