The Viewing LogA year-long film journal by Elliot: one classic film a week, with critical write-ups on lighting, colour, camera work and production design.https://theviewinglog.com/2026-10-16T12:00:00ZMemento (2000) reviewhttps://theviewinglog.com/blog/memento-2000/2026-10-16T12:00:00Z2026-10-16T12:00:00ZElliotHow Memento's backwards structure puts the audience inside Leonard's memory loss, and how Teddy, Natalie and Sammy Jankis exploit and reveal it.Drive (2011) reviewhttps://theviewinglog.com/blog/drive-2011/2026-10-09T12:00:00Z2026-10-09T12:00:00ZElliotHow Drive uses blue, orange, gold and red lighting, plus shadow, to show the emotions of a stoic protagonist, with the elevator and final scenes analysed.The Shining (1980) reviewhttps://theviewinglog.com/blog/the-shining-1980/2026-10-02T12:00:00Z2026-10-02T12:00:00ZElliotA cinematography analysis of The Shining: the aerial opening, Steadicam tracking, and how the camera builds isolation and dread at the Overlook Hotel.Blade Runner (1982) reviewhttps://theviewinglog.com/blog/blade-runner-1982/2026-09-25T12:00:00Z2026-09-25T12:00:00ZElliotHow Blade Runner's neon blue and fiery orange lighting and production design build its neo-noir Los Angeles, and what shadow says about Deckard.