Zankyou no Terror Episode 11

Thursday, September 25, 2014

While the finale didn’t meet my expectation of gripping composition and more dynamic camera work, I still think it delivered some interesting shots. It’s also hard to be disappointed when the finale also delivered a strong cohesive visual storytelling from the countdown to the aftermath.

The red beams in the background serve two purposes. First, they give the audience an idea of his location (Tokyo Tower), which explains Nine’s high vantage point. Second, red is a striking color further intensified by the muted foreground. This combined with the movement of the elevator creates a dynamic shot that expresses an imminent dangerous act that builds anticipation. This shot is far more interesting when seen as a contrast to this shot (cool vs. warm) and part of the visual narrative.
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The camera behind the wall, the shallow focus and a very slight shaky cam give a feeling of a first person view of Lisa and Twelve. This makes the shot feel more personal and involving. The park setting and the soft lighting create intimacy.  I like that the soft lighting wasn’t used to spotlight the characters, which would’ve taken away the subtlety of the shot.
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The explosion created an intense and warm lighting. It’s an astonishing and moving sight for everyone except Nine. As you can see in the second image, he’s unstirred by it. To him this is just a final part of a long tragic journey.

The after-effects of the explosion produced a green glow resembling that of an aurora borealis. This scene acts as the cool color contrast to the previous one. The contrast is best demonstrated by the expressiveness of Nine’s face. He’s amazed by the serene and calming sight in front him. It’s also a look of relief, as if to say, “It’s finally over.” It’s an expression reflecting the relaxing scenic view that signals the end of this whole ordeal.
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Some of these still shots show the aftermath of the explosion; the once crowded streets are now empty and the train at a standstill. Interspersed among them are stills from the earlier episodes, a restrained way of showing how it all began. This sequence of stills also serves as a breather for the audience. It acts as a transition to a playful scene of the three characters with their guards down and acting like kids for the first time in the series
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A year after Twelve and Nine died both Lisa and Shibazaki are at peace with all that transpired. The peaceful nature of the dialogue is reinforced by the use of an S-curve (stream). The graceful line of the S-curve is a compositional tool often used to evoke a feeling of tranquility and gentleness. In this shot it also acts as leading line guiding the viewers’ attention to the two characters.

1 comment:

  1. That elevator scene can't be anything other than an Utena reference :D
    http://youtu.be/dwud_XQGjhQ

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