The Language of Film Prof Myrna Monllor Jimnez
- Slides: 65
The Language of Film Prof. Myrna Monllor Jiménez English 124 © copyright Myrna Monllor Jiménez 2016 All images used in this presentation were taken from Google and used solely for educational purposes.
The great thing about literature is that you can imagine, the great thing about film is that you can’t. James Monaco, How to Read a Film
What does the filmmaker do? • Controls what the audience sees and how • Chooses the information that viewer will see a • Changes the spaces where the characters will move. • This is done mainly through editing.
Key Players in the Movie Set • • • Director Cinematographer Editor Sound Recordist Producer
Mise-en-Scène/ Placing on Stage How everything that appears on the screen is arranged • Actors • Lighting • Décor • Props
Mise-en-Scène Blancanieves 2012
Mise-en-Scène Blancanieves 2012
The better a viewer reads an image the more he/she understands it. • Their physical reality • What they refer to based on cultural references • Their various sets of meanings
When you look at a frame, one of the first things to consider is distance. Interstellar 2014 How much do you see of the character (s)? • Is it a close up? • Is it a full shot? • Is it a medium shot? Can you see the whole body or a part of the body?
In general the closer the camera gets to the characters, the closer the viewer feels towards the characters. This is why close ups are often used for: § love scenes § scenes where the character is suffering or fearful § any other scene where the viewer is supposed to understand what the character is feeling.
Close Up The Great Gatsby 2013
The Theory of Everything 2014
Medium Shot Maleficent 2014
The Imitation Game 2014
Black Swan 2011
As the camera moves further away from the character(s), the viewer is provided more information about them or about their situation. From Rosemary’s Baby 1968 From Babel 2006
Wall-E 2008 The further the camera is from the subject, the more distant you will feel from what is happening in the scene or to the character(s).
Selma 2015
Another thing you should consider when observing A frame is the angle or camera position. § Was the frame shot from high above? (a high angle) § Was it shot at eye level? § Was it shot from a low angle?
A frame shot from a high angle is often referred to as God’s eye view because it suggests that ‘someone’ is observing the characters. It can suggest danger and helplessness. Anna Karenina 2013 300 2006
Looper, 2012
Paranorman, 2012
Apocalypto 2007
A frame shot from a low angle makes the subject seem larger. The Wolf of Wall Street 2013 The Postman Always Rings Twice 1946
Django Unchained 2013 The Lone Ranger 2013
The Dark Knight 2008
Inglorious Basterds 2009
Paranorman, 2012
A character that seems larger than another in a frame is usually the dominant character. Elysium 2013
The Departed 2006
Citizen Kane 1941 A canted angle suggests that something is wrong either in the character or the story’s situation.
Artificial Intelligence 2001
Besides shots and angles, you should also watch for symbols. Some common symbols are: Images of entrapment are usually shown through characters framed by doors, gates, or confined spaces (like closets). From Lucy 2013 From Carrie 1976
Into the Woods 2014 Pan’s Labyrinth 2006 Atonement 2007
The Hours 2002 Drive 2010 The Painted Veil 2006
Inception 2010
Coraline, 2009
Alice in Wonderland, 2010
A Beautiful Mind 2001 The Departed 2006
Images of duality are usually represented by characters reflected in mirrors , water, glass. Psycho 1960
The Matrix 2003 Taxi Driver 1976 The Lady from Shanghai, 1947
Black Swan 2010 Birdman 2014
Black Swan 2010
Stairs, dark alleys, canted angles, darkness enveloping a character, seeing only part of a character are some images of imminent danger. From American Psycho From Silence of the Lambs From Kiss Me Deadly From Halloween
Light cutting through a character(s), lines which divide the frame, usually mark images of characters that are in turmoil. From Blade Runner 1982 From The Awful Truth 1937 From The Usual Suspects 1995
Sweeney Todd 2007
Other Symbols Christ figures or Messianic figures/Biblical References From Dead Man Walking 1995 Crosses From The Omen 1976 Pan’s Labyrinth 2006
Man of Steel 2013
From Hell 2001
Inception 2010 Shadows The top
Rebirth 2006 Color 1968 From Schindler’s List 1993
Eyes From The Blair Witch Project 1999 From Un Perro Andaluz 1929 From Psycho 1960 From Spellbound 1945
Phallic symbols From King Kong 1933 From Blade 1998 From Rear Window 1954
Blood Destruction or desecration of symbols 1976 From Planet of the Apes 1968
Trains Slumdog Millionaire 2008
The Moon Water From Jaws 1975 From E. T. 1982 Roads From North by Northwest 1959 …and many others Trees
From Taken 2008 From Alexander 2004 From The Ring 2002 The Black Dahlia 2006
The Power of the Editor “Editing Made Cinema” The Story of Film • The editor as storyteller – Cuts the film for transition and continuity purposes and to provide information to the viewer – Omits/eliminates the sections of the story that are too obvious or unnecessary (ellipsis) – Alternates two or more scenes usually happening simultaneously that culminate in a place where the characters face each other (cross cutting/parallel cutting)
Cross Cutting/Parallel Cutting Example: Silence of the Lambs 1991 https: //www. youtube. com/watch? v=Ts 1 x 6 u. ADFt. M
Crosscutting: The Godfather http: //www. youtube. com/watch? v=S_I 82117 o. Aw
The Kuleshov Effect
The Kuleshov Effect http: //www. youtube. com/watch? v=MCK 53 Lb 4 -p. I
Other definitions • Cliché- overuse of situations, symbols • Voice over-a narrator whose voice is heard throughout a film • Restricted narration-limited to one character • Omniscient narration-changes from one character to another, the viewer receives information from many sources.
Auteurs/genre • An auteur is a director who manifests a consistency of style and theme across his/her films. Auteur films are inventive and creative. Auteur films emphasize their uniqueness. • Genre refers to a mass produced product of the Hollywood film industry. It studies the conventions of certain kinds of films. Genre categorizes films according to their thematic and visual similarities. Genres are not static, they evolve. They also create certain expectations in the viewer.
Bibliography Buckland, Warren. Teach Yourself Film studies. Hodder & Stoughton, 1998. Monaco James, How to Read a Film. Oxford University Press, 3 rd edition, 2000. Elements of Cinema. com http: //www. elementsofcinema. com Copyright 2016 ©Myrna Monllor Jiménez
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