'Clean, shaven' Deconstruction 3

Point 1

Camera Angles:
There are close-up panning shots across titles of document files. It is being panned quickly as if to mimic the POV of the main character looking at the titles as he walks past. This is then followed by a close-up of the main character's hands as they run across all the files, again giving a POV effect and also focusing on how the character is made to seem childlike in his illness. This is followed again by another POV shot of the main character looking outside his car window as he has a flashback. This really puts the audience in the main character's eyes and we see things as he thinks of them.

Editing: 
The two different shots of the close-ups of the files, the first one closer and not featuring the hand of main character are edited together through a fade-in transition which gives a dreamlike effect and therefore adding to the POV effect. A flashback is also used to show how he is haunted by past things that have happened to him.

Sound: 
The sound of footsteps and hands running past the files is emphasised by the non-diegetic silence. We can also hear the breath of the main character which sounds ragged and shows off his daily distress. When we see the flashback, the hushed non-diegetic sound of murmurs and whispers becomes louder, which shows how he is becoming occupied by his condition.

Mise en Scene:
The colours are predominantly grey-toned and there is a lack of bright colour, showing how his life is drained of joy. The density of all the shots is extremely stark, showing hardly anything at all, which coupled with the POV shot shows the simplicity yet complex nature of his life.

Point 2

Camera Angles:
There is a close-up of Peter's hands as he comes across a file named 'Exceptional children' and we see him hover over the file and then attempt to take it out but failing and become distressed. The close-up allows the audience to see the name of the file which gives the impression that Peter may have had a distressing or traumatic childhood. We then see a close-up flashback which shows someone scratching their own skin, but the close-up doesn't allow the audience to see who it is and therefore it is very disorientating. There is then a close-up shot from behind Peter, showing the back of his head.

Editing: 
The flashback within the two shots of Peter in the library is fast-paced and therefore disorientating, which mimics the state of his mind and allows the audience some insight into what Peter is going through, what is happening in his mind and why he is reacting the way he is.


Sound:
There is the non-diegetic high-pitched static noise which is used as an indicator to show when Peter's condition has worsened, or he is going through an especially unstable time. It is discordant and uncomfortable for the audience, replicating how Peter himself must be feeling.

Mise en Scene:
The gory purplish colour of the man's injuries in the flashback shot as well as the black from the grime give an unsettling, disturbing edge to the scene. There is diagonal composition in the shots of Peter in the library where the camera angle is slightly canted gives the impression that something is going wrong and it is unnerving.

Point 3

Camera Angles:
There is a long shot of a car come down the road which gradually comes closer to the camera and then goes past. It contrasts against the POV shot inside the car earlier on. We then see a medium shot from a profile angle of another character as he violently kicks something. Finally there is a full shot of Peter in the library as he hits his head against the shelves, which contrasts to the other close-up intense shots of him and through featuring his whole body emphasises the fact that he is an adult and makes his behaviour seem unnerving and bizarre.

Editing:
The use of flashback cross cut with the shots inside the library again successfully conveys what is in Peter's mind and then how it is effecting him in a cause and response type of way. However, the fractured fast-pace feel in the flashback scenes using the short shot lengths really helps to put the scenes across in a way which replicates someone's mind.

Sound:
There is the diegetic dialogue of the character in the flashback screaming "No way!" aggressively again and again, which makes him appear violent and shows us how this behaviour makes Peter feel unsettled. There is the diegetic sound of the wind as the car comes down the road which somehow emphasised the sense of isolation. As we see Peter smashing his head against the shelves, the noise is emphasised to show the extent of his violent behaviour, but also we can hear a sound bridge of the character from the flashback scenes still shouting, showing how it stays in Peter's mind. The static noise is still used to show the fogginess and unsettling nature of his consciousness.

Mise en Scene: 
The lighting is high-key but this contrasts against the unnerving behaviour of both Peter and the other character featured, thereby emphasising it. Again, diagonal composition is used in the library.

Point 4

Camera Angles:
There is a long shot as Peter drives down the road and encounters a stop sign. We can see in the frame the aggressive character swinging on a broken fence and saying "You can't hide from me." We see a close-up of Peter looking unnerved by the character, then a POV shot of him looking at the stop sign. Then, there is a close-up of the aggressive characters lips, emphasising how he is grimy and what he is saying. Then, there is close-up of the stop sign. The close-ups both act to show how Peter is intensely obsessed by his surroundings and the close-ups of his face allow the audience to see his discomfort.

Editing:
After the scene in the flashback, there is immediately a long shot of Peter as he hits his head against the shelves in agitation which gradually zooms out to reveal people in the library staring at him. This is effective as it directly contrasts whats going on in his mind, which is intense shown by close-ups to reality.

Sound: 
The contrast shown through the editing is reinforced by the sountrack. Throughout the flashback, the static noise as well as a high pitched wail is used to unsettle the audience and show how Peter's mind is unstable. This is immediately compared in the next shot to the silence other than the diegetic noise of Peter slamming his head into the shelves. It goes to show how life is viewed startlingly different in the eyes of someone with a mental illness.

Mise en Scene: 
The red in the stop sign is used successfully to show how Peter senses danger in the situation he is in, showing why he is agitated and upset. The tight framing used gives the impression that he can't escape from the life he is living.