Travis A.Ellis
Eng. 2101
Professor Lynne Thorner
Screening Response: Spielzeugland: Toyland
7 April 2012

Camera Techniques

Editing The film uses a great combination of cross cutting and flashback as a mechanic to tell a story, this was used thought-out the majority of the movie. The director uses abrupt jumps to alternate between the past, present, and future. The director divulges enough information to advance the story, but keeps the spectator on their toes, guessing the boys whereabouts. When observing the film it threw me off a bit, for example when the viewer was to think Heinrich was gone, when he couldn’t be found in his room, but it was really David Mrs. Meissner was searching. The cross cutting was seamlessly used during this act of the film. They had shown repeated shots of Mrs. Meissner running or Mrs. Meissner with Nazi officers.

Framing
The film has one scene, where Heinrich unintentionally meets Mr. Silberstein in the stairway in considerably pain, possibly by fanatic Nazis, and is bleeding on his forehead. He tells Heinrich another 'secret': he claims that he has been struggling with a rhino outside the building. The picture generally relies on close up shots to show the emotion and turmoil in the scene. One of the close up shots has the camera zoom in on the youngster's hands playing the piano. It indicates the course of time from childhood to adulthood. One long shot was shown, when the Mrs. Meissner was running down the staircases to show separation between the boy and herself.

Lighting The uses of the lighting effects shown are dim and gloomy. The film is horrifying and has a sense of dread. This all is depicted in the film as demise, depression and blackness. The heavy atmosphere is set thought-out the film. The featureless colors were successful in helping to produce a particular mood that really emphases the