Also, in this scene Jake and Jesus are nearly always in the same shot. In previous scenes, the two men were rarely seen in the same frame. This had affected the viewers' perception of the distance between them by making them seem farther apart. The use of space and distance in the ocean scene, however, creates a feeling of closeness. The scene ends with a dramatic violation of space: Jake hugs Jesus.

             With this hug, Lee demonstrates another use of cinematography. He uses close-up shots to help reveal character emotions. First, there is a close-up of Jesus' face as he looks down on his father. His expression reveals much of repulsion and not a little of disgust, but for the first time in the film we don't see his anger toward his father. Next, the camera is tilted down to catch a close-up of Jake. The grimace that follows indicates to us that he is deeply hurt by the situation and that he longs for the opportunity to once again be close to his boy.

             Perspective is also used to expressively in this film. During Jesus and Jake's early argument on the basketball court and in the kitchen, Jesus is often shot from a high angle, while Jake is more frequently shot from a low angle. This emphasizes Jake's power over his son. When the two men face each other at the end the situation is reversed, and Jesus proves to be the dominant player. After the match is over, the two men are shot from the side, face to face. Jake asks him "Do you feel like a man now?" Here they are shown as equals. Finally, Jake is taken away and the camera zooms out to an extremely high angle shot of Jesus standing alone on the court. As the camera rises, his ego shrinks, and the increasing space around him is a clue to his loneliness.

             Mise en Scene.

             Lee also uses composition to separate Jake and Jesus. The items shown in a shot are often carefully selected for their effect. I found it interesting how Lee used objects of bright color in the film.