cinematography

The monarch of the glen clip starts with a very short dolly shot of the older men on the farm starting/finishing a hard day of work, with the hard labouring tools clearly in view.
The next shot turns into an over the shoulder shot as the girl (Amy) walks out into the court yard. This is also seen as an establishing shot as the camera pans left, showing all the immediate location. The medium long shot of Amy also gives up a clue of her age as she wears casual teenage clothing which the older characters even though of a different sex are at a contrary.
There is then a close up of Amy in the land rover. This shot shows the uncertainty in her ability to drive, and proves to the audience that she is either not old enough to drive, or not capable of driving. There then is a transition to a close up shot of the younger man. His face shows he is unsure of Amy’s truthfulness.
Off shot we then hear a car crash. Here features a high angle shot showing both the cars which collided. As Amy scatters towards the fatherly figure of the clip there a a few quick transitions firstly showing medium long shot of the old man then back to the group ( Amy, the young man, and the fatherly figure) then back to the older man but zoomed in as a medium close up. This shows the importance of the character/ the importance of what the character has to say at that moment. After the lies are out the camera zoomed in on Amy for her reaction which is of guilt.
As the two men walk into the mature wooden fitted room the camera slowly zooms whilst panning left ever so slightly. Just before the men leave there is an over the shoulder shot whilst more of Amy’s lies are revealed. Once the father figure returns to Amy there is a sequence of high and low angle shots to show where the power lies within the pair making look small, and projecting the status of the man.
There is then a sequence of random shots showing the workers hard at work. The non diegetic music playing sets the scene and could also be seen as thematic editing.
The shot is Amy’s room starts above the bed slowly tilting down to the gifts she has placed there. This shot not only shows she is in the process of running away but also shows an idea of age, by the magazines left on the bed (young teen mags), and the teddies she left. The camera then tilts up and pans right towards the mirror showing the photo’s Amy possesses and the sombre look on her face. The camera then starts off outside the window and tilts up to show the older woman in centre shot as she realises Amy has run away.
In the last scene in the clip there is an extreme long shot, showing the father figure being confronted about the job his workers are doing. This shot not only shows the body language of both the accuser and offender, but also the workers still carrying on none the wiser whilst setting the scene and letting the audience see the scenery. There is a shift transition into a two shot/ mid shot of the two men as the frustrated man speaks his dialogue. The is then a small dolly shot as the old woman tries to catch up to the father figure (Paul). As she informs him that Amy has run away there is another shoulder shot, which quickly leads into a close up of Paul to show his reaction.