Reel/Unreel
Reel/Unreel opens on a wide shot from a distance to introduce a child playing with a wheel. The film has a continuous use of tracking shots as if the camera is chasing the wheel just like the kids in the film are. This is similar to a game played by Colonial children. The camera shot changes briefly to a still shot with change of object (film reel) and then changes back to tracking shots. The tracking shots in the film made sense for what the film was going for in its filming style. Instead of just watching the kid and the wheel move by the screen, it felt more like we were following them as he rolled the wheel through the town.
Good observations on the role of tracking shots in the film, however your response is missing reference to all of the other elements that make up the whole. The multiple establishing shots throughout the storyboard help to vary the imagery and provide context for the representation of the game the children are playing; as well as encourage the viewer to understand the role of the city of Kabul as a meaningful and active character within the piece. In addition, sound and color contribute a great deal to the make-up of the piece, and help us to appreciate the many formal choices that filmmakers have in their toolboxes when representing their material.
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