|
|
6. Comment on the use of high angle and low angle shots during the scene where Gillespie discovers that Tibbs is a police officer. (points of
|
|
view)
|
|
|
7. Discuss the use of shadows in interior settings (police station, cell). Who casts shadows (Tibbs or Gillespie)? Discuss the use of the cross motif
|
|
(shadow on wall of cell). (lighting)
|
|
|
8. A wide angle shot is used when Tibbs is leaving the Endicott home. How does this serve to enhance the character of Tibbs? (subject movement) Discuss the use of the pan shot in depicting the Endicott home. (camera
|
|
movement)
|
|
|
9. Discuss the use of synchronous and asynchronous sound during the scene
|
|
where Tibbs is threatened by the town’s hoods.
|
|
|
10. Why is Delores Purdy often depicted within a tilted frame? composition)
|
|
C.
Questions:
film adaptation of the novel
|
|
|
1. Are Poitier/Steiger’s renditions of character true to Ball’s creation? Explain.
|
|
|
2. Is the setting as portrayed in the film recognizable as the original
|
setting? (Discuss the film ‘s renditions of setting and character.)
|
|
|
3. Why were the following changes made in the film version?
|
|
|
|
a. Endicott (in the film version) is a racist and the number one suspect of Tibbs.
|
|
|
|
b. Tibbs is confronted by physical danger many more times in the film version.
|
|
|
|
c. The character of the abortionist is included in the film. (What is gained and lost with such changes?)
|
|
D.
Film/television episode:
Other than additional time (which enables better character delineation) what does film offer that television does not? Why? Could TV be doing more?
|