Great Expectation Essay

Comp be the filming techniques used in spots first meeting with Miss Havisham with cardinal adaptations of Charles Dickenss Great ExpectationsThe two film clips that this essay will be ground on, and comparing, is a version by Julian Jarrold which appe ard on TV screens in 1999 and a often older cinema appearance by David head for the hills from 1946. The first noticeable difference is that the early film is played in black and white and on that pointfore has certain lighting limitations and, as a result of technological disadvantages, has limited tv camera flavour availability. However, there ar a number of useful factors available for analysis.Both films attempt to hold up a sense of mystery and increasing tension all(a) the substance by means of the scenes and the task in hand is to focus in on all the different types of filming techniques used to do so. On the whole, the 1999 version is darker than the 1946 edition and this increases the tension factor. Each scene take s us from slur unveiling Miss Havishams board to when he leaves and incorporates all of the insults and belittle from Miss Havisham and Estella, although even this is played differently in the two films David lean makes genuinely obvious insults as though Estella is actually telling him he is lower than her yet in Jarrolds version Estella either insults blister to Miss Havisham or to herself in an undertone.There are six main techniques used by each director which this essay will analyse, they are picture types and framing-how each camera shot affects the mood of the scene, camera angles and crystalline lens movement-how the camera is positioned and what bearing that has on the scene, editing, music and sound ensnares-the backing sounds and its effect on the viewer, costumes-what each actor is wearing and what it does for the characters personality/appearance, lighting and opthalmic effects-how the light and dark areas of the screen portray different ideas.Firstly, ther e are a few similarities between both scenes slash types and framing/Camera angles and lens movements/Editing. The first is that both incorporate a long shot as spot enters to put down the huge room in front of him and coming into court that this room really is intimidating as flog looks tiny compared to the huge open space ahead. Secondly, both films turn in shoots reaction as a obturate up shot aft(prenominal) the insults from Estella, this gives the viewer a real sense of pity for polish off and put downs us what exactly is going through his mind at the clip. The final parity is as the game of cards unfolds, both films fade into the game to lay out a passing of time and both use an extreme conclude up to show us what is happening and, Miss Havisham is sat high on a chair in the middle, with berth and Estella on the ground wee-wee either side, with a sensitive shot, making Miss Havisham look very dominant and the children look almost patronised.The 1999 version h as a lengthy bar of time when Pip is wondering around the room looking at certain objects, building up mystery and tension, which Jarrold misses out and skips from Pip entering straight to his conversation with Miss Havisham. This added section has a mixture of medium close ups, close ups and extreme close ups, tho all the way through the shots are positioned a bit higher than Pip so it gives the audience the idea that somebody has a watchful eye on him, and this, to a certain extent, is almost creepy, certainly builds up mystery and in addition borderlines on scary.For example, when Pip is walking past the dummies the camera is high up so it is as though the viewers are looking through Miss Havishams eyes. The other main camera uses are when Pip sees Miss Havisham in the mirror, she looks virtually ghost like and it is almost scary, besides just forrader she appears, its looks again as though he is existence watched, and as Miss Havisham waves her arm to tell Pip to play, the re is a close up of her arm to show her dominance and shortly afterward a close up of Pips face to show the confused reaction. This section of the scene is very clever camera work by Jarrold, and really does freak the audience out.Both films use shot types, framing, camera angles, lens movement and editing differently, but there a number of specific differences between the two. When the two films join back up, there are many different camera uses and consequences of such. In the 1946 version, there is a long shot as Pip walks up to Miss Havisham and a medium close up as they talk to one-another and as Pip advances further, the camera moves in an arc to keep him and Miss Havisham on the notion at the same time. When they are closer, it allows an even closer shot than before of their faces and therefore portrays both expressions and the reactions to each others expressions individually.An addition to this version of Great Expectations is how the camera zooms in on a cobweb covered b ible to show the lost faith of Miss Havisham, and explain to the audience that something terrible has happened earlier in her life to make her do so. A two shot of Miss Havisham and Pip is on screen, and, as Estella joins the camera slides horizontally to find out her in. As Estella whispers in Miss Havishams ear there is a two shot to portray Miss Havishams expression. When Miss Havisham asks Pip his opinion of Estella he is made to whisper it in her ear but as he does so there is a medium close up showing all three expressions at the same time, i.e.Pips horror as Miss Havisham tells Estella what he has just utter and Estellas delight of hearing such approving words. As Pip approaches the gate to go home, there is another fade in to show more time has passed by. This can be compared with the 1999 version which has a much briefer conversation between Pip and Miss Havisham as much time is spent when Pip walks around, but, when Pip is whispering about Estella, the camera zooms in on Estellas face to show her reaction after organism praised by Pip. Finally, when Pip and Miss Havisham are talking, there is a two shot of them to show each reaction as each person says something.