Camera and Motion Analysis of The Matrix

The "escape from work" scene of The Matrix incorporates several key filmic elements to convey the emotion and importance of the scene. The camera begins by panning low across a cubicle wall to reveal Neo, working at his desk. This not only reveals the protagonist, but establishes the walls and surroundings. If the camera had been placed higher, the meaning of the shot would be greatly lessened, as the walls would not seem as confining. In effect, this pan is the manifestation of Neo's "imprisonment" by the cubicle (and the Matrix). When the camera comes to the end of its pan, a man (all that is visible is his hands and mid body), appears in the right portion of the frame, and addresses Neo. In response, the camera cuts to a slightly closer shot, following the rule of thirds and framing Neo in a way that matches his turn to face the camera. The camera is placed slightly below Neo's line of sight, which establishes Neo as an influential character. The camera remains fluid, and the man from the previous shot walks in front of the lens (at this point an "EXC" of his midsection) to hand Neo a clipboard to sign. This framing, planned in advance, therefore not only establishes Neo, it also is set up to emphasize the transaction between the man and Neo. The next scene shows the end of the transaction between the two, a handoff of a FedEx envelope. Always, the camera relies on the rule of thirds to frame the characters. As the delivery man walks out from the cubicle, the camera changes to a MS shot of Neo, holding the letter. The camera pans slightly to the right to compensate for the departure of the delivery man, then falls back to the generic model of rule of thirds (FIG 1). The shot remains this way until the envelope is opened. At that time, the camera changes from an entirely objective point of view to Neo's subjective perspective. The moment the phone begins to ring, the camera switches again, this time to an objective view. The camera frames the phone in focus and Neo's face out of focus, and the shot is taken from beneath both the phone and Neo's face. This is a very powerful shot, as it introduces the phone, and it also introduces new shot composition for the remainder of the sequence.

FIG 1

Until this point, the shots had remained fluid, and were actually very lengthy, from 5-7 seconds in duration. This serves a purpose of establishing the character and doing so in a nonchalant way. Upon the appearance of the phone, this dynamic changes, with more fast-paced cuts and more close-ups of Neo. In the shot following Neo's answering of the phone, the camera begins to be entirely responsive to the character's actions. The slight dip or raise of the head is accented by the motion of the camera that matches that action. When Neo lowers his head to speak to the man on the phone, (crouching beneath the desk) the camera follows him to that position, eventually (again) framing him according to the rules of thirds. Ok, I lied, this shot is very long, as Morpheus explains that "they are coming for you" but this rhythm will change quickly. The tactic of maintaining the shot for this long could be to attribute a sense of emotional connection between Neo and the audience. The audience is steeped in anticipation due to the long shot, and

FIG 2

Morpheus's audio cues are recognized instead of any other potential visual cues. This bond between Neo and the viewer continues when he raises his head to confirm what Morpheus warned. In this shot, the camera perspective becomes subjective, taking Neo's POV and focusing on Mr. Anderson. Then, a very quick reaction shot from Neo, and a fast cut to the original cubicle shot, except this time the camera is much less fluid. As Mr. Anderson walks down the hall, the shot is maintained from a low perspective, which lends a feeling of power and supremacy to Mr. Anderson's demeanor. This is contrasted to the next shot of Neo, taken from a higher angle, which makes Neo seems small, vulnerable, and insignificant. When Neo scurries from one cubicle to the next, the camera is placed at his level, but since he is crouched down, when Mr. Anderson appears Neo still seems small. This use of camera placement (FIG 2) is used in several of the following scenes: always to make Mr. Anderson seem powerful. Several of the following scenes continue in this pattern, emphasizing Neo's crouched position until he gets to the office and sees the scaffold. The camera then follows Neo in a very fluid, long shot. The camera continues to pan and keep Neo in a tight CU.

FIG 3

When Neo steps out from the building, the camera follows him fluidly and maintains a CU with his face, until Neo looks down. The shot does not change here, apart from panning downwards to reveal the edge of the building FIG 3. When Neo drops the phone, it continues to be his from his subjective POV, linking his despair for the loss of the phone to a similar emotion in the audience. Then, the camera cuts, revealing Neo in the custody of Mr. Anderson. He has failed to go home early.

Loglines:
An elderly kleptomaniac, suffering from dementia, plans a heist on his own house.

A computer science worker in San Francisco threatens to expose his company's privacy abuse.

A high school student must decide whether to attend a small private school or MIT, and the decision is made for him by his friend.

ReBourne Identity

A filmic analysis of The Bourne Identity. 
WARNING: As always, the potential for spoilers is omnipresent. Watch the film. It's worth it and on Netflix (DVD order only).

Opening sequences of films reveal, in general, the defining characteristics of a film and its characters, a technique that was obviously taken to heart when designing the introduction to Jason Bourne in the Bourne Identity film directed by Doug Liman. In these first two minutes of the film preceding even the title credits, Liman reveals several key themes that would be continued to be explored throughout the film.

Analysis of Shot Composition of the Opening Sequence

The opening sequence begins with a shot of a man floating lifelessly on top of a body of water. Camera placement here is important, as positioning the camera under the character delays the reveal of the man's face for an extended amount of time. "Strategically placed" lighting illuminates the water and the body for small increments of time, before letting the camera fade to black. When the camera next picks up on a small fishing vessel that is also illuminated solely by the occasional lightning. While there is no immediate proof that this shot of the ship is a subjective point of view from Jason's perspective, it is possible to consider the shot this way. The director then cuts to a shot of men inside the boat, playing a game of cards. To give the impression of being on the chaotic sea, the camera shakes purposefully, but remains objectively focused on the occupants of the ship. Then, from the interior scene, (which was given a red tint to foster the concept of warmth in the ship's cabin), the director switches to an exterior shot of the waves of the ocean and the rain, colored blue to promote cold. This pattern again repeats, with a warmly-lit interior shot of the cabin to a blue, coldly-lit shot of a man in the water. The second time this exchange occurs is shorter, which hints that a following scene will most likely incorporate the reuniting of both the ship and the man in the water. From the shot of the water, the camera returns to the ship, this time objectively focusing on a man stumbling through the corridor of the ship, accented with a blueish tint in the background of the shot. In the next scene, the man is outside, and the camera continues to film objectively, masking the surroundings of the boat from the audience (we don't know if the man on the boat will see the man in the water). Suddenly, the man on the boat stop, and looks into the distance. At this point, the "parallel action" that has spurred the plot line until this point stops, as the camera shows a subjective shot of the man in the water from the perspective of the man on the boat. The camera cuts to a close-up of the face of the man on the boat, then back to a closer shot of the man in the water. This exchange continues, every time framing the man in the water a little more closely. Then the screen fades to black and the title sequence begins.

This opening sequence, which is ultimately very riveting, simultaneously launches the film's genre, plot, and theme.

Genre, Plot, Theme

GENRE
The Bourne Identity falls under several genres, including Action and Thriller, with elements of a Mystery film. From the opening sequence, it is easy to tell that the films will have its mystery component, as the camera never explicitly shows Bourne's face.

PLOT AND LOCATIONS
Jason Bourne, played by Matt Damon, is a man found in the middle of the Mediterranean, suffering from amnesia. While he does not remember anything of his past, he has several talents that convince him that he something has happened to him that placed him in this predicament. Bourne receives help from a friend he meets called Marie, who helps him understand what has happened. The film takes place in Europe, with a majority of the film in parts of France.

THEMES
Some very clear themes that are examined from the get-go is the element of chance that is constantly helping Bourne achieve his goals. Not only was it lucky for a ship to be navigating near his location in the water, but the incorporation of the card game in the opening sequence emphasizes the theme. After all, it was because one of the fishermen, who had lost the bet and went outside, that Bourne was discovered. Additionally, a theme that develops over the span of the film is Bourne being "reborn." (Yep, wasn't just a funny title). Since Bourne has amnesia, he must discover who he is, which lead the development of the plot, very much like movies documenting an individual's life.

Context of the Film
In very obvious ways, this film (and the books from which this film was conceived) comments generally on the United State's boundless influence in other countries, which sometimes proves detrimental to both the United States and the other countries. Bourne, we learn, works for a secret sub-group of the CIA that is tasked with complex missions involving stealth assassinations. Each of its members are highly-trained individuals, like Bourne. When Bourne fails his mission, the group believes he has gone rogue, which is why they go to such great lengths to eliminate him. Bourne fails to kill the president of the African country because he realizes the president has children, and is unwilling to carry out his mission. For this he is made the target of the group he works for. This illustrates the United States's misconception that targeting a single individual has no collateral damage. The film was produced in the early 2000s, consistent with that time during the beginning of the war in Iraq, and is again relevant today, with (unfortunately) another escalation into conflict in Iraq and Syria.