The Elevator from 2010 by Greg Glienna is a short 03:37 minutes long film. Its narration is based on dialogues but in visual language. The key element of this language is shot composition, that is a way in which elements of the scene are arranged in the frame to show intended message and evoke emotions. The understanding of these techniques is possible thanks to a visual guide (StudioBinder, 2022). In this post, I describe three shots from the film to demonstrate how the director used them to tell the story.
Wide Shot (Estabilishing Shot) composition. At the beginning.
Film begins from the static general plan (wide shot). The camera is static, and the observer sees the protagonist coming into the frame following an empty corridor. The usage of a general plan is deliberate action. This type of shot is very useful to show the relation of a character with surroundings, equalising and a space around it. (StudioBinder, 2025). In this scene, the composition is a key. The usage of symmetries and the leading lines created by the corridor walls communicates his isolation and perhaps his pedantic nature, creating a visual escape point for a chaos that will appear soon in the elevator (StudioBinder, 2025).
2. Medium Shot from neutral angle - example at 0:33
Interactions inside the elevator are mainly recorded with medium shots. From the neutral angle at the eye-level. This camera angle is a standard shot, that does not assign any of the characters a visual dominance or submission, it presents the scene objectively (Matrix Education, 2024). Medium shot is very effective to show a character’s body language and interaction between them (B&H Photo Video, 2022). In this film this connection allows the audience to see the increasing discomfort of the protagonist through his subtle gestures and mimics, while the rest of the passengers stay neutral. The contrast between his inner panic and unbiased, calm framing intensifies the comedy of the situation.
3. Close-up - at 0:52
Full understanding of the main character's motivation is possible among others thanks to an insert shot, which focuses on the detail - the information with load limit. The purpose of this shoot is to grab a viewer's attention to the key story element, which in other scenarios could be unnoticed by the audience - it gives a viewer a necessary hint (StudioBinder, 2025).
References
Dang, T. (2020) ‘Film Techniques: Shot Angles | How to analyse film’, Matrix Education Online. Available at: https://www.matrix.edu.au/film-techniques-shot-angles/ (Accessed: 24 July 2025).
Intelliminds (2024) ‘What Is Cinematic Language? Understanding Film Communication - Greenlight Coverage’, Greenlight Coverage Online. Available at: https://glcoverage.com/2024/07/11/cinematic-language/ (Accessed: 24 July 2025).
Maio, A. (2025) ‘Rules of Shot Composition in Film: A Definitive Guide’, StudioBinder Online. Available at: https://www.studiobinder.com/blog/rules-of-shot-composition-in-film/ (Accessed: 24 July 2025).
StudioBinder (2024) ‘50+ Types of Camera Shots & Angles’, StudioBinder Online. Available at: https://www.studiobinder.com/blog/ultimate-guide-to-camera-shots/ (Accessed: 24 July 2025).
Sparks Film School (2024) ‘Shot Types 101: A Beginner’s Guide to Basic Shots in Filmmaking - Sparks Film School’ Online. Available at: https://sparksarts.co.uk/shot-types-101/ (Accessed: 24 July 2025).
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