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Camera AnglesEdit

          If a director of a motion picture shot his film from the same point of view the entire time, it would be very dry and uninteresting. In M. Night Shyamalan's The Village, a multitude of camera angles is used in order to capture his audiences attention for longer doses of time, as well as to portray his picture in a different manor. There are several different classified camera angles that every director has in their arsenal. M. Night portrayed a beautiful use of many of them in The Village.

          One of the most impacting scenes is the scene in the film where Noah stabs Lucius in his stomach. The scene starts out in an enclosed area; a cabin in this case. Noah enters and begins to address Lucius about his marriage to Ivy Walker. The camera is focused on the entire cabin, so that your audience can see Noah enter through the door. Shyamalan then cuts to an extreme close up shot on Lucius' face. An extreme close up, often referred to among directors as an ECU, is a shot that gets right in and shows great detail. M. Night then cuts to an ECU on Noah's face, displaying his anger, and then cuts back to Lucius' face. The viewer then see,s Lucius slowly look down with a concerned look on his face, which is where Shyamalan cuts to a cut-in shot of Lucius' stomach. A cut-in shot is a shot that shows some other part of detail. This shot reveals Noah's hand grasping a knife that is fully plunged into Lucius' stomach, as he slowly removes it from the wound. Lucius then falls to the ground, and Noah exits the cabin.

          Another shot in which M. Night Shyamalan incorporates many great camera angles is the scene that Ivy sees a monster in the woods while she is on her way to get medicines from the towns. Ivy is blind, but she could see one color: "The Bad Color" which was red. The camera pans over Ivy's shoulder and release a monster in a red cloak in the distance. An over the shoulder shot, often referred to as OSS, is a shot that views the subject over another character's shoulder. Ivy lures the monster into a hole, in which Noah is revealed as the culprit. The camera then pans directly over the hole, focused on Noah's lifeless body in the monster suit, right before it cuts to the same shot of Lucius in his bed resting, wearing all white to display a dynamic between the two.

         M. Night Shyamalan's use of alternating camera angles is unique. it gives his movies the edgy, suspenseful vibe that his viewers adore. M. Night would not be as well known without his use of camera angles.

Works CitedEdit