The Language of Film Prof Myrna Monllor Jimnez

The Language of Film Prof. Myrna Monllor Jiménez English 124 © copyright Myrna Monllor Jiménez 2015 All images used in this presentation were taken from Google and used only 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

The Theater VS. The Cinema In plays, the audience always observes the entire stage and all the actors within that stage. In film, the filmmaker controls what the audience sees and how by choosing the information that viewer will see.

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. Spiderman 3 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

Medium Shot Maleficent 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).

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

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 • The editor as storyteller – Cuts the film for transition 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 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 2013 ©Myrna Monllor Jiménez