CONTINUITY TECHNIQUES IN A SCENE – Harry Potter and the Prisoner of Azkaban – Marauder’s Map

In this scene, from the movie ‘Harry Potter and the Prisoner of Azkaban’, Harry is given the Marauder’s Map by Fred and George. There are many continuity techniques that are used in this scene to make it flow and make sense. These techniques are used to make the narrative seamless and to create a world in which the audience can believe in.The scene i have chosen is available to view here, however cannot be embedded in this post, so I have included some stills to illustrate my points.

The sequence starts with a wide shot track through the setting, giving the audience an overview of the characters and location. This frame acts as a master shot. A similar shot follows, a crab with the fountain in the foreground. This adds variety to the sequence while still showing the audience the setting and the action.

The camera cuts to a view from indoors after the boys have entered the building. The switch requires match on action to ensure a smooth transition. As the match on action is successful, the cut is less obvious to the audience. When continuity techniques are used well, the audience is more able to ‘suspend their disbelief’ and really get into the story.

The lighting and tones of the sequence reflect the weather and mood of the scene. The use of cool blue tones reflects the cold winter weather. The use of dark colours and shadows indoor gives an air of secrecy which mirrors the action and dialogue; hiding the Marauder’s Map.

During the conversation between Harry, Fred and George, the camera cuts in a shot/ reverse shot way to help the audience understand who is speaking. During the dialogue to create emphasis and to add variety, the camera cuts away and zooms slowly into object of importance, such as the map at 0:46.

In terms of sound, objects further away are quieter than those close to the audience. This is realistic, therefore useful for the audience to believe in the sequence. Also, in order to not interrupt the audience’s viewing, the camera does not cut from one extreme shot to another. Shot order is long, mid to close to ensure smooth cuts and changes in frame.