FVP 12 - Film Elements

Theme The basic idea the film expresses. It may touch on any aspect of life. It may concern itself with vengeance, vindication, dehumanization, love, courage, the triumph of good over evil, murder, greed, and hundreds more ideas. Usually, the better the theme, the better the film. (On the other hand, even a great theme can be badly handled in a film.) A film need not have a vibrant and important theme to be entertaining. However, films that do are usually remembered as great films, even though they may not have been the most popular, then or now.  Films with strong themes:  Films with weak themes: Here are some questions that you might ask in an attempt to define the theme: What is the basic idea of the film? What is the film about or concerned with? Is the theme of the film honest and sincere? Is the theme treated honestly? In what way does the theme relate to the plot? How were the metaphors, symbols, motifs used? (A motif is a repeating device, like the fish in Tim Burton’s Big Fish)

Plot The plot is the story line; it is what is happening. The plot may appear to be extremely simple, but could be profound. Many great dramatic films rest on a very simple plot line expressing a profound theme. In contrast many light-hearted, entertainment-oriented films depend mainly on their ingenious and exciting plots. The plots of many films are much like one another, but changes in how the story is told make them seem different. Consider a bank robbery film told from the perspective of the criminal, or the police that are chasing them. The hero of the film changes depending on the perspective used: the criminal or the policeman. Questions you’ll want to consider in describing the plot include: How does the plot develop the story? Are there subplots? Who does what- where, when and how? What influences the characters in their actions? How does the plot relate to the theme? Is the plot interesting? Is it believable? Is it too complicated?

Script The script is the plot in detail. It describes the scenes, and it specifies who and what the characters are, how they appear, and what they do and say. The script arranges events in a logical order and in progressive levels of intensity so that lesser climaxes lead up to important ones. The characterizations of the persons in the story and the dialogue they speak are interesting not only in themselves, but also because they enhance and advance the story. The script should be clear and logical. Digressions (tendencies to stray from the plot) and irrelevancies (events that don’t seem to belong in the story) should be avoided, unless they have a special purpose. Film directors can improve on the script, because a film script is seldom a finished product. However, the original script must still contain enough substance for the director to create a film.

Acting Actors have a special talent and ability to create characters who will capture our interest and sympathy. Some directors consider actors in a film as mere puppets who go through various scenes and sequences, saying lines that have no real meaning to them. Other directors explain the film in great detail to the performers so they can play their parts better. Whatever method the director uses, it is the actors in the film who are most likely to be remembered by the audience. Acting for film is extremely difficult, because most films are shot out of sequence. Various scenes are filmed over the course of many different days-not necessarily convenient for the actors. Other difficulties for film performers include that in an emotional scene, a performer must “turn on and off” their emotions many times to get the response the director wants. And, unlike stage acting, they cannot play to an audience- filmgoers will not see their performance for perhaps more than a year. Actors should play their parts so well that the viewer forgets that they are not the characters they are portraying. Some questions to consider when evaluating acting performance include: Did I identify with the actor? Did he or she cause me to respond emotionally to the film? What did he or she do that caused me to become caught up in the film? Was I conscious of who was playing the part, or did I feel that the performer had submerged his or her “normal” personality in the character? Were small roles played as well as major ones? Setting, Costumes, Makeup Three aspects of filmmaking – setting, costumes, and makeup- aid the actors in creating effective performances. These elements help create atmosphere and define character. They help make the film seem real. In films set in a time other than the present, setting, costumes, and makeup can be extremely important in making the picture believable. They must be so authentic that they do not distract the audience from the story. Most viewers don’t realize how difficult and expensive this endeavor can be. Questions you might ask in judging the settings, costumes, and makeup in a film include these: Did they help to make the film better? Did they create the right atmosphere? Did they blend in smoothly with the plot and theme? How did they help us to understand the characters better? Were settings, costumes, and makeup appropriate and accurate in period films? (Period films are set in previous times or the future, contemporary films are set in today’s time)

Direction The director of the film puts it all together. He or she is the creator of the film. The director is the person who says “Cut!” and everything stops. It can be difficult to determine the director’s role in the film, perhaps the best way to do this is to examine all of the other parts in the whole. All of the different film elements take their cue from the director. Sometimes the lighting or the colors of the film represent the director’s choice, sometimes it is obvious camera-work that tips the viewer off to the director’s choices. Every aspect of the film is ultimately the director’s responsibility. Questions that investigate direction include: Did all of the components of the film work well together? Did any parts of the film seem to be controlled? Did the film succeed in its original purpose?

Photography The director of photography, (Cinematographer) is an important part of the filmmaking team. He or she works closely with the director to keep the look of the film “true” to the director’s vision. Usually the director of photography supervises a number of camera operators. Most cinematographers are true artists. When you evaluate photography in film, you should often ask why: Why was this camera put in a high place, a low place, at this angle? Why was a telephoto lens used? Why did the director of photography use a wide- angle lens in a particular shot? Why did the camera follow the subject the way it did? You’ll also want to evaluate the lighting: Why was the girl’s face partially in shadow? Why was the lighting placed low? When you evaluate the composition, ask why the shot was framed a particular way? General questions: Did the photography add to the film? Did it seem to blend with all the other components? How did the camera move? Was the photography effective? And, finally, did the photography achieve the specific images that would tell the story?

Editing The editing of the film should not be noticeable, at least not to the point where we become conscious of the scenes changing. In evaluating editing, questions such as these are useful. Was there a smooth flow in the film from beginning to end? Did the editing help you to see and understand the film better? Did the editing help you discover and understand the theme, the plot, and the other components of the film?

Sound There are three kinds of sound for film: Natural sounds, music, and dialogue. All three help to create a realistic atmosphere. Natural sounds are the sounds that give the film a feeling of authenticity. Many of them are added after the scene has been filmed, because it is difficult to control sounds during actual filming. Sound editing is an extraordinarily complex process, yet if the dialogue editor and the supervising sound editor do their work properly, their efforts become invisible. When music is added to the film, a paradox occurs: The music is both real and unreal. It adds realism because it affects our emotions, involving us more deeply. But it is unreal, because life isn’t like that. We don’t hear music in the background during most of our daily experiences. Full orchestras are not hiding under every tree. Questions you’ll want to consider in evaluating sound and music include the following: Did the sound and music add to or detract from the film? Did they make the film seem more real? Or, did they interrupt the viewer’s enjoyment? Were they effective?