Key scene: Ricks introduction

. Main plot; relationship between Ilsa and Rick

6:10- 8:50 intro to Rick 
Cinematography : - how does it follow classical hollywood film form 
. How rick is first presented: Tilt down and track into the door - fluid and slow, alluring/ enticing 
. pan right taking us through the bar, following the guests movement to keep the spectators eye moving through the scene - then track in on sam - characters in the background looking at sam 
. variety of characters with two shots - all trying to leave casablanca (spheres of environment) - creates atmosphere - 3 shot lighting, smoky background + characters always in the background, camera movement often follows characters 
. Rick introduced before we see him - we hear about him - establishing Rick 
. First thing we see is him signing a check in a CU - documentation relating to the documentation that Rick has power over 
. Chess and smoking (strategist) close up 
. tilt up to him in a single, clean and well dressed in a white tux 



Compare how far your chosen films reflect the different production contexts 

"studio had faces then, they had their own style." Billy Wilder states how in Casablanca, we can see the warner brothers signature style. Notably the big screen realism of the melodramatic love triangle, the elements of crime and a charismatic male protagonist. 


Elements of classical hollywood film form can be seen in the introduction to Rick, but we can also see elements of auteurship in this seen as well, though this 'autuership' is enabled by the studio system and also limited by it. This auteur ship however works within with the classical hollywood film form bringing into question whether the studio or auteur has more creative control in this scene. Curtiz 'auteur' signatures are also signatures of classical Hollywood, such as the establishing shot of Ricks bar then followed by 

With Rick embodying US power, having the means to intervene with the international conflict but stubbornly refusing 

Rick and Ilsa first encounter + Reno + Lazzo
Mise en scene
. distancing, blocking and proxemics
. Soft box lighting, honey comb filter, Fresnel filter
. CU singles of Ilsa and Rick
. soft lighting on Ilsa - back lighting as angelic like a halo - white clothing is also angelic - shallow depth of field w/ twinkling light in her eyes
. strong contrasting light on Ricks single CU, shallow depth of field on the singles
. diamond earring - fragility (Ilsa)                     
. Lazzo at back of scene
. Ilsa between them
. Ilsa and Rick sitting opposite
. Also Reno sitting between them as a mediator
. Medium close ups on shot reverse shot on Rick and Lazlo
. Ilsa w/ her back to the screen to exclude her as she doesn't have a voice in this conversation
. Framing for Lazlo and Rick - Over the shoulder on Ilsa looking at Rick where as medium close ups on Lazlo do not have Ilsa
. stichomythia dialogue
. medium 3 shot w/ Ilsa in the middle facing Rick and facing away from Lazlo 
. Medium close up w/ Lazlo some distance behind Ilsa and Ilsa in front of him looking away from him at Rick


Classic Hollywood conventions:
. Narratives are chain of events in cause and effect relationships
. Films were shot in a controlled environment, often on the studio lot, displaying verismilitude
. Scene reveals spacial relationships
. Scene should first establish the time, place and relevant characters
.Classical scene ends with a step towards the goal and, or a character's reaction to a new piece pf information






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