Master Shots: First and Final Frames of 55 Films Side-by-Side, by Jacob T. Swinney

The Meta-Story  and Worldview of many films is discernible from little more than their first and final shots.  Don’t believe it?  Watch this video! 

Jacob T. Swinney on Vimeo

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Final shot, Birdman (2014)

 

What can we learn by examining only the first and final shot of a film?

This video plays the opening and closing shots of 55 films side-by-side. Some of the opening shots are strikingly similar to the final shots, while others are vastly different–both serving a purpose in communicating various themes.

Some show progress, some show decline, and some are simply impactful images used to begin and end a film.

.

See also:

Inside Out Screenwriting: What’s My Final Image? by Jeremy Casper

Birdman Ending: Why That Obscure Final Shot Makes Total Sense, by Catarina Cowden

MUSIC: “Any Other Name” by Thomas Newman

Films used (in order of appearance):
The Tree of Life 00:00
The Master 00:09
Brokeback Mountain 00:15
No Country for Old Men 00:23
Her 00:27
Blue Valentine 00:30
Birdman 00:34
Black Swan 00:41
Gone Girl 00:47
Kill Bill Vol. 2 00:53
Punch-Drunk Love 00:59
Silver Linings Playbook 01:06
Taxi Driver 01:11
Shutter Island 01:20
Children of Men 01:27
We Need to Talk About Kevin 01:33
Funny Games (2007) 01:41
Fight Club 01:47
12 Years a Slave 01:54
There Will be Blood 01:59
The Godfather Part II 02:05
Shame 02:10
Never Let Me Go 02:17
The Road 02:21
Hunger 02:27
Raging Bull 02:31
Cabaret 02:36
Before Sunrise 02:42
Nebraska 02:47
Frank 02:54
Cast Away 03:01
Somewhere 03:06
Melancholia 03:11
Morvern Callar 03:18
Take this Waltz 03:21
Buried 03:25
Lord of War 03:32
Cape Fear 03:38
12 Monkeys 03:45
The World According to Garp 03:50
Saving Private Ryan 03:57
Poetry 04:02
Solaris (1972) 04:05
Dr. Strangelove 04:11
The Astronaut Farmer 04:16
The Piano 04:21
Inception 04:26
Boyhood 04:31
Whiplash 04:37
Cloud Atlas 04:43
Under the Skin 04:47
2001: A Space Odyssey 04:51
Gravity 04:57
The Searchers 05:03
The Usual Suspects 05:23

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All-Time Top Films for Deep Culture Impact

Part four in series: The Oscar “Huh?!” Factor: Why Academy Voters Usually Pick the Wrong Film

Two decades of using film in the classroom has resulted in quite a few surprises in the stories with the deepest cultural impact on this generation.

by Gary David Stratton • Senior Editor

The list below is in no way infallible, but it sure could get a good Oscar weekend conversation going.  (See Deep Culture Impact Films for the ever-evolving DCI criteria.)

Key

Action/Adventure/Western

Comedy/Musical/Animated

Drama

Fantasy/SciFi

Thriller/Horror

* Indicates Academy Award Winner

url-51933  King Kong (F)

1936  Modern Times (C)

1937  Snow White And The Seven Dwarfs (C)

1939  The Wizard of Oz (F)

1939  Mr. Smith Goes to Washington (D)

1939  Gone with the Wind (D)*

1940 Fantasia (C)

1941  Citizen Kane (D)

1943  Casablanca (D)*

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1946  It’s a Wonderful Life (D)

1951  The African Queen (D)

1952  Singin’ In The Rain (C)

1954  Rear Window (T)

1954  On the Waterfront (D)*

1955  Rebel Without a Cause (D)

1954  Seven Samurai (D)

1956  The Ten Commandments (D)

1957  The Bridge on the River Kwai (D)*

20121210051712!Sleeping_beauty_disney1957  12 Angry Men (D)

1958  Vertigo (T)

1959  Ben-Hur (A)*

1959  Sleeping Beauty (C)

1960  Psycho (T)

1961  West Side Story (C)*

1961  101 Dalmatians (C)

1961  Breakfast at Tiffany’s (D)

1962  To Kill a Mockingbird (D)

Screen shot 2013-02-23 at 6.03.20 PM

1962  Lawrence of Arabia (D)*

1964  Mary Poppins (C)

1964  My Fair Lady (C)*

1964  Dr. Strangelove (C)

1964 Goldfinger (A) and the entire Bond franchise, especially 1965 Thunderball (A) and 2006  Casino Royale (A)

1965  The Sound of Music (C)*

1966 The Good, the Bad, and the Ugly (D)

1967  Guess Who’s Coming to Dinner (D)

1967  The Graduate (D)

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1967  The Jungle Book (C)

1968  2001: A Space Odyssey (F)

1969  In the Heat of the Night (D)*

1969  Butch Cassidy and the Sundance Kid (A)

1971  Fiddler on the Roof (C)

1972  The Godfather (D) and 1974 The Godfather 2 (D)

1973  The Exorcist (T)

1973  The Sting (C)*

1973  American Graffiti (D)

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1974  Chinatown (D)*

1975  One Flew Over the Cuckoo’s Nest (D)*

1975  Jaws (F)

1976  Monty Python and the Holy Grail (C)

1976  Rocky (D),* as well as 2006 Rocky Balboa (D) and 2015 Creed (D)

1976  Taxi Driver (D)

1977  Star Wars: A New Hope (F) and 1980 The Empire Strikes Back (F)

1977  Annie Hall (C)*

raiders_of_the_lost_ark_ver1_xlg1978  National Lampoon’s Animal House (C)

1979  Apocalypse Now (D)

1979  Alien (F) and even better 1986 Aliens (F)

1980  Raging Bull (D)

1981  Raiders of the Lost Ark (A) and 1989 Indiana Jones and the Last Crusade (A)

1981  Chariots of Fire (D)*

1982  Blade Runner (T)

1982  Tootsie (C)

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1982  E. T. The Extra-Terrestrial (F)

1984  Amadeus (D)*

1984  Beverly Hills Cop (C)

1984  Ghostbusters (C)

1985 The Breakfast Club (D)

1985  Back to the Future (C)

1985  The Color Purple (D)

1986  Top Gun (A)

1986  Star Trek IV: The Voyage Home (F)  The best of the highly influential franchise… so far. (J.J. Abrams could change that.)

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1986  Ferris Bueller’s Day Off  (C)

1987  The Princess Bride (C)

1988  Rain Man (D)*

1989  Dead Poets Society (D)

1989  Field of Dreams (F)

1989  Do the Right Thing (D)

1989  Driving Miss Daisy (D)*

1990  Dances with Wolves (D)*

1990  Pretty Woman (D)

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1991  Terminator 2: Judgment Day (F)

1991  Beauty and the Beast (F)

1991  The Silence of the Lambs (D)*

1992  A Few Good Men (D)

1992  Unforgiven (A)*

1993  Groundhog Day (C)

1993  Jurassic Park (F)

1993  Schindler’s List (D)*

1994  Forrest Gump (D)*

Screenshot 2014-03-02 23.59.401994  Pulp Fiction (D)

1994  Shawshank Redemption (D)

1994  The Lion King (C)

1995  Braveheart (A)*

1995 The Usual Suspects (D)

1995  Toy Story (C) and the entire Toy Story trilogy.

1996  Jerry Maguire (D)

1996  Fargo (D)

1998  Saving Private Ryan (A)

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1996  Independence Day (T)

1997  Men in Black (C)

1997  Good Will Hunting (D)

1997  Titanic (D)*

1998  American History X  (D)

1999  American Beauty (D)*

1999  Fight Club (A)

1999  The Matrix (F)

1999  The Sixth Sense (T)

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2000  Gladiator (A)*

2000 Memento (D)

2001  Shrek (C) and the entire Shrek franchise.

2001  Harry Potter and the Sorcerer’s Stone (F) and the entire Harry Potter series.

2001 Serendipity (C)

2003 The Return of the King (F)* and the rest of The Lord of the Rings Trilogy: 2001 The Fellowship of the Ring (F) and especially 2002 The Two Towers (F).

2003  Finding Nemo (C)

2003  Pirates of the Caribbean: The Curse of the Black Pearl  (A) at least as part of the entire Pirates franchise.

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2004  Spider-Man 2 (F), the entire Spider-Man Trilogy and even the new franchise starting with 2012 The Amazing Spider-Man (F) series.

2004  The Passion of the Christ (D)

2004  Eternal Sunshine of the Spotless Mind (F)

2008  The Dark Knight (F) and the entire Dark Knight trilogy is definitely going to make the DCI list.

 

Films on the Deeper Culture Impact ‘watch list’

I suspect many of these movies will prove to be DCI films, but it is still too early to tell. 

2005  Crash (D)*

2006  The Departed (D)*

2012  The Avengers (F) and the entire Marvel Avengers franchise, especially 2008 IronScreen shot 2013-02-24 at 12.58.13 PM
Man (F), 2013 Iron Man 3 (F), and 2011 Thor (F)

2007  No Country for Old Men (D)*

2007  Juno (D)

2008  Slumdog Millionaire (D)*

2009  The Hangover (C)

2009  Avatar (F)

2009  The Blind Side (D)

2010 Inception (F)

2011 The Help (D)

2012 Django Unchained (D)12YAS-Poster-Art

2012 Life of Pi (F)

2012 The Hunger Games (F), and and most likely the entire Hunger Games series.

2013 12 Years a Slave (D)*

2013 Frozen (F)

2013 American Hustle (D)

2013 Gravity (D)

2014 American Sniper (D)

2014 Selma (D)

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2014 The Imitation Game (D)

2014 Guardians of the Galaxy (F)

2015 Spotlight (D)*

2015 Inside Out (A)

2016 Zootopia (A)

2016 La La Land (M)

2016 Arrival (F)

* Indicates Academy Award Winner

 

What films did I miss?

Twelve Years a Slave to History: Why Academy Voters Often Miss the Real Best Picture

A college professor reveals the method behind his madness in NOT always choosing Academy Award-winning films when selecting the stories students live by for classroom use.  Part one in 2014 Oscar Week Series.

If history is any indicator, Brad Pitt and the TWELVE YEAR’S A SLAVE producing team will deliver their carefully prepared acceptance speeches Sunday night. Yet history also reveals that, when it comes to picking the film audiences will recognize as truly great twelve years from now, Oscar voters often miss the mark.

by Gary David Stratton • Senior Editor

When it comes to picking the film that will be viewed as truly great in TWELVE YEARS, Oscar voters often miss the mark. (Photo: Indiewire)
If recent history is any indicator ‘Twelve Years a Slave’ (Center) will beat ‘Gravity’, (upper left and continuing clockwise) ‘American Hustle’, ‘Dallas Buyers Club’, and ‘The Wolf of Wall Street.’ (Photo: Indiewire)

 

And the nominees are:

American Hustle [1]
Captain Phillips [2]
Dallas Buyers Club [3]
Gravity [4]
Her [5]
Nebraska [6]
Philomena [7]
12 Years a Slave [8]
The Wolf of Wall Street [9]

 

 

Sunday night tens of millions of viewers from nearly every nation on earth will tune in for the coronation of Hollywood’s “Best Picture” of the year.  Studios spend millions of dollars in countless screeners, screenings, billboards, interviews, Variety Ads, Twitter campaigns, blog attacks, and countless party conversations, seeking to sway the roughly 6,000 members of The Academy of Motion Picture Arts and Sciences voters to crown their film as King or Queen of the industry.

This year’s battle between expensive (and lucrative) visual special effects (VFX) driven Gravity and smaller (and less lucrative) historical period piece Twelve Years a Slave looks awfully familiar to the past three year’s battles between VFX-driven commercial hits Avatar, Hugo, and Life of Pi and smaller period pieces The Hurt Locker, The Artist, and Life of Pi and Argo. The historical films are riding a three-year winning streak, and there is little reason to believe this year will be any different. Everything points to Brad Pitt and the Twelve Year’s a Slave producing team giving their carefully prepared acceptance speeches Sunday night.

Mistakes of History

But do the Oscars always get it right? You wouldn’t think so looking at the award’s history. Arguments are legion. Nearly every year is controversial in one way or another. The truth is, many if not most Oscar winners simply don’t stand the test of time. For instance, there are few Academy voters today who would argue that Shakespeare in Love (1998) was anything close to a classic, yet it somehow managed to win over Stephen Spielberg’s WWII epic, Saving Private Ryan.  The 1968 musical Oliver was certainly endearing, but not nearly as enduring as 2001: A Space Odyssey. Why does such a careful and democratic  process often fail?  Here are a few reasons.

Politics as Usual

Many Oscar winners have “outside the film” appeal to voters that may not always be a genuine indicators of greatness. The Hurt Locker (2009) was a compelling film, but it is hard to imagine how voting might have gone if Katherine Bigelow had not been in a position to be the first female director to win top honors. (Or, if Avatar director, James Cameron–Katherine’s ex-husband–had not alienated many academy voters with his “I’m king of the world” Oscar acceptance speech for his 1998 Titanic win.) In fact, Katherine’s might have been more worthy of winning for last year’s Zero Dark Thirty, but other political factors led to actor/director Ben Affleck’s film Argo winning after he was snubbed in the nominations for best director.

Even more dramatic are the publicity efforts launched by studios and internet devotees in order to promote their films and sometimes smear their rivals.  2011 winner The King’s Speech had to overcome an alleged smear campaign launched by devotees of The Social Network that all but overshadowed the equally deserving Inception.

A Series of Unfortunate Timings

15 years later, it is hard to imagine how ‘Shakespeare in Love’ won over Spielberg’s WWII classic.

Some films are simply too far ahead of their times to even receive a nomination for Best Picture. Citizen Kane (1941) is near the top of most “All-Time Great Films” lists, but lost to the long forgotten How Green is My Valley. Hitchcock’s cutting-edge masterpiece Vertigo is still watched in film schools, while only the most die-hard fans ever watch 1958 winner Gigi. 1999 genre-bender The Matrix couldn’t even garner a Best Picture nomination, yet few doubt that it will be studied as a classic for years to come.

Other great films lose Oscars simply because they are up against other greats the same year.  Forrest Gump (1994) garnered a much-deserved Best Picture Oscar. Yet few would argue that it was unequivocally better than two other celebrated films in the same year: Quentin Tarantino’s groundbreaking  Pulp Fiction, and Shawshank Redemption (currently #1 on IMDB‘s greatest movies ever made.)

Sometimes a film’s novelty gives it a short-term popularity. The unique silent film aesthetics of 2012 winner The Artist helped give it the upper hand over more conventional films. Yet many purists point to the social importance of the civil rights movement portrayal of The Helpthe acting excellence of The Descendants, and/or the overall of craftmanship of Martin Scorsese’s Hugo (11 nominations) as more deserving.

The truth is, the public-relations-driven, artistically myopic, and sometime overtly political nature of Hollywood often make an Oscar a highly unreliable measure of long-term greatness.

How Shall We Then Choose?

The 2011 Picture of the Year had to overcome a smear campaign

What about this year? I am passionately committed to Twelve Years a Slave winning Best Picture, but is my judgment clouded by my passion? If the professionals don’t always get it right, what hope do we mere mortals have? Maybe not much. But over two decades of using film in the classroom has taught me that there might be a better way to predict which film will have true staying power. Although I started out using only Academy Award-winning films, I quickly realized that the Academy isn’t very good at selecting the stories my students live by. So I developed a new set of indicators for picking films that are not so much a slave to contemporary fashion and more in line with which films are still changing students’ lives TWELVE YEARS or more after their Academy Award campaign winds down.

 

Next: 

 


[1] Charles Roven, Richard Suckle, Megan Ellison and Jonathan Gordon, Producers

[2] Scott Rudin, Dana Brunetti and Michael De Luca, Producers

[3] Robbie Brenner and Rachel Winter, Producers

[4] Alfonso Cuarón and David Heyman, Producers

[5] Megan Ellison, Spike Jonze and Vincent Landay, Producers

[6] Albert Berger and Ron Yerxa, Producers

[7] Gabrielle Tana, Steve Coogan and Tracey Seaward, Producers

[8] Brad Pitt, Dede Gardner, Jeremy Kleiner, Steve McQueen and Anthony Katagas, Producers

[9] Nominees still undetermined