The Movie is SPEED 1994
(https://123movies.to/film/speed-7472/watching.html)
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A. Mise-en-scene (see Bordwell & Thompson, Ch. 4), or that which is selected, arranged and/or constructed in front of the camera to be filmed. Power, components, setting, costume, makeup, lighting, staging, movement and performance. Sets, locales, their composition and design; composition, design, lighting, and movement of other objects in the frame – including animals and people. Includes the appearance & movements of people: acting, gesture, costume, make-up, etc. Print: both ‘diegetic’ (billboards, magazines, signs within the story) and ‘non-diegetic’ (titles over the image or ‘in between images’: inter-titles, as in silent film).
B. Cinematography (see Bordwell & Thompson, Ch. 5): Tone, motion, perspective, framing, onscreen / offscreen, camera position, duration of take; film stock; colour, black/white, or tinting; lenses and changes in focus (deep focus, shallow); camera angles (high/low/straight-on), camera movement (panning, tracking, zooming), framing; shot duration; distance of camera to objects (close-ups, medium & long shots etc.).
C. Editing (see Bordwell & Thompson, Ch. 6): frequency, smoothness/jumpiness, rhythm; logic of shot-to-shot relations: 1) narrative (plot psychology/drama): especially ‘classical’ editing as consolidated in Hollywood during the heyday of the studio system (1930s-1950s), including continuity cutting; or 2) thematic: making intellectual/political associations through editing, as in ‘Soviet montage’ of the 1920s (Eisenstein, et. al.).
D. Sound (see Bordwell & Thompson, Ch. 7): Power, fundamentals, dimensions, functions, music, speech, noise (music, dialogue, sound effects); any voice-overs? Use of silence? Diegetic? Non-diegetic?

The Movie is SPEED 1994
(https://123movies.to/film/speed-7472/watching.html)
—————–
A. Mise-en-scene (see Bordwell & Thompson, Ch. 4), or that which is selected, arranged and/or constructed in front of the camera to be filmed. Power, components, setting, costume, makeup, lighting, staging, movement and performance. Sets, locales, their composition and design; composition, design, lighting, and movement of other objects in the frame – including animals and people. Includes the appearance & movements of people: acting, gesture, costume, make-up, etc. Print: both ‘diegetic’ (billboards, magazines, signs within the story) and ‘non-diegetic’ (titles over the image or ‘in between images’: inter-titles, as in silent film).
B. Cinematography (see Bordwell & Thompson, Ch. 5): Tone, motion, perspective, framing, onscreen / offscreen, camera position, duration of take; film stock; colour, black/white, or tinting; lenses and changes in focus (deep focus, shallow); camera angles (high/low/straight-on), camera movement (panning, tracking, zooming), framing; shot duration; distance of camera to objects (close-ups, medium & long shots etc.).
C. Editing (see Bordwell & Thompson, Ch. 6): frequency, smoothness/jumpiness, rhythm; logic of shot-to-shot relations: 1) narrative (plot psychology/drama): especially ‘classical’ editing as consolidated in Hollywood during the heyday of the studio system (1930s-1950s), including continuity cutting; or 2) thematic: making intellectual/political associations through editing, as in ‘Soviet montage’ of the 1920s (Eisenstein, et. al.).
D. Sound (see Bordwell & Thompson, Ch. 7): Power, fundamentals, dimensions, functions, music, speech, noise (music, dialogue, sound effects); any voice-overs? Use of silence? Diegetic? Non-diegetic?