Glossary of Terms
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Textual Analysis Film: Do the Right Thing (1989) Director: Spike Lee Sequence Running Time: 00:50:55 - 00:55:55 Word Count: 1745
Student sample Textual Analysis Film: Do The Right Thing (1989) Director: Spike Lee Sequence Running Time: 00:50:55 - 00:55:55 Word Count: 1745 In this paper I will analyze an extract from Spike Lee's Do The Right Thing (1989) that reflects the political, geographical, social, and economical situations through Lee's stylistic use of cinematography, mise-en-scene, editing, and sound to communicate the dynamics of the characters in the cultural melting pot that is Bedford-Stuyvesant,Brooklyn in New York City. This extract manifests Lee's artistic visions that are prevalent in the film and are contemplative of Lee's personal experience of growing up in Brooklyn. "This evenhandedness that is at the center of Spike Lee's work" (Ebert) is evident through Lee's techniques and the equal attention given to the residents of this neighborhood to present a social realism cinema. Released almost thirty years ago, Lee's film continues to empower the need for social change today with the Black Lives Matter movement and was even called "'culturally significant'by the U.S. Library of Congress" (History). Do The Right Thing takes place during the late 1980s in Bed-Stuy, Brooklyn and unravels the "bigotry and violence" (Lee) in the neighborhood of a single summer day, specifically one of the hottest of the season. Being extremely socially conscious, Do The Right Thing illustrates the dangers of racism against African Americans and was motivated by injusticesof the time--especially in New York--such as the death of Yusef Hawkins and the Howard Beach racial incident. -
Techniques of Cinematography: 2 (SUPROMIT MAITI)
Dept. of English, RNLKWC--SEM- IV—SEC 2—Techniques of Cinematography: 2 (SUPROMIT MAITI) The Department of English RAJA N.L. KHAN WOMEN’S COLLEGE (AUTONOMOUS) Midnapore, West Bengal Course material- 2 on Techniques of Cinematography (Some other techniques) A close-up from Mrinal Sen’s Bhuvan Shome (1969) For SEC (English Hons.) Semester- IV Paper- SEC 2 (Film Studies) Prepared by SUPROMIT MAITI Faculty, Department of English, Raja N.L. Khan Women’s College (Autonomous) Prepared by: Supromit Maiti. April, 2020. 1 Dept. of English, RNLKWC--SEM- IV—SEC 2—Techniques of Cinematography: 2 (SUPROMIT MAITI) Techniques of Cinematography (Film Studies- Unit II: Part 2) Dolly shot Dolly shot uses a camera dolly, which is a small cart with wheels attached to it. The camera and the operator can mount the dolly and access a smooth horizontal or vertical movement while filming a scene, minimizing any possibility of visual shaking. During the execution of dolly shots, the camera is either moved towards the subject while the film is rolling, or away from the subject while filming. This process is usually referred to as ‘dollying in’ or ‘dollying out’. Establishing shot An establishing shot from Death in Venice (1971) by Luchino Visconti Establishing shots are generally shots that are used to relate the characters or individuals in the narrative to the situation, while contextualizing his presence in the scene. It is generally the shot that begins a scene, which shoulders the responsibility of conveying to the audience crucial impressions about the scene. Generally a very long and wide angle shot, establishing shot clearly displays the surroundings where the actions in the Prepared by: Supromit Maiti. -
The General Idea Behind Editing in Narrative Film Is the Coordination of One Shot with Another in Order to Create a Coherent, Artistically Pleasing, Meaningful Whole
Chapter 4: Editing Film 125: The Textbook © Lynne Lerych The general idea behind editing in narrative film is the coordination of one shot with another in order to create a coherent, artistically pleasing, meaningful whole. The system of editing employed in narrative film is called continuity editing – its purpose is to create and provide efficient, functional transitions. Sounds simple enough, right?1 Yeah, no. It’s not really that simple. These three desired qualities of narrative film editing – coherence, artistry, and meaning – are not easy to achieve, especially when you consider what the film editor begins with. The typical shooting phase of a typical two-hour narrative feature film lasts about eight weeks. During that time, the cinematography team may record anywhere from 20 or 30 hours of film on the relatively low end – up to the 240 hours of film that James Cameron and his cinematographer, Russell Carpenter, shot for Titanic – which eventually weighed in at 3 hours and 14 minutes by the time it reached theatres. Most filmmakers will shoot somewhere in between these extremes. No matter how you look at it, though, the editor knows from the outset that in all likelihood less than ten percent of the film shot will make its way into the final product. As if the sheer weight of the available footage weren’t enough, there is the reality that most scenes in feature films are shot out of sequence – in other words, they are typically shot in neither the chronological order of the story nor the temporal order of the film. -
The Performance and Materiality of the Processes, Spaces and Labor of VFX Production
Sarah Atkinson Interactive ‘making-of’ machines: The performance and materiality of the processes, spaces and labor of VFX production Abstract This article analyzes and interrogates two interactive museum installations designed to reveal behind-the-scenes visual effects (VFX) materials from Inception (2010) and Gravity (2013). The multi-screen, interactive, and immersive installations were both created in direct collaboration with the VFX supervisors who were responsible for pioneering the new and innovative creative solutions in each of the films. The installations translate these processes for a wider audience and as such they not only provide rich sites for textual analysis as new ancillary forms of paratextual access, but they also provide insights into the way that VFX sector presents itself, situated within the wider context of the current global VFX industry. The article draws together critical production studies, textual analysis, and reflections from the industry which, combined, provide new understandings of these interactive forms of ancillary film “making-of ” content, their performative dimensions, and the labor processes that they reveal. Context their conception and presentation within the wider context of the current global VFX industry. This article analyzes and interrogates two interactive The decadent displays of VFX excess and access museum installations that were designed to reveal presented in both installations are representative of behind-the-scenes materials from Inception (2010) the currently flourishing VFX industry within the and Gravity (2013) in order to showcase the UK which has been boosted in recent years, by a acclaimed, breakthrough visual effects (VFX) of system of tax incentives which have been in place 3 each of the films. -
Wide Shot (Or Establishing Shot) Medium Shot Close-Up Extreme
Definitions: Wide Shot (or Establishing Shot) Medium Shot Close-up Extreme Close-up Pan –Right or left movement of the camera Tilt –Up or down movement of the camera Zoom –Change in focal length (magnification) of the lens V/O –Voice-over, narration not synchronized with video SOT –Sound on Tape, Interview audio synchronized with video B-Roll -Refers to the earlier days of film when you had two rolls of film – A and B – and you had to edit them together. A-roll is the main subject of your shot, with audio such as an interview with someone or SOT (Sound on Tape synchronized with the video). B-roll is the background video for your film, often just video over which you’ll lay an audio track (such as the person talking in the A-roll). Nat Sound (Wild Sound) –Natural sound recorded with B-Roll This is video that has some natural background noise – traffic on a street, birds chirping in a park, etc. This audio can add depth and impact to a two-dimensional video tape. 2-Shot –Shot of the interview subject and the person asking the questions Reverse Angle –Straight-on shot of the person asking the questions Use a Tripod Use a tripod to get a steady shot, particularly if you’re shooting something that is not moving or a formal interview. Shaky video, especially in close-ups, can cause the viewer to become dizzy, even nauseous. If you don’t have a tripod or you’re doing a shot where you’ll have to move quickly, then find something to steady your camera – i.e. -
Film Terminology
Film Terminology Forms of Fiction English 12 Camera SHOTS camera shot is the amount of space that is seen in one shot or frame. Camera shots are used to demonstrate different aspects of a film's setting, characters and themes. As a result, camera shots are very important in shaping meaning in a film. Extreme long shot A framing in which the scale of the object shown is very small; a building, landscape, or crowd of people would fill the screen. Extreme long shot/Establishing shot This shot, usually involving a distant framing, that shows the spatial relations among the important figures, objects, and setting in a scene. Long Shot A framing in which the scale of the object shown is very small A standing human figure would appear nearly half the height of the screen. It is often used to show scenes of action or to establish setting - Sometimes called an establishing shot Medium long shot A framing at a distance that makes an object about four or five feet high appear to fill most of the screen vertically Medium Shot A framing in which the scale of the object shown is of moderate size A human figure seen from the waist up would fill most of the screen Over the shoulder This shot is framed from behind a person who is looking at the subject This shot helps to establish the position of each person and get the feel of looking at one person from the other’s point of view It is common to cut between these shots during conversation Medium close up A framing in which the scale of the object is fairly large a human figure seen from the chest up would fill most the screen Close-up Shot A framing in which the scale of the object shown is relatively large; most commonly a person’s head seen from the neck up, or an object of a comparable size that fills most of the screen. -
COLLEGE of LIBERAL ARTS in All Respects, the College of Liberal Arts Is Engaged In
DEPARTMENT OF ECONOMICS COLLEGE OF DEPARTMENT OF ENGLISH AND LANGUAGE ARTS LIBERAL ARTS DEPARTMENT OF FINE AND PERFORMING ARTS (Fine Art, Music, Theatre Arts) DEPARTMENT OF HISTORY AND GEOGRAPHY DEPARTMENT OF MILITARY SCIENCE DEPARTMENT OF PHILOSOPHY AND RELIGIOUS STUDIES DEPARTMENT OF POLITICAL SCIENCE AND PUBLIC POLICY DEPARTMENT OF PSYCHOLOGY DEPARTMENT OF SOCIOLOGY AND ANTHROPOLOGY DEPARTMENT OF WORLD LANGUAGES AND INTERNATIONAL STUDIES COLLEGE OF LIBERAL ARTS In all respects, the College of Liberal Arts is engaged in Dr. Pamela E. Scott-Johnson, Interim Dean Creating Opportunities to Reach Excellence. CORE VALUES The College of Liberal Arts is the largest academic division at the University. In addition to offering twelve According to its philosophy and values, the College of undergraduates degree programs that represent Liberal Arts is a learning community that offers a corps of disciplinary focuses, it also offers a large portion of the educational programs and services that promotes: courses in the General Education Program administers the Intellectual curiosity University’s Writing Proficiency Examination. All Independence Morgan students, regardless of major, take courses and engage in other activities which reflect the historical Interdependence foundations of liberal education. Self-awareness Service LIBERAL COLLEGE MISSION Commitment to problem-solving Leadership The mission of The College of Liberal Arts, consistent A Commitment to life-long learning O with that of Morgan State University, is to offer high- R F quality academic programs and to promote effective Competency in written and oral communication, TS student-centered teaching and learning, outstanding Achievement student achievement, cutting edge faculty research and GOALS scholarship, and broadranging service to the professions and the community. -
Cinematic Technique Intended Effect and Purpose Film Examples Shots
WRITING A STYLE ANALYSIS ESSAY Name ___________________________________ Cinematic Techniques Due Date ________________________________ Cinematic Technique Intended Effect and Purpose Film Examples Shot: A single piece of film, uninterrupted by cuts. Establishing Shot: Often a This is used to establish setting long shot or a series of and to show transitions shots that sets the scene. between locations. Long Shot (LS): A shot from It may suggest the isolation or some distance (also called vulnerability of a character. a full shot). A long shot of a person shows the full body. Medium Shot (MS): The The effect is to ground the most common shot. The story. camera seems to be a medium distance from the object being filmed. A medium shot shows a person from the waist up. Close-up Shot (CU): The Shots and Framing Shots image being shot takes up at least 80% of the frame. Extreme Close-up Shot (ECU): The image being shot is part of the whole, such as an eye or a hand. Two Shot: A scene between two people shot exclusively from an angle that includes both characters more or less equally, it is used in scenes where interaction between the two characters is important. Cinematic Technique Intended Effect and Purpose Film Examples Eye Level: A shot taken Ninety to ninety-five percent from a normal height – that of the shots seen are eye level is, at the character’s eye because it is the most natural level. angle. High Angle: The camera is This angle usually has the above the subject. effect of making the subject look smaller than normal, giving the character the appearance of being weak, powerless, and/or trapped. -
Cinematography
CINEMATOGRAPHY ESSENTIAL CONCEPTS • The filmmaker controls the cinematographic qualities of the shot – not only what is filmed but also how it is filmed • Cinematographic qualities involve three factors: 1. the photographic aspects of the shot 2. the framing of the shot 3. the duration of the shot In other words, cinematography is affected by choices in: 1. Photographic aspects of the shot 2. Framing 3. Duration of the shot 1. Photographic image • The study of the photographic image includes: A. Range of tonalities B. Speed of motion C. Perspective 1.A: Tonalities of the photographic image The range of tonalities include: I. Contrast – black & white; color It can be controlled with lighting, filters, film stock, laboratory processing, postproduction II. Exposure – how much light passes through the camera lens Image too dark, underexposed; or too bright, overexposed Exposure can be controlled with filters 1.A. Tonality - cont Tonality can be changed after filming: Tinting – dipping developed film in dye Dark areas remain black & gray; light areas pick up color Toning - dipping during developing of positive print Dark areas colored light area; white/faintly colored 1.A. Tonality - cont • Photochemically – based filmmaking can have the tonality fixed. Done by color timer or grader in the laboratory • Digital grading used today. A scanner converts film to digital files, creating a digital intermediate (DI). DI is adjusted with software and scanned back onto negative 1.B.: Speed of motion • Depends on the relation between the rate at which -
3. Master the Camera
mini filmmaking guides production 3. MASTER THE CAMERA To access our full set of Into Film DEVELOPMENT (3 guides) mini filmmaking guides visit intofilm.org PRE-PRODUCTION (4 guides) PRODUCTION (5 guides) 1. LIGHT A FILM SET 2. GET SET UP 3. MASTER THE CAMERA 4. RECORD SOUND 5. STAY SAFE AND OBSERVE SET ETIQUETTE POST-PRODUCTION (2 guides) EXHIBITION AND DISTRIBUTION (2 guides) PRODUCTION MASTER THE CAMERA Master the camera (camera shots, angles and movements) Top Tip Before you begin making your film, have a play with your camera: try to film something! A simple, silent (no dialogue) scene where somebody walks into the shot, does something and then leaves is perfect. Once you’ve shot your first film, watch it. What do you like/dislike about it? Save this first attempt. We’ll be asking you to return to it later. (If you have already done this and saved your films, you don’t need to do this again.) Professional filmmakers divide scenes into shots. They set up their camera and frame the first shot, film the action and then stop recording. This process is repeated for each new shot until the scene is completed. The clips are then put together in the edit to make one continuous scene. Whatever equipment you work with, if you use professional techniques, you can produce quality films that look cinematic. The table below gives a description of the main shots, angles and movements used by professional filmmakers. An explanation of the effects they create and the information they can give the audience is also included. -
Beginners Guide to Video - JMBS
Beginners Guide to Video - JMBS This guide is intended for anyone who wishes to use a video camera for news gathering or documentary work. Although it is written for the complete novice there should also be something here for the more experienced. Camera Technique Books have been dedicated to this but there are a few things that are very useful to consider. • The most reliable way of getting good shots is to turn the lens to as wide an angle as possible and get as close to the subject/action as possible. • Treat the camera as if it were a stills camera. Avoid panning(left/right), tilting(up/down) and zooming unless it is absolutely necessary. Simple shots are best and they are easier to pull off. • Use a tripod or monopod wherever possible and if not try to find something to lean against. • If you have to change the camera angle do it as slowly (and smoothly) as possible. It is much better to have something briefly out of shot than to be continually/rapidly changing the camera angle. Ideally it should be done so slowly that the audience does not notice. • If you are panning over a long distance or following quick moving action generally speaking things should be in shot for at least five seconds. • When shooting without a tripod bear in mind the wider the angle you are shooting the steadier the shot. If possible move in closer rather than zooming in. To help steady the camera push the eyepiece to your eye and press your elbows against the bottom of your ribs. -
Programmable Image-Based Light Capture for Previsualization
ii Abstract Previsualization is a class of techniques for creating approximate previews of a movie sequence in order to visualize a scene prior to shooting it on the set. Often these techniques are used to convey the artistic direction of the story in terms of cinematic elements, such as camera movement, angle, lighting, dialogue, and char- acter motion. Essentially, a movie director uses previsualization (previs) to convey movie visuals as he sees them in his ”minds-eye”. Traditional methods for previs include hand-drawn sketches, Storyboards, scaled models, and photographs, which are created by artists to convey how a scene or character might look or move. A recent trend has been to use 3D graphics applications such as video game engines to perform previs, which is called 3D previs. This type of previs is generally used prior to shooting a scene in order to choreograph camera or character movements. To visualize a scene while being recorded on-set, directors and cinematographers use a technique called On-set previs, which provides a real-time view with little to no processing. Other types of previs, such as Technical previs, emphasize accurately capturing scene properties but lack any interactive manipulation and are usually employed by visual effects crews and not for cinematographers or directors. This dissertation’s focus is on creating a new method for interactive visualization that will automatically capture the on-set lighting and provide interactive manipulation of cinematic elements to facilitate the movie maker’s artistic expression, validate cine- matic choices, and provide guidance to production crews. Our method will overcome the drawbacks of the all previous previs methods by combining photorealistic ren- dering with accurately captured scene details, which is interactively displayed on a mobile capture and rendering platform.