THE PASSION OF THE CHRIST FILM ANALYSIS

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 I. Introduction



What is special about the film?



 The Passion of the Christ is a 2004 film co-written, co-produced and directed by Mel Gibson. It
 is based on Catholic accounts of the arrest, trial, torture, crucifixion, and resurrection of Jesus,
 events commonly known as "The Passion". The film was rated R by the MPAA for "sequences of
 graphic violence." The film’s dialogue is in Aramaic, Latin, and Hebrew, with subtitles. It is the
 highest grossing non-English language film and the most successful R-rated film in the United
 States.




Your reason for choosing


 My main reason for choosing this film is that on seeing this film I’m really admired by the way
 that the film has been taken and the unbelievable set creation and from this film I can clearly
 understand the sufferings of Jesus Christ and the way the artists had acted in this film and real
 horror, twist, turning points , conflicts and finally the crucial climax
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 2. Film Details and Credits


Title :-                The Passion of Christ



Film format :-          35 mm



Type of the film :-     Devotional



Film genre :-           Drama



Film length :-          126 min



Date of release :-      25 February 2004



Language :-             Aramaic, Latin, Hebrew



Country of origin :-    United states, Israel



Production Company :-   Icon Production company
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i. Names


Director :-             Mel Gibson



Producer :-            Bruce davey, Mel gibson



Story/screen play :-    Benedict fitzgerald



Cinematographer :-      Caleb Deschanel



Editor :-               John Wright



Art direction :-        Pierfrance luscri, Daniela parschi



Costume designer :-     Maurizio Millenotti, Giovanni casalnuovo



Special effect director :- Renato Agustini



Make up :-         Brian Meck



Music :-               John debney
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ii. The Caste


           Actor/Actress                  Role


           James Caviezel                 Jesus


          Maia Morgenstern                Mary


           Monica Bellucci             Magdalene


            Hristo Shopov            Pontius Pilate


           Mattia Sbragia               Caiphas


         Rosalinda Celentano              Satan


            Hristo Jivkov                 John


          Francesco DeVito                Peter


            Luca Lionello             Judas Iscariot


           Claudia Gerini            Claudia Procles


        Pietro "Pedro" Sarubbi          Barabbas


            Sergio Rubini                Dismas
                       5



 Francesco Cabras               Gesmas


   Toni Bertorelli          Annas ben Seth


 Roberto Bestazoni              Malchus


 Giovanni Capalbo               Cassius


 Emilio De Marchi           Scornful Roman


 Roberto Visconti           Scornful Roman


   Lello Giulivo             Brutish Roman


     Abel Jafry            2nd Temple Officer


    Jarreth Merz            Simon of Cyrene


    Matt Patresi                 Janus


    Fabio Sartor               Abenader


Luca De Dominicis            Herod Ántipas


Sabrina Impacciatore            Seraphia
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3. Narrative Elements




i.Theme


In The Passion Gibson says "This is a movie about love, hope, faith, and forgiveness. He [Jesus]
died for all mankind, suffered for all of us. It's time to get back to that basic message. The world
has gone nuts. We could all use a little more love, faith, hope, and forgiveness."He also explains
one of his appearances in the film, the close-up of his hands nailing Jesus to the cross: "It was me
that put Him on the cross. It was my sins [that put Him there]."




ii. Synopsis


The film opens in Gethsemane in medias res as Jesus prays and is tempted by Satan, while his
apostles, Peter, James, and John sleep. After receiving thirty pieces of silver, one of Jesus' other
apostles, Judas Iscariot, approaches with the temple guard and betrays Jesus with a kiss. Peter cuts
off the ear of Malchus, but Jesus heals the ear. The temple guard arrest Jesus and the apostles flee.
John tells Mary and Mary Magdalene of the arrest, and Peter follows Jesus at a distance. Caiaphas
holds a trial of Jesus over the objection of some of the other priests, who are expelled from the
court. When questioned by Caiaphas whether he is the son of God, Jesus replies "I AM", which to
Caiaphas justifies the charge of blasphemy, and Jesus is condemned to death.

                                 Three times Peter denies knowing Jesus, and the remorseful Judas
returns the money. Tormented by demons, Judas flees the city and hangs himself with a rope from
a dead donkey. Crows fly down and peck his eyes out, and eat them.Caiaphas brings Jesus before
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  Pontius Pilate to be condemned to death, but after questioning Jesus, Pilate sends him instead to
  the court of Herod Antipas, as Jesus is from Herod's ruling town of Nazareth. After Jesus is
  returned, Pilate offers the crowd that he will chastise Jesus and will be set free. Jesus is viciously
  scourged but the people still demand Jesus to be crucified.

                                              A depiction of the last twelve hours in the life of Jesus of
Nazareth, on the day of his crucifixion in Jerusalem. The story opens in the Garden of Olives where Jesus
has gone to pray after the Last Supper. Betrayed by Judas Iscariot, the controversial Jesus--who has
performed 'miracles' and has publicly announced that he is 'the Son of God'--is arrested and taken back
within the city walls of Jerusalem. There, the leaders of the Pharisees confront him with accusations of
blasphemy; subsequently, his trial results with the leaders condemning him to his death. Jesus is brought
before Pontius Pilate, the Roman Governor of Palestine, for his sentencing. Pilate listens to the accusations
leveled at Jesus by the Pharisees. Realizing that his own decision will cause him to become embroiled in a
political conflict, Pilate defers to King Herod in deciding the matter of how to persecute Jesus. However,
Herod returns Jesus to Pilate who, in turn, gives the crowd a choice between which prisoner they would
rather to see set free--Jesus, or Barrabas.

                                        The crowd chooses to have Barrabas set free. Thus, Jesus is handed
over to the Roman soldiers and is brutally flagellated. Bloody and unrecognizable, he is brought back before
Pilate who, once again, presents him to the thirsty crowd--assuming they will see that Jesus has been
punished enough. The crowd, however, is not satisfied. Thus, Pilate washes his hands of the entire dilemma,
ordering his men to do as the crowd wishes. Whipped and weakened, Jesus is presented with the cross and is
ordered to carry it through the streets of Jerusalem, all the way up to Golgotha.

                                       There, more corporal cruelty takes place as Jesus is nailed to the cross--
suffering, he hangs there, left to die. Initially, in his dazed suffering, Jesus is alarmed that he has been
abandoned by God his father. Eventually, he overcomes his fear and with his last breaths, tells Mary, his
Mother, "It is accomplished." He then beseeches God, "Into Thy hands I commend my spirit." At the
moment of his death, nature itself over-turns.
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iii. One line Order




Total no of Scenes :- 26



1) The film opens with Jesus (James Caviezel) and his apostles in Garden of Gethsemane, on the
evening prior to his crucifixion and just after having celebrated the Last Supper. Christ is in agony
over his impending fate and he prays to God the Father to spare him from what is about to take
place.

2) As he prays, an ambiguous hooded figure appears to torment him, suggesting he needn’t go
through this ordeal. This devil incarnate (Rosalinda Celentano) tempts Jesus, but he resists,
crushing a slithering snake under his heel.

3) one of Jesus' other apostles Judas receivies thirty pieces of silver, Judas Iscariot, approaches with
the temple guard and betrays

4) Soon after the Sanhedrin guards arrive with Judas (Luca Lionello) leading the way; the turncoat
apostle betrays Jesus’ identity with a kiss on the cheek, and the guards violently apprehend him.

6) But Peter (Francesco De Vito) fights back, cutting off one of the guard’s ears with his sword.
Jesus implores Peter to relent and cures the guard’s wound by healing his severed ear back into
place.

7) With that, Jesus is led off for a late-night meeting with Caiaphas (Mattia Sbragia) and the other
high priests of the Jewish Sanhedrin After listening to a series of planted witnesses speak of Jesus’
“black magic” and use of “evil spirits”

8) Fearful of the following he’s gained, a select number of the high priests clearly want to get rid of
Jesus who was proclaimed as the promised Messiah when he arrived in Jerusalem just a week
earlier.
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9) Already on thin ice with his superiors, Pontius Pilate doesn’t want to have any further problems
and tries to first pawn Jesus off on King Herod (Luca De Dominicis), who is even less interested
and impressed with the would-be Messiah.

10) Herod sends Jesus back to Pilate. Noting that it is Caiaphas and his Sanhedrin elders who seem
intent on punishing Jesus, Pilate then attempts to turn the now bruised and beaten Christ back over
to them; but they cleverly point out that they are under Roman law and only the Romans can carry
out the proper justice.

11) Frustrated, Pilate orders that Jesus be whipped and scourged as a deterrent in the hopes that it
will appease the Jewish leaders

12) Flesh is literally ripped from Jesus body, rendering him weak and lifeless after the brutal ordeal.
As if to add insult to injury, the Roman guards then force a crown of thorns onto his head and
parade him back to Pilate and before a public crowd looking like a beaten and bloodied king.

13) Three times Peter denies knowing Jesus, and the remorseful Judas returns the money.
Tormented by demons, Judas flees the city and hangs himself with a rope from a dead donkey.
Crows fly down and peck his eyes out, and eat them.

14) Still not satisfied, members of the crowd ask that Jesus be crucified for his blasphemy.

15) When Pilate offers them a choice to release either a known felon — a man named Barabbas
(Pedro Sarubbi) — or Jesus in observance of Passover, they pick Barabbas, thus leading to Jesus’
final condemnation.

16) Pilate orders Jesus to be crucified and he is given his cross to carry through the streets — an
added touch the Romans used to both humiliate the condemned and serve as a public deterrent to
potential criminals.

17) It’s here that the movie strictly adheres to the Gospels and the ceremonial Stations of the Cross
in following Jesus’ slow and painful trek from Pilate’s house to Calvary, where he will ultimately
be nailed to the cross he bears.

18) But Gibson adds some nice directorial touches to enhance the experience along the way —
occasional flashbacks to Jesus’ earlier life and teachings, variations on each of Christ’s three falls
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along the way, and the gradual closing in of the crowd as they approach their destination on
Golgotha.

 19) There is a touching sequence where Jesus encounters his mother Mary (Maia Morgenstern)
 along the way, and the two have an emotionally-charged moment where an earlier memory of him
 falling as a child is triggered by his falling under the weight of the cross.

 20) Constantly at Mary’s side are Mary Magdalene (Monica Bellucci) and the apostle John
 (Christo Jivkov), both of whom do some impressive silent acting through their facial expressions.

 21) Jesus also has a couple of nice moments with Simon of Cyrene (Jarreth Merz), the innocent
 bystander who is forced to help Christ carry his cross when he is unable to do so himself;

 22) A young girl named Veronica, whose kindness in wiping Jesus’ face with her veil is rewarded
 with an iconic image imprinted on the cloth.

 23) Whipped and weakened, Jesus is presented with the cross and is ordered to carry it through the streets
 of Jerusalem, all the way up to Golgotha.

 24) There, more corporal cruelty takes place as Jesus is nailed to the cross--suffering, he hangs there, left
 to die. Initially, in his dazed suffering, Jesus is alarmed that he has been abandoned by God his father.

 25) Eventually, he overcomes his fear and with his last breaths, tells Mary, his Mother, "It is
accomplished." He then beseeches God, "Into Thy hands I commend my spirit

 26) At the moment of his death, nature itself over-turns.
                                                       11


  iv. Characterization




1. Mary Magdalene. Mary Magdalene is present (along with the disciple John) with Mary the mother of
    Jesus throughout the movie. Her characterization is fairly accurate until we reach a scene with many
    disputable events. As she and Mary the mother of Jesus get down on their knees and wipe up the blood
    of Jesus after His scourging (a scene for which we have no evidence anyway), she has a flashback to a
    previous scene. We see the character of Jesus sitting on the ground writing in the sand and then Jewish
    men and elders in front of Him throwing down stones and walking away. As this occurs we see the same
    woman who is having the flashback-- Mary Magdalene-- crawl over to the character of Jesus and kiss
    His feet. The connection cannot be denied; Mel Gibson has cast Mary Magdalene as the woman caught
    in the act of adultery as described in John 8:1-11. There is absolutely no evidence from the Scriptures
    about Mary Magdalene as being this adulterous woman (or, for that matter, as a prostitute, which is how
    she is generally portrayed) or any such thing.




2. The role of Pilate's wife. In Matthew 27:19 we read the following:


And while he was sitting on the judgment-seat, his wife sent unto him, saying, "Have thou nothing to do with
that righteous man; for I have suffered many things this day in a dream because of him."


Here we see Pilate's wife speaking to Pilate regarding Jesus and her advice to have nothing to do with Him.
Gibson takes this one episode and for whatever reason greatly increases her role. We see Pilate's wife
standing in the peristyle while the Jews ask for Jesus' condemnation; we even see Pilate's wife coming down
to where Jesus was scourged and giving cloths to Mary the mother of Jesus and Mary Magdalene who use
them to wipe up the blood (see above). This is entirely fanciful and is one example out of many where
Gibson has taken significant liberties with the Gospel accounts.


3. Satan. We read the following regarding Satan after his temptation of Jesus in Luke 4:13:


And when the devil had completed every temptation, he departed from him for a season.
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We do not hear of any specific times when Satan returns to tempt Jesus, and we certainly will not deny the
strong possibility that Satan in some way did tempt Jesus during His last hours on earth. Regardless, the
ever-presence of Satan in a physical form throughout the movie is excessive. We see him in the garden of
Gethsemane attempting to get Jesus to deny His mission; Satan even sends out a serpent from his person
toward the character of Jesus; the character portraying Jesus stands, looks at Satan, and crushes the head of
the serpent. Gibson has literalized the metaphor of Genesis 3:15:


and I will put enmity between thee and the woman, and between thy seed and her seed: he shall bruise thy
head, and thou shalt bruise his heel.


Satan re-emerges at every major scene: the scourging, during the walk from Jerusalem to Golgotha, and in
the crowd at the crucifixion. While we certainly will not deny the possibility of Satan having done such
things to Jesus during those final hours, we want to make certain that everyone understands that the
Scriptures never speak of Satan doing these things.




4. The presence of Mary We are not told about Mary's involvement in the time before this; Gibson, however,
has given us a very liberal dose of her. While we read nothing of her in the Gospels save at the cross, she is
the second most present character in Gibson's movie behind Jesus Himself. While this alone perhaps could
be chalked up to artistic license, the fact that the character portraying Jesus prays to the Father during the
walk from Jerusalem to Golgotha and says that, "I am the Son of Your handmaid," and the fact that the
character playing the disciple John calls Mary "mother" on many occasions before Jesus gives him this
commission at His crucifixion demonstrates amply that Gibson has read his Roman Catholic beliefs about
the perpetual Virgin Mary into the account of Jesus' death and has given Mary a role far greater than that
given to her by the Gospel writers.
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IV. Critical comments


i. Film Review




The danger of a film like The Passion of the Christ is the fervour with which people will declare
that it is unadorned "truth," will imagine that writer/director/hands-that-pound-the-nails-into-Christ
Mel Gibson has somehow pointed a camera through a porthole into 33 A.D.--will forgive the piece
any number of otherwise unforgivable cinematic sins, any abundance of opposing historical and
canonical evidence, for fear that their discomfort with the picture might be read as blasphemy and
that their ignorance of the minutia of scripture will be revealed. It is the sort of fearful, hysterical,
insular, self-righteous groupthink in which the rabble Gibson blames for Christ's death engages,
and the ironies embedded in the film and its reception don't end there. It seems ridiculous to
remind that the film is no more and no less than Gibson's interpretation of the last twelve hours of
Christ's life. The question worth asking is before this film, how many of its defenders looked to
Gibson for guidance in cosmological (or any) issues? How it is that making a film in our cult-of-
celebrity culture gifts any filmmaker the credentials of theologian pundit? Mel's on the cross, he
blames the Jews (and now the critics) for putting him there, and his whole career begins to
coalesce as a parade of martyrs.

One moment in the middle of this guignol lands with a power not born of sadism and rage
(Gibson's sadism and rage, not the Romans' or the Jews'): Christ (Jim Caviezel) falls as He's
carrying his cross to Calvary and his mother (Maia Morgenstern) runs to His side, overcoming her
fear and revulsion by remembering a time that she ran to comfort Christ as a child. It's the only
time in the film save the first few minutes where Christ can be referred to with a lower-case
pronoun--the only time that the humanity within the divinity is on display. In truth, our only
genuine accessibility to this greatest story ever told is through that promise of humanity. That was,
after all, the point, at least to the extent that I ever understood the point. But even this moment is
no more or less effective than a slap to the face, provoking a visceral reaction that isn't revulsion
this time around, but empathy. The image of a mother running to her child in peril makes most of
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us feel something--even if you don't know the mother and have only a passing familiarity with the
child. A lot of people will bring with them the idea that they have something more than a passing
familiarity with the Christ represented by Caviezel and Gibson in this film, and bully for them--it's
just not in the text of the film.

The film opens with Christ in a cool blue Gethsemane, lensed by Caleb Deschanel as a dreamscape
capable of supporting a manifestation of Satan (Rosalinda Celentano), some sort of Miltonic Sin
that births serpents as she squats on the twilit grass--and the film ends (not including an oblique
epilogue suggesting the Resurrection) with that same Satan howling at Calvary as man's sins are
washed clean. I know what's happening in the film because I have a passing familiarity with the
Christian mythology. I know, for example, that Mary Magdalene (Monica Bellucci) was a whore
even when the film fails to tell me so; I know who Peter (Francesco De Vito) is, that historically
speaking Pontius Pilate (Hristo Naumov Shopov) was a vicious dictator, that the Sanhedrine may
have been acting in the interests of preventing Pilate from decimating the Jewish population in the
pursuit of one man... But The Passion of the Christ doesn't tell us these things--it suggests that
Caiphas' (Mattia Sbragia) hatred is bottomless and that he is effectively solely responsible for
Christ's crucifixion, that Pilate was a well-meaning bureaucrat caught between a rock and a hard
place, that King Herod was a demented homosexual (I don't know if Mel hates Jews, but I'm pretty
sure he hates gays--Braveheart is the blueprint for this film in any number of ways), and that
Christ was killed because he said things about living and dying by the sword.

The Passion of the Christ is full of passionate intensity, sound and fury, signifying nothing.
Decorated with ghoulish, surgical details of the indignities visited on His body, it's a theological
discussion with an artist interested in constant, repetitive, deadening, table-punching declarations
of how Christ died for our sins. I admire the hell out of Gibson for making a film this naked: it's a
work of divine madness (something of a cross between Pier Paolo Pasolini's The Gospel According
to St. Matthew and his Salo: 120 Days of Sodom--the gospel according to de Sade) really not for
anyone except Gibson and people who spend a lot of time deriding films that are this borderline
exploitive that don't also have the good fortune of revolving around their saviour.
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  ii. Evaluation of the film
   (Based on directors other film)



                           Mel gibson’s other film is The man without the face. The story of the film isthe
film takes place in the turbulent era of the late 1960s. For the past seven years, Justin McLeod (Gibson) has
been living the life of a recluse painter. McLeod, a former teacher, has lived this way ever since a car
accident left him disfigured and killed one of his students. However, a young boy named Chuck needs a tutor
to help him pass a military academy's entrance exam. He eventually is able to persuade McLeod to become
his teacher, and the two develop a friendship.


  Chuck keeps his daily meetings with McLeod a secret to avoid the scorn of being associated with
  the disfigured man with a past shrouded in mystery. When his mother learns that Chuck has been
  visiting the man, she and the rest of the town are convinced that McLeod must have been
  molesting the child, despite Chuck's repeated denials. Chuck confronts McLeod, and learns the
  full story of his disfigurement: McLeod, a former teacher, was in a car accident with a student
  who was in love with him. He was branded a pedophile and exiled from his hometown. Once his
  relationship with Chuck is discovered, McLeod is once again railed out of town and ordered by
  the authorities not to have any sort of contact with Chuck.

  On his way out of town, McLeod leaves Chuck a note wishing him the best of luck in his
  academic goals and a reminder to tolerate people who are different. In the film's finale, Chuck is
  shown graduating with honors from the military academy and sees a mysterious figure in the
  background, recognizing it as his tutor, the man without a face.

                           By seeing these two films i clearly understand mel gibson is giving more
  importance to the social issues and want to give some reasons for those problems and he try his
  level best to give a nice and balanced conclusion
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  iii. Evaluation of film

  (With films of similar genre)


“The Passion Of the Christ” and “The Ten commandments” are from same genre i.e.) drama

"The Ten Commandments" is a milestone film. For some, those of us in their 50's or older, it represents the
end of an era: Some call it "The Golden Age of Hollywood"; the beginning of the end of the studio system;
and the end of a period in which the real founders of the "public art" took, or began to take, their final bows --
DeMille, Zukor, Goldwyn, Selznick, and others.


For those of us who saw "The Ten Commandments" on the big screen and in one of the now extinct gilded
movie palaces of yesteryear, the picture holds special memories. There is a sense of nostalgia that
accompanies any new viewing of this one-of-a-kind Victorian pageant. For many, I'm sure, the nostalgia
extends beyond the film itself.


There were problems in the mid-fifties, as in every decade since the real Moses came down from Mount
Sinai. Polio, the continuing menace of poverty, the material and spiritual separateness of what we called
"colored people", Communism, etc. But . . . there were virtues too, many reflected in the writing and
performances of "The Ten Commandments": Virtues like courage, strength of character, personal honor, and
endurance were paramount (no pun intended). The biggest problem in schools was students chewing gum in
class. Today, it's students "shooting-up" in parking lots or shooting down their classmates in the halls. . .
America had an identity then.


DeMille's vision was, always, of "an ideal". He painstakingly produced authentic looking packages in which to
wrap his vision -- embellished by the "glitz" of what was, then, the "ideal" Hollywood portrait: Bluer than blue
skies; shimmering, jewel-encrusted costumes; out-sized architecture; dramatically convenient thunderbolts;
and perfectly lovely female leads, with make-up invariably and predictably un-smudged. DeMille gave his
audience what they expected from an "A" picture. He wasn't interested in realism. His idea was to reinforce
values he'd learned from his parents and his brother (a noted playwright) in a dramatic format which could be
"felt" by young and old, alike . . . more a reverence for time-honored principles than the analytical, ironic, and
questioning approach dominant in the films of today. There was in the 50's and the 40's a more amicable
attitude toward "orthodoxy" -- in all its forms. Hence, the overwhelming popularity of every DeMille production
released during that period.
                                                          17


After fifty years, "The Ten Commandments" is still impressive visually, dramatically, and especially in terms
of the intensity of its convictions (reflected in all the biographies of the principals) . . . something which
cannot be said of many similar big-budget pictures of the same era.


One day, someone may attempt a re-make. Expect that it will be visually impressive and less "stagy". But . . .
expect, as well, that it will be punctuated with the obligatory mandates of political correctness; an uncertainty
about its message; and a healthy dose of Twenty-First Century cynicism. It will be more "realistic" to be sure,
but far less "authentic" -- like a perfume ad, physically attractive, but without a "heart"




   5. Awards/Nomination details


  Awards for
  The Passion of the Christ
                                ASCAP Film and Television Music Awards

   Year      Result        Award                                Category/Recipient(s)

                           ASCAP       Top Box Office Films
   2005       Won                      John Debney
                           Award




                                             Academy Awards, USA

   Year      Result        Award                                Category/Recipient(s)

                                       Best Achievement in Cinematography
                                       Caleb Deschanel


   2005 Nominated           Oscar      Best Achievement in Makeup
                                       Keith VanderLaan
                                       Christien Tinsley
                                                      18



                      American Society of Cinematographers, USA

Year   Result      Award                                     Category/Recipient(s)

                         Outstanding Achievement in Cinematography in Theatrical Releases
2005 Nominated ASC Award Caleb Deschanel




                       Broadcast Film Critics Association Awards

Year   Result      Award                                     Category/Recipient(s)

                   Critics     Best Popular Movie
2005 Nominated     Choice
                   Award




                                           Capri, Hollywood

Year   Result      Award                                     Category/Recipient(s)


                               Dolores O'Riordan
                 Capri Music   For her interpretation of Schubert's "Ave Maria".
                   Award       Dolores O'Riordan had planned on attending the festival and accepting the award on December
                               17th, 2004. However heavy rainfall in Capri and the fact that O'Riordan was seven month's
2004    Won                    pregnant at the time forced the trip's cancellation.


                    Capri
                   Special     Claudia Gerini
                   Award       Also for Non ti muovere (2004).
     19




SCREEN SHOTS
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APPENDICES

Extreme close up:-It is a shot from mid-forehead to chest above the chin or even closer.

Close up:-It is a shot just above the fore-head to the upper chest, cuts below the nektic.

Medium close up:-It is like a passport size photo, cuts the body at the lower chest.

Medium shot:-It is from the waist to the head.

Medium long shot:-It is from head to knees.

Long shot:-It shows the entire body with short distant above and below the subject.

Extreme long shot:-It has background dominating the individual.

Pan:-It is used to keep moving with the subject and also show its relationship.

Tilt:-It is used to show the elements lying above and below the field of view.

Dolly-in and Dolly-out:-Moves front and back with the pedestal.

Crab:-It is a lateral movement of camera on a track and trolley and it moves sideways.

 Pedestal-up and Pedestal-down:-In this camera moves up and down within the camera mouth.

Arc-right and Arc-left:-It is a angular movement of both camera and tripod
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