1. As an incredibly low-angled shot, this would perhaps work in a film-noir in order to make a character look abnormal or insane. The odd perspective certainly warps the shape of the subject, and our mental interpretation of the character is warped as a result.The issue with continuity is that the perspective of this shot is at such a low angle that the audience may become confused. If there was to be a relatively normal shot of the man heading towards the door, followed by a cut to this shot, the audience would be momentarily disorientated. This is precisely what should be avoided with continuity, and so the preceding shot should also use a low angle, probably focuing on the subject's feet.
Unfortunately, the environment is too 'office-like' and the exposure is too high, so the shot doesn't really fit with the gritty film-noir stylings. Also, the composition contains too much of the man's shoe, which could easily have been placed to the side of the camera to show more of the subject. Overall, the shot would not work for basic continuity in a film-noir production, because it demands too much of the camera position and actually looks more comical than gritty, due to the awkward composition.
2. Unlike the previous image, this shot focuses upon the bottom of the doorwar, and we cannot yet see the person behind it.The high-contrast in lighting between each room implies that there is something different or peculiar about the dark room.
I think that this would work in terms of continuity if it followed a mid-shot of the person walking towards the door on the other side. From this very frame, as the door opens to let light into the room, the camera could tilt gradually up to reveal a sharp sillhouette of the character. Although this would work well for a film-noir with the single adjustment of colder lighting, the type of camera we are allowed would probably not cope with the ambitious high contrast.
3. Although this may seem like an unusual image to analyse for this purpose, I have noticed that an increasing amount of TV shows and movies have used either actual security cameras or at least simulated the effects of these on a shot. These work because they link the consecutive shots together as well as making the audience aware of the secuirty camera's presence.The low-contrast colours and bordering time-stamp show us this is security footage.
This could follow a shot of the subject walking down a street towards the door, and could cut to a tracking shot of the subject inside the building once she has left the frame. Equally, this shot could be used for a split second in between shots either side of the door, or could follow a close-up of the security camera itself, much like an eye-line match.
4. Although the colour palette is way too warm for a film-noir, the composition would work well for a match-on-action, as the hand on the door jamb would link a shot from within the other room.With colder lighting and a subject that looked more dishevelled, the shot could work well for a film-noir, as it would distance the character from their surroundings, and create a surreal and unnerving undertone.
5. Out of this small collection, this image is easily the most suited to the style of film-noir, as the absence of colour, scruffy subject, and dowdy environment work to evoke an atmosphere of pessimism and hopelessness.Seeing as the shot clearly shows the subject leaving some place resembling to a pub, the preceding shot would simply have to show the character finishing his pint at the bar, or something similar. Because the shot is composed of a lot of connotative architecutre, the audience need not see a linking shot edited to match-on-action, they can simply tell that the character is leaving the establishment from this shot alone.
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