Scene Composition: This densely textured shot is set up to create the feeling of an avuncular academic’s office, similar to Walt Disney’s TV office in his shows of the 1970’s. Soviet era office equipment, curtains and furniture that seem to be from the 1970s in design and color, bookcases filled with books and trophies, and a desk littered with work and office supplies round out the setting. When the camera pans right, we see more furniture, mostly with clear surfaces. There is also a painting of a pack of mastodons on a snowy tundra (another symbol of a long ago time), wall paper that matches the curtains, and a room being painted to match the style in this office. The pink walls representing the era of TGBH are being painted over in a darker color. The Author begins the shot centered, then the shot centers on the boy during the swish pan, and the Author returns to center at the end, where he is joined by the boy. The Author is wearing a Norfolk jacket which carries a…show more content… Editing Style: Jump cut-we’re suddenly at the hotel in the 30’s. Time: There’s no subtitle indicating time period, but this is TGBH in its heyday, the 1930s. In this flashback, we’ve traveled backwards in time compressing fifty years into a moment. Shot 11- 1930’s The Grand Budapest Hotel Shot 11 Start (DVD Time Counter 00:03:20) Shot 11 End (DVD Time Counter 00:3:28) Shot Size: Long shot. Duration: 9 seconds. Sound: The voiceover with the Author’s first person narration continues from the previous shot, introducing us to TGBH. Dominant and Subsidiary Contrast: TGBH is the dominant contrast, subsidiary contrasts are the funicular railcar, the arched foundations, and the foggy trees in the background. Movement: The only movement is the light snow blowing and the funicular railcar moving diagonally up, both moving left to right. The movement is positive and is moving us towards
