THE ORIGINS OF AND AN INTRODUCTION TO VISUAL STRUCTURE IN FILM AND DIGITAL MEDIA COLLUSION WITH THE RUSSIANS? COLLUSION COLLUSION COLLUSION
YES! ABSOLUTELY.
But it’s not what you think… Chapter 1 - Origins
SOME FOUNDING FATHERS OF VISUAL STRUCTURE SOVIET FILMMAKERS & THEORISTS Forging the Foundations of Visual Structure Lev Kuleshov b. January 13,1899, Tambov, Tsarist Russia d. March 29, 1970, Moscow, USSR For Luck (1917) - Director Na kranson fronte (On the Red Front), (1920) - Director The Death Ray (1925) - Director Contributions to Film Theory & Filmmaking Pavlovian Physiology (the Kuleshov Effect) Creative Geography Instructor, The Moscow Film School (1st one) Cinema as an Artform – Montage is the key The Kuleshov Effect 1920
This video clip does not play in PDF format. SOVIET FILMMAKERS & THEORISTS Forging the Foundations of Visual Structure Sergei Eisenstein b. January 23,1898, Riga, Latvia d. February 11, 1948, Moscow, USSR Strike! (1924) - Director Battleship Potemkin (1925) - Director Alexander Nevsky (1938) - Director Contributions to Film Theory & Filmmaking Montage : Metric, Rhythmic, Tonal, Overtonal, Intellectual Dialectics by means of Cinema Editing Techniques based on Biomechanics Cinema as Vehicle for Struggle SOVIET FILMMAKERS & THEORISTS Forging the Foundations of Visual Structure
Vsevolod Pudovkin b. February 16, 1893, Penza, Russia d. June 30, 1953, Jurmala, Latvia Chess Fever (1925) - Director Mother (1926) – Director (His Masterpiece) Storm Over Asia (1928) - Director Contributions to Film Theory & Filmmaking His Book: Film Technique and Film Acting, 1954. Plastic Synthesis – Editing over Acting, & Typage 5 editing techniques: Contrast, Parallelism, Symbolism, Simultaneity, and Leit Motif (a short, constantly recurring musical phrase) The Kuleshov Effect 2011
Shame – Dir. Steve McQueen, Editor – Joe Walker SOVIET FILMMAKERS & THEORISTS Forging the Foundations of Visual Structure
Alexander Dovzhenko (Ukraine) b. September 10, 1894 d. November 25, 1956, Peredelkino, Russia Zvenyhora (1928) Arsenal (1929) Earth (1930) Contributions to Film Theory & Filmmaking Struggles and Glory of the People on the Land Less Ideological, More Personal His Silent Trilogy (Zvenyhora, Arsenal, Earth) Long Parallel Montage Sequences (Cross Cutting) EUROPEAN FILMMAKERS & THEORISTS Forging the Foundations of Visual Structure Slavko Vorkapich (Austria-Hungarian) b. March 17, 1894, Dobrinsi, Austria-Hungary d. October 20, 1976, Mijas, Spain The Life and Death of 9413, a Hollywood Extra (1928) - Director Mr. Smith Goes to Washington (1939) - Montage Sequences Hanka (1955) - Director Contributions to Film Theory & Filmmaking The Avant-Garde in Early American Cinema - Optical Effects Pioneer Montage Theory (David Copperfield, The Good Earth, Meet John Doe) “Kinesthesis”, Double Exposures, Montage Effects “The Vorkapich”, his legendary montage sequences USC Film Dept. Chair – 1949 - 1951 AMERICAN PIONEERING FILMMAKER Forging the Foundations of Visual Structure Lestor Novros (American) b. January 7, 1909, Passaic, New Jersey d. September 10, 2000, Sherman Oaks, CA Fantasia, Night on Bald Mountain sequence, (1940) - Animator P-38 Flight Characteristics, (1943) USAF - Animator To the Moon and Beyond (1964/65) – 360 Cinerama– Director/Producer Universe (1974) – Director & Producer – Academy Award Winner ( Doc) Contributions to Filmmaking Early Disney Animator Large Film Format Pioneer - Graphic Films Corporation Iconic USC Course – “Filmic Expression” Brought Fine Art Theory to Filmmaking – He was a huge influence. AMERICAN FILMMAKER & FILM THEORIST Forging the Foundations of Visual Structure Bruce A. Block (American) Active Film Producer, Author, & Visual Consultant Irreconcilable Differences, (1984) – Visual Consultant Bachelor Party, (1984) - Visual Consultant Stuart Little, (1999) – Visual Consultant As Good As It Gets, (1997) – Visual Consultant Father of the Bride I and II, (1991) – Producer What Women Want, (2000) - Producer Contributions to Filmmaking His Book: The Visual Story – Seeing the Structure of Film, TV, and New Media Tenured USC Professor of Cinematic Arts, Eisenstein Chair in Cinematic Arts, Track Head, Production Design AMERICAN FILMMAKER & FILM THEORIST Forging the Foundations of Visual Structure Bruce A. Block (American) Active Film Producer, Author, & Visual Consultant
Bruce Block’s book, Visual Story, Seeing the Structure of Film, TV, and New Media, adopts concepts from the aforementioned filmmakers and cinema theorists, Kuleshov, Eisenstein, Pudovkin, Dovzhenko, Vorkapich, Novros, as well as many others & he assimilates them with the science of visual perception, psychology, art history, photography, theater, and forges them with STORY STRUCTURE in a new way.
Chapter 2 - Foundations
BuildingBlocks
What are SCRIPTS are built from ? Plot, Character, Dialogue – yes.
What is MUSIC built from ? Instruments, Notes, Melody – yes.
What is SOUND built from ? Volume, Bass, Treble, Sound FX, Other – yes.
What are VISUALS built from ? Scenery ? , Props ?, Costumes ??? NO. Chapter 2 - Foundations
UNDERSTANDING THE FOUNDATIONS OF VISUAL STRUCTURE DEFINING VISUAL STRUCTURE…
Visual Structure is the creative employment of the science of visual perception, cognitive psychology and fundamental visual design elements in order to support a given story or narrative.
FOUNDATIONS OF VISUAL STRUCTURE Chapter 2 - Foundations
WHAT ARE THE DESIGN ELEMENTS?
THE MAGNIFICENT SEVEN
FOUNDATIONS OF VISUAL STRUCTURE The Seven Elements of Visual Structure
TONE LINE
SPACE RHYTHM
THE MAGNIFICENT SEVEN
MOVEMENT
COLOR SHAPE The Four Subcategories of Space SPACE DEEP SPACE FLAT SPACE LIMITED SPACE AMBIGUOUS SPACE The Four Subcategories of Space DEEP SPACE The Four Subcategories of Space DEEP SPACE
• Deep Space is the illusion of a 3D world on a 2D surface. • Deep Space is created by…..DEPTH CUES
Deep Space is the most complex element of the SEVEN and can be subdivided into & controlled by several depth cues. DEPTH CUES OF DEEP SPACE ControllingDEEP SPACE on a 2D Surface DEPTH CUES OF DEEP SPACE Detailingthe DEPTH CUES of DEEP SPACE
Staging in Depth, Staging People or Objects along the Z-Axis Orson Welles almost always used ‘Staging in Depth’ to create an illusion of Deep Space on a 2D surface
1,2, & 3-Point Perspective, Converging Lines, Vanishing Points Think about how you depict buildings, your Horizon Line, Frontal Planes vs. Longitudinal Lines
Tonal Separation deals with the visual phenomenon that lighter colored objects will appear closer than darker ones.
Textural Diffusion deals with objects surface texture and color. Objects with less detail appears further away. Aerial Diffusion deals with particles in the air. Fog, Mist, Rain, Pollution… DEPTH CUES OF DEEP SPACE Detailingthe DEPTH CUES of DEEP SPACE, continuned
Three basic camera moves create the illusion of Deep Space. Dollying In & Out, Tracking Shots with foreground objects, Boom and Crane Shots with objects in the foreground and background
Two types of object movement create the illusion of Deep Space, 1.) Multiple objects staged along the Z-Axis moving Parallel to the Picture Plane, and 2.) objects moving Perpendicular to the Picture Plane are Depth Cues that create Deep Space.
When an object changes shape our brain interprets it as a Depth Cue. Something as simple as a human hand rotating creates for us the illusion of 3D Space on a 2D Plane. DEPTH CUES OF DEEP SPACE Detailingthe DEPTH CUES of DEEP SPACE, continuned
Simply put, based on physiological and psychological reasons, we perceive Warm Colors as being CLOSER than Cool Colors. Researchers believe this may be the result of our responses to different wavelengths of light and for this reason we can manipulate the perception of space on a 2D plane. An object’s sharpness is determined by lenses and Depth Cues are available when an object is in focus, therefore, the more out of focus an object is the less Depth Cues can be inferred by it. In general, we perceive objects placed higher in the picture plane as being farther away than objects that are placed lower in the picture plane. The introduction of a Horizon Line complicates this perception. The Four Subcategories of Space This video will not play in a PDF FLAT SPACE The Four Subcategories of Space FLAT SPACE
• Flat Space is REMOVAL of the illusion of a 3D world on a 2D surface. • Flat Space is created by ELIMINATING….DEPTH CUES
Flat Space is the opposite of Deep Space and can be achieved by REMOVING the Depth Cues that create Deep Space. The Four Subcategories of Space FLAT SPACE
Staging along the same Frontal Plane to maintain size consistency
Eliminate vanishing points, converging lines & longitudinal lines Keep objects oriented along flat Frontal Planes – No Z-Axis
Flat Space tonal separation employs a reduced tonal range. Limiting tones to one third of the total scale flattens the space. Reverse the placement of brighter and darker objects in the Picture Plane – Brighter in the BG and Darker in the FG. Maintaining consistent textural detail and avoiding differences and textural complexity will help create Flat Space. Aerial Diffusion applied consistently across the Picture Plane can create Flat Space. The Four Subcategories of Space FLAT SPACE
A Camera PAN or TILT creates FLAT SPACE because objects maintain their relative size to one another. Using the ZOOM feature of a lens creates FLAT SPACE.
Objects should move PARALLEL to the picture plane. People walking PARALLEL to the Picture Plane creates FLAT SPACE.
Avoid overlapping objects - overlaps suggests depth
Similar to Tonal Separation – Reverse the rule applied to Deep Space – Warmer to the BG and Cooler to the FG = FLAT SPACE The Four Subcategories of Space LIMITED SPACE The Four Subcategories of Space LIMITED SPACE
• Limited Space is a combination of FLAT & DEEP SPACE
• Limited Space uses all of the DEPTH CUES from DEEP SPACE with the exception of TWO of them.
1. No Longitudinal Planes Instead – Restrict to Frontal Planes
2. No Object Movement Instead – Restrict moves to PARALLEL to the Perpendicular to the Picture Plane Picture Plane The Four Subcategories of Space
AMBIGUOUS SPACE AMBIGUOUS SPACE The Four Subcategories of Space AMBIGUOUSSPACE • Ambiguous Space is unrecognizable space & it’s difficult to create • Ambiguous Space can be produced when the size of objects is unclear • Ambiguous Space can be created from Flat, Limited and Deep Space
• Ambiguous Space can be created by using the following: A Lack of Movement Unfamiliar Shapes Mirrors and Reflections
Disorienting Camera Angles Tonal and Texture Patterns
Out of Focus Objects Intense Movement FILMS TO WATCH IN REGARDS TO SPACE
Deep Space Flat Space Limited Space Ambiguous Space
Most Noir Films Klute Fanny and Alexander Brazil
Citizen Kane Manhattan Suspicion Don’t Look Now
Touch of Evil Witness Little Miss Sunshine 2001: A Space Odyssey
Seven Samurai American Beauty Le Samouri
The Shining Ordinary People Manhattan
Casino END OF SPACE
THE OTHER ELEMENTS OF VISUAL STRUCTURE…
TONE, LINE, RHYTHM, MOVEMENT, COLOR, SHAPE NOTES ON VORKAPICH
Like the Soviets, Vorkapich, applied visual perception, cognition, optics and motion to the cinematic experience. “The Mind’s Eye” as he called it, the dreams the unconscious. Movement was the key component for film as a new Art Form according to Vorkapich. Rhythmic Visual Compositions and Editing to form of expression of perceptual content He was the first to conceive of a fully realized cinematography as we know it today. MOTION. RHYTHM. Greg Toland , Cinematographer on Vorkapich’sshort film, The Life and Death of 9413 – A Hollywood Extra Navigated between the Hollywood Studio systems and the Avant-Garde filmmakers and Artists of the 20’s and 30’s. Articles : “The Motion Picture as an Art”, “Motion and the Art of Cinematography”, “Toward True Cinema”, Lectures: “The Visual Nature of the Film Medium” Coined words like “ Cinematics” in 1930. Like his Soviet contemporaries, he was interested in the psychological effects of camera technique on the spectator. NOTES ON SERGEI EISENSTEIN
Intellectual Montage = Innuendo, Conceptual, Metaphor, Visual Metaphor/Puns Tonal Montage = cutting according to the emotional tone of the subject matter Overtonal Montage = cutting to the various tones and overtones of the subject matter Metric Montage = cuts based on measurements or time only. Rhythmic = cuts based on the content or continuity editing. Metric Montage examples: Requiem for a Dream (2002), A Clockwork Orange, Rhythmic Montage examples: The Good, The Bad, and The Ugly, Goodfellas, The French Connection, Pulp Fiction, The Shining Raging Bull Tonal Montage examples: The Revanent, In the Mood for Love, The Age of Innocence, Apocalypse Now Overtonal Montage examples: The Godfather I, II, The Thin Red Line, Mulholland Drive, Intellectual Montage examples: They Live, Apocalypse Now, 2001 A Space Odyesy NOTES ON SLAVKO VORKAPICH
Sheri Chinen Biesen, Studies in Visual rts and Communication: An International Journal, Vol. 2, No. 1 (2105) on-line ISSN 2393-1221
Vorkapich’savant-garde filmmaking came at a time when experimentation was common. The medium was new, it was searching for itself. Greg Toland was the cinematographer for Hollywood Extra. 97 dollars made in the kitchen. Chaplin permiered it at his home in BV Hills. A who’s who attending: Lubitsch, Griffith, Pickford, Fairbanks, Sternberg, Vidor. Vorkapich was influenced by Murnau’sThe Last Laugh and by Chaplin’s Intolerance. He gave a series of lectures to the ASC in Hollywood. They appeared in the magazine. Continued to make experimental shorts in the forties, Moods of The Sea. Forest Murmurs.