Was an actor
focused on things like mise en scene, used imagination, and editing
long shot, camera in one place, filmed in chronological order
i) cast characters who looked the part/ carefully rehearsed before shooting the scenes. brought realism told the actors to act natural
played a lot with the camera movement, camera movement going closer during cruical moments or objects that may be cruical unfolding the plot
iii) Breaking a scene down into numerous shots instead of photographing the action in one leg the long shot
Any element in conjoined shots that smooth the transition from one shot to the next
gesture happens during a long shot, must continue smoothly in the close up shot so viewer focuses on the gesture, masks the cut
person or object is moving is kept consistent across the splice
Eyeline match: match the direction of the two characters eye lines so that they would seem to converge. Carefully matching his shots, succeeded in breaking down the action of his narratives into a number of separate shots creating dramatic emphasis without drawing attention to the medium or confusing his audience
Fade-ins: shot begins in darkness and gradually brightens until the image appears fully exposed
Fade-outs: opposite, slowly fades to black.
Iris-ins: black screen opens in from darkness expanding circle of light
Iris-outs: reverse the process
Control over the pacing of the narrative
Used these to signal that time has elapsed from the end of one sequence to another
Made dramatic use of the POV SHOT, followed by a REACTION shot, gives us two ways of identifying with on screen characters
Cross cutting, end of the film for a grand finale he cut back and forth between the climaxes of the various tales
red army designed propgandic posters, and then joined a workers theatre
Should do more than entertain, could instruct the illiterate masses on the history and theory of socialism.
editing was the foundation of film art
montage
Inappropriate for the new society.
Take theatre back to its primitive roots in spectacle or circus entertain
Conflict to create new meaning through a dialectic approach of a film form
The way parts work together to create an overall effect
feel an emotional response to the pattern we help create
Dubious things we learn from the movies. (a man will show no pain while taking the most ferocious beating but will wince when a woman tries to clean his wounds)
Involves a delay in fulfilling an established expectation
Refer to things beyond themselves; represent aspects of the real world. (example hard times of americas in the 1930s.) the wizard of oz
Stated openly (example theres no place like home, dorothy goes on an adventure and realizes that the land of oz isnt what it is when shes not with her family back home in kansas.)
Implying things and different interpretations will occur (subtext) (example some might argue that the wizard of oz is about growing up and realising the world isn't nice and has to accept the factors that come with growing up)
Situates trend of thought from the time of when the film was released (1930s) all sorts of meanings are largely social phenomenon
Function: motivations point to functions they do something in the larger whole
Similarity and repetition: ABACA experiment estab;ished and satisfied formal expectations
Difference and variation: plain patterns are boring and there's no development if you were to make a film you would seek out ways to contrast your characters and their environments
development : places similar and different elements within a pattern of change.
The key: to the apartment in the apartment represents the one way into the top is sacrificing your comfort and someone to be trusted while the men have their affairs, he is within the corrupt system
Similarity and repetition: everytime dorothy meets a new character, they mention something they wish for, and the other characters tells them to join along to see the wizard of oz and then off they skip singing the wizard of oz song
Unity: provide motivation for all the elements
Disunity: something is out of place.
Change of events in a cause-effect relationship occurring in time and space
story: Events in narrative both explicitly presented and simplicity
Plot: everything that is shown in the film
Total world of the story action, in the story (kyles radio playing a song and us hearing it) not brought from an outside source
Each choice brings out different choices, play around and that can help you create a different narration and idea.
Story duration: time it takes to view the film
Plot duration: events actually portrayed in the film
Story fuartion: all story events including those we infer but do not see/ hear
The a story event presented only once in the plot
In the midst of things; practice of beginning an epi by plunging into crucial situations part of a related chain of events.
Explanation to get across an idea
Familiar devices: appointment or deadlines
Delays, obstructions
Climax and anticlimax
Ending resolves or closes off the chains of cause and effect
Action presented as having a narrow range of possible outcomes
We know more than the character knows
Restricted because well find out information rhe same time the detective does
Finding out things as they go
How deeply the narrative goes
Never learn who belongs to the anonymous “voice of God”
Plot focuses on one or two central characters who want something. Cause-effect relationship in time and space
Individual characters as agents
Goal or desire motivate the action
Clear resolution
Placed or set in that scene
theatre
fantasy
Setting and props
Costume and makeup
Staging of the action
lighting
Each thing ties into one another, the lighting covering the characters faces, the costume one an ss solider and the way he presents himself presents the characters behaviour
Where theyre able to control everything
transformation
Property, an object that has functions within the ongoing action
Used to shape humans into things that help with horror films
Different types of lighting do different things
Hard: crisp texture, shadows, sharp edges
Soft:diffused illumination
Backlighting, positioned at many angles, high above the figure to cast shadows, subtle contour
Keylight: primary source suggested as the light source in film
Fill light: fills in
Backlight: behind and above
Keylight: diagonally from the front
Fill Light: position near the camera
Highkey: overall lighting that uses fill light and backlight to create low contrast
Lowkey: creates stronger contrast and sharper, darker shadows
Method acting
Motion capture: whole body is filmed
Performance capture: concentrates on the face
Face, hands, dialogue
Balance various points of interest around the shot evenly. Assume viewers focus more on the top half try to balance the right and left halves
Volume by shape, shading, and movement
Shallow-space: little depth closest and most distant planes only slightly separated
deep=space: significant distance to separate planes
separated
When characters are facing the camera, looks like they are looking at them
Cut: instant change one shot to another
Fade in:lightens shot from black
Fade out: darkens shot to black
Dissolve: shot A blends into Shot B
Any two shots together, youll create some interaction of those shots
Filmmakers link shots by close similarities. example Aliens film
Clash from shot to shot, to contrast between two things.
Directors play with the frame per second, they decide onhow long r short and play with the films rhythm
Shot that establish the spatial place
Different shots into one
You infer what happened in between
Derives new interpretations from composition and sequence, new meaning depending on the shots (alfred hitchcock experiment)
Shows stuff from the past that affects the character.
elliptical : action that consumes less time on the screen
Overlapping: action from the end of one sot repeated in the new shot
Patterned use of technique based on filmmakers decision
Transmit information smoothly over series of shots
Shape space and time in particular ways
180 degree rule
Shot a presents someone looking at something offscreen shot b show us what is being looked at
Pattern is repeated. Bilds our senses of space without an establshing shot
Single ,movement across a cut
When it doesnt follow the 180 rule but if the narrative flows whos to notice
Narration is subjective ddepending on what they first see will affect things later on (rear window)
Expand or contract on viewers knowledge as long as the 180 rule is not disrespected
Order, frequency, and duration
Skip over less important moments, cutting through the less important stuff.
One form of ellipsis, skipping over time (timelapse)
Cut together two shots of the same suject differeing slightly noticeable jump on the screen
Avoided by shifting camera 30 degree angle
Metamorphic or symbolic shot that does not belong to the space of the narrative