Beruflich Dokumente
Kultur Dokumente
Aims
To illustrate and apply basic critical methodology of film analysis:
Signs: Motivation
Motivation: the reason a film element is included: 1. 2. 3. 4. Realism Narrative Intertextuality (including hommage) Artistic
Shows location Often used as an initial establishing shot in a sequence Also called a master shot as whole scene is usually shot in LS before breaking down into MS and CU
Example: Shot of Ethan near start of The Searchers
1956) (John Ford,
Searchers opening
ELS/Establishing shot shows the location, setting or landscape of a scene; presents the actions setting, with some characters. A mood or sense of drama may be presented with this shot
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Long Shot (aka Full Shot) frames the entire body of one or more characters
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Medium Long Shot: (also called plan amricain or American shot) shows 1 to 3 characters from the thigh up. This shows characters and their roles without emphasising their emotions.
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This MS shot allows other characters to be in view and so allows character interaction. This often makes for more sociable shots.
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Before advent of widescreen in mid 1950s, only one character usually in a close up - character on their own and can seem isolated in this type of shot - but wider fram allows CU two-shot
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Can be of objects
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In The Color of Paradise/Rang-e Khoda,1999) a blind son Mohammad and his elderly grandmother are ruled over by a dominant father and are often shot from a high angle, emphasizing their dependence and smallness. 23
In this high angle shot, the angle - combined with mise en scene (prop) - the wheelchair - can make the character seem small and vulnerable.
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Magnificent Seven
bestows authority on the Yul Bryner character. Although the Steve McQueen character is also shot from a low angle, he has less authority because of his position vis a vis the Yul Bryner character see Mise en Scene (later)
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In The Color of Paradise/Rang-e Khoda,1999) a dominant father is frequently shot From a low angle 27
However, as the shots cuts between the two, we have a high angle on Susan and a low angle on Kane, perhaps connoting that he will be dominant in the relationship
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Tilt
Camera swivels up or down. Used for: Showing scene on different levels Following movement Show POV as head moves up/down Establishing shot e.g. ext: tilt up high building CUT int: room in building
eg In Leon (Luc Besson, 1994 ) tilt up used to reveal character of Matilda. Audience asked to notice contradictions in her clothing, starting with boots, her comic-book leotards, past her teenage jewellery and her cigarette to gentle, vulnerable face hidden behind ornate railing. Tilt-up allows audience to take in each item separately and notice contradictions central to her character. Clip 7
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Lateral track(ing shot) Examples: Central do Brasil/Central Station Les 400 coups/ The 400 Blows
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(Jacques Demy, 1964, France) note the effect of the reverse tracking shot in combination with the moving train
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Zoom
The Stendhal Syndrome (Dario Argento, 1996) The Godfather Part 2 (Francis Ford Coppola,
1974)
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Most famous use of this technique: Les 400 coups/The 400 Blows (Francois Truffaut, 1959) but much imitated in later films At the end of the film, its protagonist turns to camera direct address - as the frame freezes - ambiguous: happiness? hope? uncertainty? disillusionment?
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Mise en scne
(pronounced meez on sen with second syllable nasalised) Term from French theatre - literally, what has been put on the stage. In film refers to everything we see on the screen: Main elements of mise en scene are: setting, objects (props), people, make up, costumes, figure arrangement and movement (aka blocking), colour, lighting, gesture, acting styles etc Analysis of mise-en-scne can reveal how themes are symbolised 47
Mise en scne
Lighting
Three point system of lighting Key light: main source of light Backlight: adds highlights and differentiates actor from background Fill light: softens shadows from key light
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Mise en scne
Lighting
Classical use of three-point lighting - all three elements are in balance. Connotes normality. Here, the actors are made to look glamorous by the balanced lighting.
Written On The Wind (Douglas Sirk, 1956)
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Mise en scne
Peking Opera Blues /Do Ma Daan, Tsui Hark (Honk Kong, 1986)
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Mise en scne
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Mise en scne
Costumes are important props. In film, any portion of a costume may become a prop. When Hildy Johnson switches from her role of aspiring housewife to that of reporter, her stylish hat with its lowdipping brim is replaced by a masculine hat with its brim pushed up, reporter-style
His Girl Friday (Howard Hawkes, 1940)
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Mise en scne
(Note: the DVD cover even placed a model image of DNA next to the staircase.
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Mise en scne
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Mise en scne
Mise en scne
.. and this?
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Mise en scne
Colour
Like light colour has a symbolic and subconscious affect on us. We passively accept colour more than lines (light and dark), but it too has a profound affect on us as viewers. Colour is strongly linked to emotions (though the specifics are very cultural) Cool colours (blue, green, violet) suggest calm, tranquility, aloofness, and tend to recede in images (go to the back) Warm colours (red, yellow, orange) suggest aggression, violence, stimulation, and come forward in images (stand out)
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Mise en scne
Colour
In Three Colours: Blue (1993), Krzysztof Kieslowski used a number of different connotations of the colour blue. It is one of the colours of the French tricolour, it perhaps represents freedom, but it also stands for sadness: the blues. Julie (Juliette Binoche) loses her husband and daughter in a car crash in the opening sequence. She decides to block herself off by attempting to free herself from all the associations of her past life
Throughout the film Kieslowski uses blue motifs as in the brief montage which follows
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Mise en scne
Colour
Connotations of colours culturally determined - dont necessarily carry exclusive meanings. Compare the use of red Zhang Yimou's Ju Dou (1990), for example with Ingmar Bergman's Cries and Whispers (Viskingar Och Rop, 1972), Zhang exploits red as signifier of unrestrained passion fairly typical connotation However, Ingmar Bergman associates the color with stagnation and contaminated blood.
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Mise en scne
Colour
In Traffic (2000), Steven Soderbergh decided to shoot all the sequences in the Northern Mexico desert overexposed. Resulting images give impression of barren, desolated land being mercilessly burnt by sun, no-man's land over which police and customs have no control. 60
Mise en scne
Mise en scne
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Mise en scne
Kinetic ecstasy of death also releases dramatic tension built up in audience during chase sequence: in effect we are seduced into sharing protagonists joy in the kill
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Mise en scne
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Mise en scne
Gesture
Capturing of gesture or look just as or more important than objects or colour, as in this shot of a confrontation in (Tony Kaye, 1998)
American History X
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Editing
How the shots are arranged in sequence Involves choice of length of each shot and of the kind of transition between each shot Primitive film: no editing - just filming from fixed position till the reel ran out eg The Workers Leaving the Factory The Little Rascal (or The Hoser Hosed) and The Arrival of a train at La Ciotat (Auguste and Louis Lumiere, 1895, 1896)
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Editing
Montage is the French term for editing; but also generally used to mean a succession of shots that clash to create new meaning (aka Soviet Montage) Emphasises dynamic, often discontinuous, relationships between shots and the juxtaposition of images to create ideas not present in either shot by itself.
eg
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Average shot length short but rate of cutting faster at highest point of tension
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Dissolve:
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Editing
Types of Edit
Bazz Luhrman combines wipes, irises (sort of they are square!) and freeze-frames in his postmodernist version Romeo and Juliet. Postmodernist style mixes different elements eclectically - filmic technique often draws attention to itself, unlike in continuity (invisible) editing - see below
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In Classic Hollywood the plot is more important than the style i.e. its prime motive is storytelling
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Sound
Non-diegetic: coming from outside the story space e.g. soundtrack music, voiceover.
Another distinction to be made: external diegetic when other characters can hear the sound; internal diegetic: what character hears inside head eg clip from Women on the Edge of a Nervous Breakdown (Almodovar) = external diegetic eg clip from Stendhall Syndrome - internal diegetic what the character can hear inside her head but noone else can
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Most important form of non-diegetic sound is music (also known as source music) - change of music can change whole mood of scene Scene from Citizen Kane where editing combines with non-diegetic music to show Kanes gradual estrangement from first wife, Emily Breakfast montage representing several years, with only a few lines of dialogue. Each section joined by a whip pan as years are compressed into a few minutes as Kane and his wife become more hostile The music also reinforces the sequences development
Sound
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Sound
Sound
Stinger chord
A strongly accented chord used to register shock or. surprise. Developed by composers such as Max Steiner (eg John Fords The Searchers (1956) and Bernard Herrmann (eg Alfred Hitchcocks North by North West)
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Sound
Mickey Mousing
Term which arose from the animated films of Walt Disney in the 1930s. Mickey Mouse an the other Disney characters often move in exact synchronization with music, even when they are not dancing.
Can be applied to non-animated film when the music is closely syncronised with the action.
In King Kong (Merian C Cooper, 1933), the music follows the steps of the tribal chief, suggesting power. In Les Parapluies de Cherbourg/The Umbrellas of Cherbourg, the music falls as the character faints
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Sound
Overlapping Sound
A technique where the sound from one scene overlaps into the next - usually by the sound in the second of two adjacent scenes beginning a second or two before the end of the first. Overlapping sound creates an aural association in a thematically linked sequence. Walter Murch, sound designer in Apocalypse Now and the English Patient used it often One of first films used extensively was Citizen Kane.
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Sound
Overlapping Sound In this scene, Kane is in the flat of the woman who becomes his mistress, then his wife, for the first time. Then there is a dissolve to some time later where the characters are in same position but clearly time has moved on (suggesting Kane has set her up in another flat. The same music bridges both scenes
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Sound
Overlapping Sound Kanes applause at the end of the scene also bridges to the next scene, a political street meeting. The speech of Jed, Kanes friend and ally, bridges to the next scene where Kane seems to carry on the same speech at a political rally in a hall
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References
Bordwell, David and Thompson, Kristin (2004) Film Art: an Introduction (7th edition). New York: McGraw-Hill. Giannetti, Louis Understanding Movies Monaco, James (1990) How to Read a Film (5th edition), New OShaughnessy, Michael (1999) Media and Society: an Introduction. Oxford: Oxford University Press. Thompson, Kristin (1999) Storytelling in the New Hollywood: Understanding Classical Narrative Technique. Cambridge, MA: Harvard University Press) Van Sijll, Jennifer (2005) Cinematic Storytelling: the 100 Most Powerful Film Conventions Every Filmmaker Must Know. Studio City CA: Michael Wiese. Vogler, Christopher (1996) The Writers Journey: Mythic Structure for Storytellers and Screenwriters. London:Boxtree.
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