Post by gretchen on Jul 10, 2005 14:05:22 GMT -5
CINEMATOGRAPHY—The camera work that records the mise-en-scene between edits. Each shot represents many choices made by the film makers. Why have they made these choices? What do these choices represent?
Tone—bright, sharp colors; grainy and black and white: hazy? If black and white when color was available, why would the film makers make this choice?
Film speed—slow or fast motion used? film speed reversed?
Camera Angle—The angle at which the camera is pointed at the subject: low (shot from below), high (shot from above), or eye-level (includes extreme low and high angle shots). This creates the angle of vision—the point of view—for the audience, and is often used to establish character's level of power and control (high angle shots can make character seem diminished), but there are many other uses as well.
Tracking, Panning, and Tilt—Tracking shot moves the camera either sideways or in and out. The camera can be mounted on a "dolly," "handheld" to create a jerkier effect, mounted on a crane and moved in all directions within a limited range, or in a helicopter, train, car, plane, etc. for other effects. Panning swings the camera horizontally, tilt swigs it vertically. These effects are often used simultaneously.
Angle of View/lens—The angle of the shot created by the lens. A wide angle lens presents broad views of subjects, and makes possible a large depth of field (many planes of action) as well as a deep focus shot. A normal lens (35 mm) can only focus on one plane at a time. A telephoto lens has a very narrow angle of views which acts like a telescope to focus faraway subjects and flattens the view.
Focus—"Shallow focus" uses sharp focus on the characters or things in one area of the shot and soft (blurred) focus in the rest. "Deep focus" brings out the detail in all areas of the shot. "Focus In" gradually "zooms" in on the subject, "focus out" gradually "zooms" out (these are known as “focus pulls”). Rack focus is an extremely fast focus pull that changes focus from one image/character to another by changing the focus to a different plane.
Shot distance—Full shot, three-quarters shot, mid- or half-shot, close-up and extreme close-up for shots of bodies; (extreme) long-shot, mid-shot, (extreme) close-up to describe more general. Can be used to create sense of isolation (extreme long shot of character in a desert) or great pain, anger or joy (extreme close-up of character's face). Choice of lens (see above) can create strange effects (wide angle close up extends and distorts image at the edges, like a funhouse mirror; telephoto lens used in long shots flatten distances and putting background out of focus.
Frame—the border that contains the image. Can be “open” (with characters moving in and out); “moving” (using focus, tracking, panning); “canted” (at odd angles, unbalanced shot composition).
Shot composition—The relation of the elements of mise-en-scene to the frame. Small frames used with close-ups can create sense of claustrophobia, often enhanced by the set (low ceilings, numerous props and furnishings) and lighting. The set can also be used to frame the shot in other ways (lamps, flags, etc. on either side; a bed out-of-focus at the bottom of the frame) as can characters (as signs of intimidation, marginality, support, etc.) These types of shots are unbalanced. Look also for shots that are perfectly symmetrical.
MONTAGE—Editing (“cuts”) within scenes and in the film in general, creating continuities and discontinuities, juxtapositions, and narrative structure. The standard Hollywood practice is to make cuts “invisible,” and thus they are often difficult to pick up within a scene. "Montage" is also the term used for a series of quick cuts from a variety of locations that cohere narratively or thematically (the baptism scene in The Godfather I is a good example). "Accelerated montage" is what it sounds like (the prison escape scene in His Girl Friday).
Editing pace—within a sequence, from long takes (the opening credits of The Graduate) to “accelerated montage” (the chase scene of Bullit); within the film in general, to establish overall tone. Since the “natural” state of a Hollywood film movement, long takes coupled with a still camera can be used to increase intensity of a shot, make the audience uncomfortable, etc.
Establishing shot—Initial shot in a scene that establishes location, characters, and purpose of the scene.
Shot/counter shot—standard device used during dialogue between two characters; often starts with a “two-shot” of the two characters, then moves back and forth. Combined with camera angle, shot distance, and pace to establish point of view. Note when this standard device is not used, and for what purpose. Note when the person speaking is not viewed, or only back is viewed.
Reaction shot—Quick cut to pick up character's reaction to an event. Lack of reaction shot when it seems logical should be noted.
Jump Cut—A cut that occurs within a scene (rather than between scenes) that removes part of a shot. This shot is often done for effect by making the cut obvious and disrupting the invisible editing of Hollywood style.
Freeze Frame—A freeze shot, which is achieved by printing a single frame many times in succession to give the illusion of a still photograph.
Crosscutting—A shot inserted in a scene to show action happening elsewhere at the same time.
Cutaway—A cut within a shot to a location that links the action of the shot and condenses time (for example, a reaction shot of a woman watching a man climb some stairs, cutting out a flight in between the shots).
Match Cut—A cut in which two shots are linked by visual, aural, or metaphorical parallelism.
Scenes—An end of a scene is usually marked by a number of possible devices, including fade-ins and fade-outs (which may include a quick cut or a fade to black—note the length of time the blackout is maintained, which often implies significance of preceding scene, or else a long passage of time); wipe (a line moves across the screen, usually used in older films); dissolve (a new shot briefly superimposed on an old shot), often used to express continuity or connections (for example, the “stump scene” in Shane).
Sequence—A series of scenes that fit together narratively or representationally
Accelerated montage—a series of quick cuts that relate a variety of shots from different locations into a coherent story
Tone—bright, sharp colors; grainy and black and white: hazy? If black and white when color was available, why would the film makers make this choice?
Film speed—slow or fast motion used? film speed reversed?
Camera Angle—The angle at which the camera is pointed at the subject: low (shot from below), high (shot from above), or eye-level (includes extreme low and high angle shots). This creates the angle of vision—the point of view—for the audience, and is often used to establish character's level of power and control (high angle shots can make character seem diminished), but there are many other uses as well.
Tracking, Panning, and Tilt—Tracking shot moves the camera either sideways or in and out. The camera can be mounted on a "dolly," "handheld" to create a jerkier effect, mounted on a crane and moved in all directions within a limited range, or in a helicopter, train, car, plane, etc. for other effects. Panning swings the camera horizontally, tilt swigs it vertically. These effects are often used simultaneously.
Angle of View/lens—The angle of the shot created by the lens. A wide angle lens presents broad views of subjects, and makes possible a large depth of field (many planes of action) as well as a deep focus shot. A normal lens (35 mm) can only focus on one plane at a time. A telephoto lens has a very narrow angle of views which acts like a telescope to focus faraway subjects and flattens the view.
Focus—"Shallow focus" uses sharp focus on the characters or things in one area of the shot and soft (blurred) focus in the rest. "Deep focus" brings out the detail in all areas of the shot. "Focus In" gradually "zooms" in on the subject, "focus out" gradually "zooms" out (these are known as “focus pulls”). Rack focus is an extremely fast focus pull that changes focus from one image/character to another by changing the focus to a different plane.
Shot distance—Full shot, three-quarters shot, mid- or half-shot, close-up and extreme close-up for shots of bodies; (extreme) long-shot, mid-shot, (extreme) close-up to describe more general. Can be used to create sense of isolation (extreme long shot of character in a desert) or great pain, anger or joy (extreme close-up of character's face). Choice of lens (see above) can create strange effects (wide angle close up extends and distorts image at the edges, like a funhouse mirror; telephoto lens used in long shots flatten distances and putting background out of focus.
Frame—the border that contains the image. Can be “open” (with characters moving in and out); “moving” (using focus, tracking, panning); “canted” (at odd angles, unbalanced shot composition).
Shot composition—The relation of the elements of mise-en-scene to the frame. Small frames used with close-ups can create sense of claustrophobia, often enhanced by the set (low ceilings, numerous props and furnishings) and lighting. The set can also be used to frame the shot in other ways (lamps, flags, etc. on either side; a bed out-of-focus at the bottom of the frame) as can characters (as signs of intimidation, marginality, support, etc.) These types of shots are unbalanced. Look also for shots that are perfectly symmetrical.
MONTAGE—Editing (“cuts”) within scenes and in the film in general, creating continuities and discontinuities, juxtapositions, and narrative structure. The standard Hollywood practice is to make cuts “invisible,” and thus they are often difficult to pick up within a scene. "Montage" is also the term used for a series of quick cuts from a variety of locations that cohere narratively or thematically (the baptism scene in The Godfather I is a good example). "Accelerated montage" is what it sounds like (the prison escape scene in His Girl Friday).
Editing pace—within a sequence, from long takes (the opening credits of The Graduate) to “accelerated montage” (the chase scene of Bullit); within the film in general, to establish overall tone. Since the “natural” state of a Hollywood film movement, long takes coupled with a still camera can be used to increase intensity of a shot, make the audience uncomfortable, etc.
Establishing shot—Initial shot in a scene that establishes location, characters, and purpose of the scene.
Shot/counter shot—standard device used during dialogue between two characters; often starts with a “two-shot” of the two characters, then moves back and forth. Combined with camera angle, shot distance, and pace to establish point of view. Note when this standard device is not used, and for what purpose. Note when the person speaking is not viewed, or only back is viewed.
Reaction shot—Quick cut to pick up character's reaction to an event. Lack of reaction shot when it seems logical should be noted.
Jump Cut—A cut that occurs within a scene (rather than between scenes) that removes part of a shot. This shot is often done for effect by making the cut obvious and disrupting the invisible editing of Hollywood style.
Freeze Frame—A freeze shot, which is achieved by printing a single frame many times in succession to give the illusion of a still photograph.
Crosscutting—A shot inserted in a scene to show action happening elsewhere at the same time.
Cutaway—A cut within a shot to a location that links the action of the shot and condenses time (for example, a reaction shot of a woman watching a man climb some stairs, cutting out a flight in between the shots).
Match Cut—A cut in which two shots are linked by visual, aural, or metaphorical parallelism.
Scenes—An end of a scene is usually marked by a number of possible devices, including fade-ins and fade-outs (which may include a quick cut or a fade to black—note the length of time the blackout is maintained, which often implies significance of preceding scene, or else a long passage of time); wipe (a line moves across the screen, usually used in older films); dissolve (a new shot briefly superimposed on an old shot), often used to express continuity or connections (for example, the “stump scene” in Shane).
Sequence—A series of scenes that fit together narratively or representationally
Accelerated montage—a series of quick cuts that relate a variety of shots from different locations into a coherent story