11. Low Angle plus the lights from the bottom make audience be afraid of the actor. Bird’s eye view / high angle gives audiences the power to see and control the whole world. The film’s subject matter is often relates to people’s fate – frequently used in this film <Blade Runner>.
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13. Dark colors with orange and yellow imply desolation, tragic . These colors are widely used in western films.
17. Frame The most important visual elements Power, authority, ambition auxiliary, fragile, powerless Unimportant, Unknown, Invisible, Anxiety Unimportant, Unknown, Invisible, Anxiety Darkness, mystery, death related ( M )
18. Frame The most important visual elements Power, authority, ambition auxiliary, fragile, powerless Unimportant, Unknown, Invisible, Anxiety Unimportant, Unknown, Invisible, Anxiety Darkness, mystery, death related ( M ) Two other important areas: between the camera and the actors, between the actors and the scene setups ( Notorious )
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23. In a very cold environment, oblique lines here add on the fears.
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27. Profile – from this position, the character seems unware of being observed, lost in his own thoughts.
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30. Closed form – controlled, precisely, artificially, being removed from the reality Open form – uncontrolled, unstructured
48. Editing styles Realistic Classic Formalistic The Arrival of a Train The Birth of a Nation Rhythmus 21 Sequence shots Cutting to continuity Classic cutting Thematic montage Abstract cutting A Trip to the Moon 32 Short Films About Glenn Gould
63. Classical Paradigm SETUP: Initialize characters THE END x SCENE SCENE SCENE SCENE x PROTAGONIST ANTAGONIST Gustav Freytag Inverted V structure
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71. An extremly formalistic narration THE TRUE STORY THE FILM K (FLASHBACK) REAL WORLD TIME K (FLASHBACK) FILM TIMELINE YOU DON’T KNOW WHEN IT STARTED AND WHEN IT WILL END TIMELINE OF MEMENTO ( BY CHRISTOPHER NOLAN ) A B C D E F G H I J K J K I J H I G H F G E F D E C D B C A B
Dealing with everyday occurences Fanstasy with some tricky photography
Most realists would claim that their major concern is with content. Realist films attempt to reproduce the surface of reality with a minimum of distortion. In its most extreme form, the realistic cinema tends toward documentary, with its emphasis on photographing actual events and people.
Form and content
Extreme long short (epic films, cowboy films) Long short Full short (head to foot, Charles Chaplin – silent comedies) Medium short ()
Desolation, tragic
The term is also used in film‐making for the staging of the action in front of the camera, i.e. for the combination of setting, lighting, acting, and costume, as distinct from camerawork and editing.
The director guides the viewer’s eye through the use of the dominant, the area of an image that immediately attracts our attention because of a conspicuous and compelling contrast. Our eye scans the subsidiary contrasts after we take in the dominant contrast. Because films have temporal and dramatic contexts, the dominant is often movement itself and what some aestheticians call __________ , which simply means that the audience, through the context of the story, knows that an object is more important dramatically than it appears to be visually.
If the horizon is in the center, it looks very heavy that the sky is falling down to the land. Sometimes, directors use this technique to create anxiety. They made sky to be dominant, people and the land is overwhelming under the sky.
Psychological experiments have revealed that certain lines suggest directional movements. These psychological phenomena are important to the visual artist, especially the filmmaker, for the __________ is not always conducive to an overt expression of emotion. Your Answer: dramatic context For example, if a director wishes to show a character’s inward agitation within a calm context, this quality can be conveyed through the dynamic use of line.
Psychological experiments have revealed that certain lines suggest directional movements. These psychological phenomena are important to the visual artist, especially the filmmaker, for the __________ is not always conducive to an overt expression of emotion. Your Answer: dramatic context For example, if a director wishes to show a character’s inward agitation within a calm context, this quality can be conveyed through the dynamic use of line.
full front D. this is the most intimate position with the character looking in our direction, inviting our complicity quarter turn C. this is the favored position of most filmmakers, and it provides a high degree of intimacy profile E. from this position, the character seems unaware of being observed, lost in his or her own thoughts three-quarter turn B. this position is useful for conveying a character's unfriendly or antisocial feelings back to camera A. in this position we can only guess what's taking place internally; this position is often used to suggest a character's alienation from the world, to convey a sense of concealment or mystery The more face we see, the closer we are.
In general, the greater the distance between the camera and the subject, the more emotionally neutral we remain.
In terms of design, open form emphasizes informal, unobtrusive compositions with no discernible structure. Closed forms are more likely to emphasize the unfamiliar. The images are rich in textural contrasts and compelling visual effect. Because the mise en scéne is more precisely controlled and stylized, there is often a deliberate artificiality in these images--a sense of visual improbability, of being removed from reality. Like most cinematic techniques, open and closed forms have certain limitations as well as advantages. Too often, open forms can seem uncontrolled, unfocused, and even visually ugly. On the other hand, closed forms can seem arty and pretentious.
. This type of cutting is a technique used in most fiction films even today and tries to preserve the fluidity of an event without literally showing it all.
. This type of cutting is a technique used in most fiction films even today and tries to preserve the fluidity of an event without literally showing it all.
. This type of cutting is a technique used in most fiction films even today and tries to preserve the fluidity of an event without literally showing it all.
Griffith has been called the Father of Film because he consolidated and expanded many of the techniques invented by his predecessors and was the first to go beyond gimmickry into the realm of art. During the golden years of the American studio system--roughly the 1930s and 1940s--directors were often urged (or forced) to adopt the master-shot technique of shooting. This method involved shooting an entire scene in long shot without cuts. This take contained all the dramatic variables for the scene. These are extra shots of a scene that can be used to bridge transitions in case the planned footage fails to edit as planned.
Griffith has been called the Father of Film because he consolidated and expanded many of the techniques invented by his predecessors and was the first to go beyond gimmickry into the realm of art. During the golden years of the American studio system--roughly the 1930s and 1940s--directors were often urged (or forced) to adopt the master-shot technique of shooting. This method involved shooting an entire scene in long shot without cuts. This take contained all the dramatic variables for the scene.
Filmmakers in the Soviet Union were strongly influenced by the theories of Pavlov , whose experiments in the association of ideas served as the basis for the editing experiments of Lev Kuleshov.
Filmmakers in the Soviet Union were strongly influenced by the theories of Pavlov , whose experiments in the association of ideas served as the basis for the editing experiments of Lev Kuleshov.
