Spike Lee is famous for his attention to the problems of African-American people in the US. He expressed his deep concern through thorough and scrupulous work on his films, which were praised by critics and audience and honored with most prestigious awards. One of the first and most recognizable movies was Do the Right Thing, where Lee played the role of one of the main characters. This film is highly recognized for its unique style that is formed by the peculiar use of mise-en-scene, editing, cinematography, and sound. Therefore, there is a need to examine the techniques that form a pattern developing a narrative and helping better present the characters. As for the cinematographic techniques and camera operation, there is a certain preference for close-up, extreme close-up, low-angle shots, camera panning, and zooming. Close-ups let the viewer concentrate on particular details of the face in order to better show the play style and emotions of the characters. Extreme close ups are oriented more on the perception of the detail that is being under focus. In the beginning of the film, Lee focuses the camera on the mouth of Mister Señor Love Daddy to concentrate the viewer on listening to what he speaks. Low-angle shots make the subject of the shot look stronger. Panning in the film distracts the viewers making them feel the tension and uneasiness, which are the feelings that the characters are experiencing in the moment and at the same time gives them a picture of the broader scene. For instance, this technique is used in the scene where Buggin’ Out and Radio Raheem intensely argue with Sal demanding African-Americans are put on Sal’s Wall of Fame. The scene illustrates the use of close up and panning that contribute to the full delivery of emotions to the viewer. The frequent use of those techniques creates a pattern that, judging from the choice of tools, suggests that characters and their emotions are the central focus through which the narration unravels. The positioning of the characters in the frame also plays a crucial role in the film (Martin 76). Friends almost always stand side by side while conflicting parties are facing each other, which is also highlighted by the camera taking a panoramic shot. As far as editing is concerned, jump cuts are frequently used there to build up tension and show the anger and negativity between characters in action scenes. The technique speeds up the pace with which the plot unfolds especially in the last part full of emotions and events. It is also used to juxtapose love and hate in the scene where Da Mayor in his own manner proclaims his love to Mother Sister. Music is central to the narration and helps the viewer dive into the world of racial tension and inequality through the soundtracks by Public Enemy that are highly topical in that setting. The ending, however is accompanied by slow-paced jazz to contrast the recent stress and set the viewer in the reflective mood. In combination, those techniques create a style that grips the viewer and puts them in the setting of racial problems, love, hate, respect, and other topics. Moreover, it complements the plot and lets people live the lives of the heroes, share grief, rage, and confusion with them. The final drama is concluded w