Overall, I found the visual techniques of this film to be fairly basic. Not to say that it was boring or underachieving in any way, but more of a skilled implementation of classic technique. I think that with initial visual impact of stop motion animation, coupled with an intense soundtrack, and the distinctive use of color, the addition of any really abstract visual manipulation may have pushed this film over the edge.
In terms of overall visual approach, this film leans more towards the inductive, although deductive scenes are used intermittently as well. We are primarily looking at the event, but we are definitely let in at key times to experience the emotion of the events.
The majority of scenes do begin with close up shots, then ...view middle of the document...
This is sort of our formal introduction to our protagonist and the director uses this shot consistently throughout the film when he wants us to stop and re-connect emotionally to what’s happening, or even more often what’s about to happen .
The inductive approach continues with the city shots; rather than using a wide angle lens to give a sense of expanse, a narrow angle is use and the graphic mass of the buildings is significant against the small frame. In addition, overlapping technique is used to create depth and a sense of relative size, so we perceive big buildings, stacked sort of against one another, gray and oppressive.
In terms of POV, there is an overall objective feel to this film, as I mentioned earlier, we are often looking more at this event, than into it. However, this makes the director’s selective use of subjective POV very effective, as the only truly subjective shots are used when our main character is engaging in his creative process and we experience his physical and emotion interactions with his invention. This is a really deliberate use of this POV, and quite successful in my opinion.
This director also employs a very traditional sense of low-angle and high-angle camera, respectively, to illicit the relative perceptions of superiority (the boss on the upper landing) and inferiority (our protagonist on the factory floor), and then back again to low-angle with the implied power and achievement of our main character, as he is portrayed literally on a pedestal after experiencing the success of his invention.
One last thing I’d like to note is the use of secondary motion in this film, the director clearly favors a technique of panning laterally and ending with a quick stop, emphasizing the attention and focus on the final shot.