Reading from 'Close Encounters of the Third Kind'

A detailed Summary of Reading from 'Close Encounters of the Third Kind'

'Close Encounters of the Third Kind'

'Close Encounters of the Third Kind' is director/writer Steven Spielberg's first film after the enormously successful 1975 smash, 'Jaws'. Its optimistic, benevolent, loving portrayal of alien encounters sets it apart from most science-fiction films of its type. This awe-inspiring film is one of the most dazzling UFO science fiction films ever made. I am analysing a ten minute sequence from near the beginning of the film, which begins with a first look into the home and life of the lead character, Roy Neary.

A location shot shows an aerial view of a suburban neighbourhood. It is the evening. We then cut to a scene inside the Neary household; the first shot we see shows the father Roy and his eight-year-old son playing with a train set while Roy tries to help his son with his maths homework. The son is a stereotypical complaining child. Suggestions of happy families and father/son bonding help to establish an image of a happy nuclear family. Narrative convention dictates that this happiness is due to be floundered. The long take consists of a well framed shot with the son on the left had side of the screen and Roy

Throughout this entire 'close encounter of the second kind' an extra-diegetic score compliments the action. The soundtrack by 'Star Wars' supremo John Williams is outstanding, using sound effects as opposed to actual 'music' to give an awesome sense of suspense and anticipation of the unknown.

We cut to another part of the room to see two more children and a mother, Ronnie. This is, indeed, a very 'nuclear' family with disobedient children and a flustered wife; the father the bread-winner. The impression that this is real family life is further enhanced by very 'natural' lighting, purposefully made to look like light from household lamps.

Roy starts driving again and we get a shot at ground-level of the car on the road and the sky above; the starry sky taking up nearly three-quarters of the screen. This signifies the importance of space ad reminds us of the huge expanse of the universe, and the likelihood that we are not alone. He proceeds to a railroad crossing and pulls to a screeching stop to once again check his map. Another set of bright lights approach behind him - it illuminates the interior of his truck with brilliant light. Again, he waves it past while engrossed in studying his map. But instead of going around, the intense lights levitate up above his truck. Roy doesn't pay any attention to this phenomenon. The first sign he gets that things aren't quite as they should be is when he hears a strange rattling noise. Shining his torch out of the side window he catches sight of a row of rattling, jiggling mailboxes moving back and forth as if they were in an earthquake. Suddenly, his torch, radio and other electrical lights shut off. From above, his truck is bathed in blinding, powerful rays of luminescent light. As the light engulfs the car, the mailboxes continue to rattle. Roy is scared. Mysterious smoke raises from the ground, breaking streams of light. The UFO's searchlight and the ship itself (a flying

Some common words found in the essay are:
Roy Neary, Roy Gilmore, Steven Spielberg's, John Williams, Third Kind', Steven Spielberg, 'close encounters, Minute Extract, third kind', power goes, roy neary, ten minute, Encounters Third, 'close encounters third, bright lights, set bright, aerial shot, cabin dashboard, sense suspense, encounters third kind', set bright lights,

Approximate Word count = 1311
Approximate Pages = 5 (250 words per page double spaced)

Category: Movies