In the movie "A Man Escaped," director Robert Bresson uses tight shots to convey a confined sense of space throughout the film. The opening scene in the police car on the way to the prison feels cramped, even when Fontaine tries to escape from the car and his seat is empty. The camera is positioned as if it is in the front seat of the car facing backwards, but still quite close to the prisoners, with the center of the frame being the back window of the car. The camera height is modified medium-shot because the prisoners are sitting down. The frame includes the prisoners' bodies from their heads to their knees. This framing compresses the space in the back seat as if the men squeezed into the car then squeezed that into the frame.
             Bresson uses the windows of the car as his only method of giving the audience a glimpse of the action on the outside, such as the guard getting out of the other car and running and the guards returning with Fontaine. In the shot, all the action occurs outside the car and during the commotion, everything in the backseat remains absolutely still. The prisoner next to Fontaine has an aura of disillusionment, as if he knows what will happen. He does not look up when Fontaine jumps out of the car; his stare is empty and at nothing in particular. Bresson alludes to the fact that all the other prisoners have lost faith and feel their doom is imminent, while Fontaine continually tries to escape and is constantly hoping and searching for freedom. Additionally, the camera remains fixed in the same position when Fontaine runs, leaving space in the frame for Fontaine's return. The camera does not follow Fontaine escaping because it is a prisoner in the car as well. Like the man next to Fontaine, the camera stays still and ignores everything else, not wanting to draw attention. The camera is a prisoner throughout the film and always dictates a confined mood.
             An important tool that Bresson uses throughout t...