MR.BEAN

The really slowed down fade, being so slow that the audience can see two separate scenes concurrently, allows for this introductory sequence, to pursue a psuedo-respectfulness about it, which, by it being proved as being such – (psuedo) – it makes for a greatly proportioned comedic effect.

Bean

MR.BEAN

The much more gradual fade slows the pace down of the trailer, to make for a proudness and honourableness about it with drawing it out, further than is commonplace, but not too much, so as to be nonsensical.

Bean

MR.BEAN

This overhead, birds eye pan, gives off the impression to the audience, that this video package start, is about, not as much about honourableness and proudness like the last, but profoundness of the magnitude of the Earth’s delights in its mother natural qualities, set apart from humankind’s production.

Bean

MR.BEAN

This paced zoom-in to the Sydney Opera House, produces the atmosphere of a studied approach to it, kind of like that of a news report or documentary.

Bean

MR.BEAN

By the speeding up of this tribal footage, whilst it doesn’t look grainy or filmed by a low quality camera, the speeding up of it, gives off the effect of it being longstanding and archived from a long time ago.

Bean

MR.BEAN

The blurry slow motion of this clip, dramatises it. It’s pretty comical for the director to have done this, because the content of the clip isn’t out of the ordinary. But the slowdown, allows for greater inspection of it to be had, which in turn makes it turn out to be funny.

Bean

MR.BEAN

This naughty and child-like still image of Mr. Bean, helps to encapsulate the running theme and idea of who he is. This is beneficial, because it allows for the audience to be readily able to accept in the humour; by having the required, base understanding of it secured.

Bean

MR.BEAN

From all three of the areas of his face circled, whilst superficially, seem to be all the same in being apart of one silly antic, they all represent different aspects.

The straightforward eye: This eye is demonstrative of his normalness that is inside of himThe cross-eyed eye: This one - of lunacy and wackiness on a considerable scaleStuck out tongue: This shows us goofiness and playful nature. So, with all of these features collaborative, it allows for the ultimate Mr Bean experience to be had

Bean

MR.BEAN

At the second still, the detective says ‘’I think he’s a fruitcake’’. From that being said whilst we aren’t shown his face, or the man’s beside him, it makes it a literal facelessness – an offhand and inappropriate comment, made facelessly. This has a great desired effect, as it turns the detective into a mere statistic – a commonality – in that Mr. Bean in this movie, is highly likely to have experienced rudeness similar to this, daily, by characters that are more unimportant.

Bean

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MR.BEAN

In the second still, the camera being stationary at the floor, by, where the painting is going to tumble onto, it gives off a very funny effect, from the addition al tumultuousness from its placement. Whilst 3D would never be right for this genre, the director gets around this difficulty with the closeness of this mess.

Bean

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MR.BEAN

This match on action sequence works to humourousness, because we collectively, have a rough idea as to what will result out of Mr. Bean shooting a peanut out of a nostril. Us being proved accurate, makes us satisfied, because it’s balanced between what is unknown and known by us.

Bean

MR.BEAN

Mr. Bean scrubbing this painting to damage, is made funnier by the varying shot distances. With it being manifestly chaotic, the jarring distance changes, which are far from gradual, add onto the craziness and helplessness of the calamity.

Bean

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