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This discusses brief details of the film and the
various shots/angles/movements used in
particular shots and why they may have been
After a mass flood has taken over the whole of
Huntingburg, a lot is at stake for Tom: to protect $3 m/watch?v=BT2RBCEH54M
million dollars, and himself. ‘Locked in’ clip

 Release date: 16/01/’98 (USA)
03/04/’98 (UK)
 Cast (predominant): Morgan Freeman, Christian Slater
 Director: Mikael Salomon
 Writer: Graham Yost
 Budget: 70,000,000 USD (estimated)
 Box office: 19,819,494 USD

 The use of the shaky handheld camera movement was evident
– especially in action sequences. The instability of the camera
in those moments of the film represents danger and
uncertainty. This means that the characters can have very
little or even no control over the situation they’re in, ultimately
creating an uneasy atmosphere for the audience.

The close-ups symbolise the time that is
escaping him; faster than a simple breath can be Mise-en-scene
exhaled. This ultimately shows that he is in a comment – the wiring
position of vulnerability, as he cannot rely on over his face is acting
as a barrier; a
himself for help any more.
restriction. This
Angle variation – represents the state Tom is in element of the mise-
each time the shot cuts back to his face; that en-scene links to the
angle is representing the angst and constant camera work in the
worry of whether he is going to make it in this way that his
situation. That combined the close-up creates a expression within the
close-ups are giving
overly tense atmosphere with the addition of
us the idea that there
desperation – it’s registered in his eyes ! is no escape, as it is
clear that there may
be very little hope for
CLOSE-UPS survival for him. The
wiring makes it look
like he is in prison,
which is ironic –
because he is actually
locked up !
PoV shots are camera shots taken from the
perspective of the character; this allows the
audience to emphasise with them to feel the
way that they are feeling in that present
moment. This emphasis can create nervousness
within the audience as they view the same
action as the character on-screen (well, off-
screen!), almost feel like they are in the film.
You can see here that
Karen’s facial expression is
implying the pressure is on
her trying to save Tom.
Also, the fact that the
camera is looking up on
Karen’s face can make the
audience feel tense and
eager to get out – just like
POINT-OF-VIEW SHOTS how Tom wants to get out.
The PoV shot creates that
connection between the
audience and the

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