Juno 9 Shot #2

 

Shot 1 -  

The film kicks off with a shot of Juno, walking down the street carrying a family sized carton of orange juice. She is dressed very casually as if she isn't particularly bothered about her appearance or what other people might think. This is reinforced when she meets a group of track runners in matching uniforms. The uniforms completely contrast Juno's clothes, as the shorts the runners wear show a lot of skin, and people would expect those to be worn in summer weather, even though it appears to be autumn. She is walking one way down the pavement and the boys run the other way, parting around her like a school of fish. This shows that she goes against the crowd, unconventional and unaccepted in this way. Once the runners leave he screen, the style changes to roughly sketched outlines. The buildings appear only as concept drawings and childish shading provides the colour. This is relevant due to the film being about children and pregnancy.

  

Shot 2 -

Shot 2 is shorter, and shows a lot of different textures. The houses are now made of grid paper and nothing casts a shadow but Juno. The credits look as if someone has drawn them in bubble writing to make them stand out. The windows are blank and show nothing within. Also, only the primary colours are featured here. Everything is very basic - apart from Juno. Her sketched self is very detailed a realistic, with the artist having drawn the folds in the fabric of her clothes and accurately cast her shadow. There is nobody else in the shot, which echoes the notion of Juno being/feeling alone.

Shot 3 -
Shot 3 features leaves that look as if they have been cut out of a magazine, only their outlines have not been properly trimmed off - also quite childish. Her shadow is not as accurate, and appears as if the light source is directly above her. The grass is very juvenile, having no texture and consisting only of seams. Juno is again the most detailed image in the shot.

Shot 4 -
Shot 4 is another pan, and now all seams are gone also. There is no telling where the ground is, where it begins or where it ends. The leaves are much less detailed as well, as if everything in Juno's world is getting simpler and simpler, more childish and messier. The minivan appears to be suspended in mid air seeing as their are no guidelines or shadow.

 

 Shot 5 - 

Here shot four runs into shot five. Shot four Juno can be seen walking across the top of shot 5 for the duration, whilst shot five Juno walks towards the camera, yet never moves. The houses, ground and bins are all one block colour, as if drawn as part of a cartoon that remains uncoloured.

 

Shot 6 -
The telephone pole is relatively 2D, which is a traditional convention in children's cartoon programmes. The lamppost blends into the sky and the cables are pencil thin, making it somehow lazier than real life.

Shot 7 -
Shot seven looks quite like a collage in that the trees and Juno are photographed but the houses, birds, sky and clouds are all sketches. The mixture of outlines and detail layered together along with the awkward 'stop motion' walking make the shot seem very divided.

Shot 8 -
The ground in shot 8 seems very unnatural, and there is no sign of nature here as there has been in the previous shots (trees, leaves, clouds etc.). Here it doesn't look as if Juno is actually walking on the driveway almost, which goes back to the layering. She also walks past some important items that appear later in the film, which the audience don't realise yet. Also, the sketching on her clothing seems to be getting simpler, especially her shoes and her left hand. Again there is no shadow. The shot looks cold and hard, again only using primary colours which make the shot look drained.

Shot 9 -
Again, shot nine shows Juno walking down the street at a less than natural angle. the fence and the buildings seem almost out of proportion in comparison to her. The horizon has melded together and has been reduced to white, blue, and pencil thin outlines. It is as if the further Juno walks, the less detailed, colourful and realistic the world looks, as if it stops where the pavement stops. It is almost as if she's walking off the edge of the clip and if she hand walked the other way from where the film started she would look natural and so would everything else. It would all stay normal, which is like her life - she had two options 'pregnant' or 'not pregnant'. Because she became pregnant her world disintegrates around her. If she had continued on without this life changing event happening to her, she would go on as normal.



Again this film is one I'd like to take as much inspiration from as I can, as I feel the opening is so effective and the feeling the audience gets from the grunge-nerd style is what I'd like to apply to my film.