ANALYZING FILM First and foremost a film is

ANALYZING FILM “First and foremost, a film is visual rather than verbal. ” -Dr. F. Marcus-

WHAT IS MISE-EN-SCENE? v The dictionary defines mise on scene as: “the process of setting a stage, with regard to placement of actors, scenery or properties. ”

v Mise-en-scene. . . was originally a French theatrical term, meaning “placing on stage. ” The phrase refers to the arrangement of all the visual elements of a theatrical production within a given playing area-the stage. . . mise-en-scene in the movies resembles the art of painting in that an image of formal patterns and shapes is presented on a flat surface and enclosed within a frame. But because of its theatrical heritage, cinematic mise-en-scene is also a fluid choreographing of visual elements that correspond to a dramatic idea, or complex of ideas

MOVEMENT: v In any film, there are two categories of movement: 1) Movement created by actors or objects in the film 2) Movement created by the camera as it films a scene and as the film moves from scene to scene.

MOVEMENT CONT. v There are 6 basic movements in film: 1. Moving Frame or Reframing: The composition of the frame changes as the camera alters its position in relation to the object being filmed. A romantic close-up of two lovers whispering may suddenly change its meaning if the camera pulls back to reveal a long shot full of spectators; what was at first romantic becomes comedic. 2. Panning: The word pan is a contraction of the panoramic and is used to describe the movement of the camera from side to side (horizontal movement) on a vertical axis to follow the action in a scene; if your head were a camera, the movement would be akin to you shaking your head “no. ” Pan shots are often used to establish the setting for the audience

MOVEMENT CONT. 3. Dollying or Tracking: The camera is mounted on a cart or some other vehicle so that it can move alongside the subject, and keep pace with it, forward, backward, or around the subject; the camera can also dolly or track in towards the subject or away from the subject. Unlike panning or tiliting, the camera itself physically moves rather than merely pivoting on an axis. In car chases the camera is sometimes mounted in a car that travels alongside the car that is the subject of the action; in a party scene, the camera may indicate the roving intimacy of the gathering by following a character through the crowd. 4. Zoom (in or out): Through the use of a special lens (named, not surprisingly, a zoom lens), the camera can appear to move towards or away from a subject quite quickly. The sense of movement is usually more rapid with a zoom than with a dolly in or out. Note that the camera does not move, merely the lens. 5. Crane Shot: Moving shot taken by the camera on a specially constructed crane which permits the camera to move in and out, up and down, as well as backward and forward; they are generally

TRANSITIONS v There are 8 commonly used techniques when a change of scene is required. 1. Cut: An instantaneous change from one shot to another. 2. Dissolve: A visual effect created by the gradual disappearance of one shot while another shot gradually appears and comes into clear focus; Dissolves are used to suggest a change of setting or a longer lapse of time than in a cut, so it is often used to begin or end flashbacks.

TRANSITIONS CONT. 3. Fade Out/In: Ending a scene by underexposing to black or overexposing to white; v beginning a scene in the same manner, moving from black or white to clear focus. The fade out/in is usually used to indicate the passage of time or a change of location in narrative. 4. Freeze Frame: As a way of ending a scene, the film appears to stop and the image is “frozen” or held for a few seconds. Used for dramatic effect, usually to suggest a lack of closure. 5. Jump-Cut: An abrupt transition between shots, usually made to disorient the audience because there is a sudden or illogical transition; the usual “laws” of space and time are violated. 6. Swish Pan (a. k. a. Flash Pan or Zip Pan or Whip Pan): A horizontal camera movement where the speed of the camera is so fast that only blurred images are recorded; often used to connect events in different places that are actually

TRANSITIONS CONT. 7. Wipe: A transition between shots in which a line passes across the screen, eliminating the first shot as it goes and replacing it with the next one; the images do not blend, as in a dissolve. 8. Iris-in or Iris-out: The new image appears as an expanding circle in the middle of the old image or the old image becomes a contracting circle that disappears into the new image.

LIGHTING v. Directors and cinematographers often use the archetypal implications of light and dark to manipulate the mood and feeling of their film; the orchestration of light is key in defining tone, setting and character.

LIGHTING CONT. v The lighting of a subject from above (top lighting) creates a romantic halo effect, suggesting purity or romance. v Lighting a subject from below (underlighting) makes the figure sinister and frightening, even if it maintains a neutral expression. v If a figure is illuminated from behind (backlighting, also known as edge lighting or rim lighting), it tends to create silhouettes.

LIGHTING CONT. v When a subject is only half-lit, the other half still in darkness (sidelighting), the director and cinematographer may be suggesting a certain ambiguity, or perhaps a psychological self-division. v An obstruction in front of a light source, leaving the figure in shadowy darkness, disrupts the viewer’s sense of safety, inciting fear and apprehension.

LIGHTING v. The most common arrangement in lighting is known as three-point lighting, where three directions of light are on a scene: from behind the subjects (backlighting), from one bright source (key light), and from a dimmer source opposite the key light (fill light).

LIGHTING CONT. v high key lighting: bright, even illumination and few conspicuous shadows; comparatively little contrast between the light and dark areas of the shot--used most often in comedies or musicals v low key lighting: emphasizes diffused shadows and atmospheric pools of light; there is a strong contrast between light and dark areas of the shot--used often in atmospheric thrillers, horror or noir v high contrast: harsh shafts of light and dramatic streaks of blackness

COMPOSITION v Composition is the way the audience’s eye is manipulated to look around the screen. The key notion is that of the dominant, that area of the film image that compels the viewer’s most immediate attention, usually because of a prominent visual contrast, for instance the contrast between light and dark, or a dominant colour. v. After the viewer examines the dominant, his/her eye then scans the subsidiary contrasts, acting as counterbalancing devices.

FRAMING v Defined as the amount of open space within the territory of the frame. v tightly framed: a close shot--often suggests entrapment or confinement v loosely framed: a long shot—often suggests freedom v internal framing: the suggestion of entrapment by using a neutral object (such as a doorway or window frame) to symbolically “confine” a figure

FILM SHOTS & ANGLES v Proxemics: the spatial relationships among characters within the mise-en-scene, and the apparent distance of the camera from the subject photographed. v There are 7 shots used regularly in film.

FILM SHOTS 1. Extreme Close Up-singles out a portion of the body or isolates a detailoften used for symbolic purposes to reinforce the significance of an object-may also be used to intensify an emotion--an extreme close-up of an actor generally only includes his/her eyes or mouth-often used as a Cut-In, an instantaneous shift from a distant framing to a closer view of some portion of the same space 2. Close-Up-a detailed shot usually showing just the head or a small, significant object-used largely to isolate a character from the setting and from all other characters so that the audience will pay attention only to that character; films with many close-ups tend to feature characters who are lonely, cut off from each other, and isolated from society

FILM SHOTS v Medium Close-Up-the figure is framed from the chest up v Medium Shot-the figure is framed from about the waist up v Medium Long Shot-a balance between figure and background; the figure is usually framed from above the knees up

FILM SHOTS v Long Shot-figures are more prominent, but the background still dominates; the image roughly corresponds to the audience’s view of the area within the proscenium arch in live theatre -the Long Shot or the Extreme Long Shot are often used as Establishing Shots, ones that orient the audience to location and surroundings, showing the spatial relations among the important figures v Extreme Long Shot-a panoramic view of an exterior location, photographed from a great distance, often as far as a quarter-mile away; often used to frame landscapes or bird’s-eye views of cities -the human figure is barely visible or not visible at all

ANGLES v ANGLES: the camera’s angle of view relative to the subject being photographed v High Angle-”looks” down on the subject-the Angle of Destiny is a decidedly high angle shot that suggests an omniscience, a moment of great contemplation of decision--often held for an extended period of time v Low Angle-the camera “looks” up at the subject-often used to give the figure a dominate and powerful presence; the audience is made to feel submissive

ANGLES CONT. v Flat Angle-the camera is at eye level and on the same plane as the subject v The Canted Camera Shot (also known as Dutch Angle) -the central frame seems unbalanced in relation to the space and action -often used to suggest a subjective viewpoint, such as that of a person who is drunk, or to suggest a symbolic unbalance, such as a world that lacks harmony and balance

EDITING TRANSITIONS v Reaction Shot: This shot is usually employed to show the effect that someone’s words or actions have on another individual, or to show a character reacts generally to a particular scene. A reaction shot may be a close-up to catch a look of surprise or fear, or a medium shot to show a person’s body language. v Point of View Shot (POV) (also known as an eye-line shot): Any shot that is taken from the perspective of a character in a film; we, as the audience, sees what he sees. It may be a brief insert shot, or a longer shot to make the audience feel complicit in the character’s perspective. Usually in an edited sequence, a character appears to look at something, often in close up; this is followed by a cut to a POV shot from the character’s perspective, followed by a reaction shot.

OTHER SHOTS v The Hand-Held Shot: The camera is carried, approximating the actual jerky movement of human progression, by the camera operator; the shot may be, in some ways, more intimate and realistic, suggesting the subjective perspective of the individual. v The “Push In”: The camera, either slowly or swiftly, tracks up to the subject’s face; it is usually used to build tension leading to a sudden epiphany v The Spiral Shot: The camera “circles” around an individual or a group of people (usually gathered around a table)--it may be a quick spiraling motion to suggest disorientation or panic, or a slow circular motion to suggest sanguinity or encourage close listening