Use of Film Form in Classical Style

 In classical style, many shot types are used of shot sizes. Most notably extreme close-up, close-up, mid shot, long shot and extreme long shot, these are used to show objects in various degrees of focus, for example, a close-up is used to show something in very close detail, like an object or person we should focus on or a characters reaction to an event such as when Rick reminisces on his time with Ilsa in Paris, while a long shot is used to show a landscape, to pull the audience into or out of a setting, such as the ending where Rick and Captain Louis Renault walk into the distance..One of the main reasons mid shots are used is during conversations, this is due to the fact that it can focus on a person without drawing too much attention to any particular feature, conversations also use the 180 degree rule which features the camera going back and forth between two characters facing opposite or "180 degrees" from each other, their eyelines must also be matching so that they are looking directly at each other. The main subject of a shot should always be focus, this can be achieved by the camera itself, as well as the lighting showing the subject clearer than anything else in frame and generally the subject being in the center of the shot.

While using the 180 degree rule, shot reverse shot must be used to cut between the two subjects. The continuity in the editing of the classical style of film form, and the continuity should feel seamless and invisible, meaning the events are in chronological order and progress naturally. To progress this naturally, it must use cause and effect, which is when the characters drive the story forward through their actions in response to events, leading to more events, for example Rick letting Ilsa and Laszlo escape leads to Rick shooting Strasser. In Casablanca, the editing used is mostly direct cuts when cutting to another part of the same scene, and a dissolve is used when cutting to another scene. Also, the narrative resolution is made clear as Rick and Captain Louis Renault walk into the distance, as the screen fades to black and we see a title card stating "The End".

In the 1940 Hitchcock film, Rebecca, the mise-en-scene is realistic and consistent to the narrative and characters on this film. This is due to the fact that the locations and the backgrounds in every scene is how I would imagine wealthy people in this time would live. This film also creates a dream-like aesthetic, due to the dark, twisted fairytale like nature of the narrative. For example, Maxim De Winter at the beginning of the film is a Prince Charming like figure, this is due to the protagonist falling in love with him seemingly instantly, and the development of their relationship is quickly brushed over, like information being skipped over in a dream. Maxim simultaneously takes a fairy godmother type figure, transforming a working-class girl into a princess, or in this case, the second Mrs De Winter. However, the second Mrs De Winter can not fool anyone that she is not new money, due to her mannerisms not being the same as other wealthy people; she is out of place, hence being in a dream. This does not dominate the plot, however it does accompany the narrative as it builds upon the tone on the film. 

The sound in Rebecca is synchronous, it matches each scene's onscreen action and is synchronised correctly, although this sounds obvious this is a key part of the classical Hollywood style. In the opening titles, the first sound heard is the sound of church bells, which gives connotations of death, which is a major theme throughout the film, it is also apt that the first sound heard in the film symbolises death as the major event that the rest of the film leads from is Rebecca De Winter, Maxim's first wife's death. The music that then plays throughout the opening titles is very romantic yet mysterious, and the music goes from romantic to dark and brooding halfway through, before returning to it being romantic, which resembles the tone of the plot throughout.

In Casablanca, Humphrey Bogart's portrayal of Rick shows him as a morally grey character, sensitive on the inside but with a rough exterior. He portrays this character realistically, as when around many people this tough exterior is displayed, but the close-up on his face when he is thinking back to his time with Ilsa in Paris shows that his interior is otherwise very effectively and realistically. Most other character in this film is one dimensional, however, each stay consistent and believable within their roles. Despite Rick's complex character, his motivations are very clear and linear, it is obvious from the moment we see the flashback that he wants Ilsa back, however as his character develops and grows over the course of the rest of the plot he wants to help her escape with Laszlo.