Film studies

 Blade Runner - Ridley Scott - First scene with Deckard  The scene starts out with establishing shots of the city scape of the world 'Blade Runner' is set in, creating a tone and aesthetic from the outset of a futuristic dystopian world. The overall dark tones contrasted with the very bright artificial light coming from the city-life connotes this feeling of a broken setting in which the characters live; a darkness underlying that of the bustling world of its population, and that this is in no-way a utopian world set in the future. The world building through the visual aesthetics by Scott from the very start of the film, and the overall detail that he puts into his settings is a signature feature in much of his work, with some people even being critical of this and accusing him of putting style over substance in his films. Though this eye for detail in some of the minor focuses of the film to create such a strong setting, such as the digital advertisements found throughout the

 The Lady from Shanghai - Orson Welles - Opening scene  The scene opens with a tracking shot of Elsa (Rita Hayworth) in a horse and carriage with a zoom in focus on her character. The high key lighting on her in the shot, as well as the mise-en-scene of her dress being white, highlights connotations of her character seeming pure and innocent from the outset of the film. This is explored even further when she finds herself in a mugging situation later on in the scene in the park, with Michael (Orson Welles) coming to save her. This concept of Elsa being an innocent character is further explored through light connotations of Hayworth's blonde hair, a common stylistic feature in many of Welles' films, which was also a controversial decision and angered Columbia when he did it as it was a change from Hayworth's infamous red hair. The idea of Elsa being presented as pure within the start of the film could reflect Michael's view of her as being a damsel in which he must save,