Shot Analysis of First five shots of "Shakespeare In Love"

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Shot Analysis of Shakespeare in Love

Shot 1 Black Screen

Title 1 LONDON 15

Title In the glory days of the Elizabethan theatre, two playhouses were fighting it out for writers and audiences.

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Low angle, long shot of blue sky, some clouds visible craning down and panning rightwards.

Title North of the city was the Curtain theatre home to Englands most famous actor, Richard Burbidge.

Camera continues craning down and panning right, we see the roof and then interior of a theatre. As the building comes into shot, the length of shot is now medium, but does not change for the rest of shot (no zooming, or tracking in)

Title 4 Across the river was the competition, built by Philip Henslowe, a businessman with a cash flow problem.

Title 5 ...the rose

The titles appear over the top of shot as the camera continues craning down and panning right. There is no particular focus on the foreground or middleground allowing us to see the whole interior of the theatre in focus. Clothes are draped over the rafters and blowing in the wind. Leaves float upwards. We see the stage with various props come in to view and a coat blows in the wind as the camera passes. doorways at the back of stage suggest offscreen areas yet to be revelaed. Stairs lead off at the right where the camera pans to a manuscript not yet readable lying on the dirt floor. The camera idles for a moment with a down view of the manuscript which moves in the wind as the shot dissolves.

Shot one establishes an inferred role of this stage in the narrative.

Lighting Soft natural environmental light (from the sun as the building has an open design). The earthy browns and grey tonality of the building and ground give a nostalgic feel for sixteenth century England.

Dialogue None

Sound Shot opens with the sounds of wind, church bells and the chatter of people. The dialogue is diagetic but offscreen. Shot ends with a siren sound and the crinkling of the manuscript blowing in the wind.

Music Shot starts with soft flute/oboe and then slightly intensifies as the camera pans through the theatre. The style is classical and is non-diagetic. The melody has an airy feel which seems to follow the camera movement well.

SPFX Possibly a fan offstage to create the wind effects.

Duration 116

Transition Dissolve. Siren sound is also used to transition between shots.

Shot Camera is on a vertical axis and zooms in to a close up shot of the manuscript lying on the ground. the lamentable tragedie of the moneylender revengd.

Lighting Top soft lighting.

Dialogue Henslowe! Do you know what happens to a man who doesnt pay his debts. Screaming heard. The dialogue is diagetic and offstage.

Sound none (besides dialogue and music)

Music As per shot 1, but fades out as the dialogue starts.

SPFX none

Duration 006

Transition Dissolve.

Shot Fast tracking in through the doorway at the back of the stage, to a low angle medium close up of a man tied up and seated, whose boots are being hung over hot coals. This is presumed to be Philip Henslowe. The camera angle is on axis with Henslowes legs. His boots are slightly more in focus than the rest of him, and the background is out of focus.

Lighting Ground earthy grey/brown colour gives extra dimension to the squalored scene in the shot. The colour does not appear to be stylised however. The coals are bright orange and draw the viewers focus. Henslowes face is quite orange in hue (his boots are on fire after all). Shadows and light trails (exaggerated by the smoke) can be seen in the background but is out of focus. Shadows on underside of Henslowes boots and chin suggest top lighting is used, with some sidelighting to stimulate natural light coming through the windows.

Dialogue His boots catch fire. Heard offstage but presumed to be in the room. Henslowes Screams are now heard onstage. Both are diagetic.

Sound Crackling smoldering sound of boots burning. Diagetic and onscreen.

Music Fades back in as the camera tracks in through the doorway. The mood is now much more tense which gives a hint of the scene to come. The style is classical.

SPFX Smoke and fire effect.

Duration 006

Transition Cut

Shot 4 Cut to a medium shot from behind a dark rafter of two men. The camera tracks left around on a circular axis. The man on the left (Mr Fennyman), walks toward the right and is delivering a dialogue. A second man in the middle of screen holds a rope (Mr Lambert), who as the camera tracks left we can see is holding Philip Henslowes legs (who is now centre of shot) above the coals. The camera continues tracking on the circular axis to reveal a third man on the right almost offscreen (Mr Friez). The camera continues behind another dark rafter and then stops to show all characters onscreen. Philip Henslowe is central to the shot with the other protagonists close around him. Mr Lambert to the left holding the rope, Mr Friez standing to the right, and Mr Fennyman paces left. As the camera tracks around, then coming to a stop, the angle of shot is slighty angled high looking down on the 4 characters on screen.

Lighting The characters are quite darkly dressed and so appear dark in the room. The room itself is however quite well lit with sidelighting (as per shot ). The centre of shot is more illuminated than the rest (Suggests top lighting or possible spot lighting). The faces of the characters are well lit but attached shading is visible. The lighting is diffuse. The mens faces have an orange hue, to simulate the heat of the room. Some casting shadows are seen from the men and objects in the room. Fennyman also casts a shadow on Henslowe as he passes him.

Dialogue Fennyman, Why do you howl. Delivered offscreen (still diagetic) as the camera tracks in to the room. Fennyman, When it is I who am bitten? onscreen and diagetic. Screaming is still heard, partially offscreen when Henslowe is out of shot. Fennyman paces left, What am I Mr Lambert?. Lambert replies, Bitten , Mr Fennyman. How badly bitten, Mr Friez?. Friez replies, 1 pounds, 1 shilling, and four pence, Mr Fennyman including interest. Henslowe lets out a little cry. Henslowe begs, I can pay you. Fennyman, When, as the shot cuts. The dialogue is onscreen and diagetic.

Sound As per shot , with additional sound of rope as Henslowes legs get raised and lowered above the coals. The sound is onscreen and diagetic.

Music As per shot . Fades out as the camera tracks in and the dialogue takes over.

Duration 01

Transition Cut. Dialogue continues through the cut to the next scene (as Fennyman says when).

Shot 5 Cut to medium close up of Henslowe. Camera is stationary in this shot, the angle is on axis with Henslowes legs and the focus is on his face. The foreground (Henslowes boots) is out of focus as is the background.

Lighting Top lighting, face well lit with harder lighting than previous shots, creating gleams on Henslowes sweaty face which is now positively glowing orange/red. More attached shading visible on Henslowes face and hands. Background as per shot .

Dialogue Henslowe, weeks, weeks at the most, ugh. Onscreen and diagetic.

Sound as per shot 4

Music none

SPFX Smoke in the room, the coals are not visible in this shot.

Duration 00

Transition Cut.

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