In the Mood for Love
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Kvarterakademisk
kvarter Volume 18. Spring 2019 • on the web akademiskacademic quarter From Wander to Wonder Walking – and “Walking-With” – in Terrence Malick’s Contemplative Cinema Martin P. Rossouw has recently been appointed as Head of the Department Art History and Image Studies – University of the Free State, South Africa – where he lectures in the Programme in Film and Visual Media. His latest publications appear in Short Film Studies, Image & Text, and New Review of Film and Television Studies. Abstract This essay considers the prominent role of acts and gestures of walking – a persistent, though critically neglected motif – in Terrence Malick’s cinema. In recognition of many intimate connections between walking and contemplation, I argue that Malick’s particular staging of walking characters, always in harmony with the camera’s own “walks”, comprises a key source for the “contemplative” effects that especially philo- sophical commentators like to attribute to his style. Achieving such effects, however, requires that viewers be sufficiently- en gaged by the walking presented on-screen. Accordingly, Mal- ick’s films do not fixate on single, extended episodes of walk- ing, as one would find in Slow Cinema. They instead strive to enact an experience of walking that induces in viewers a par- ticular sense of “walking-with”. In this regard, I examine Mal- ick’s continual reliance on two strategies: (a) Steadicam fol- lowing-shots of wandering figures, which involve viewers in their motion of walking; and (b) a strict avoidance of long takes in favor of cadenced montage, which invites viewers into a reflective rhythm of walking. Volume 18 41 From Wander to Wonder kvarter Martin P. -
Aural Expressionism and Montage in Hitchcock's Blackmail
Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School Summer 6-25-2012 There’s Something British about That: Aural Expressionism and Montage in Hitchcock’s Blackmail, Psycho, and The irB ds Laura D. Borger [email protected], [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp Recommended Citation Borger, Laura D., "There’s Something British about That: Aural Expressionism and Montage in Hitchcock’s Blackmail, Psycho, and The Birds" (2012). Research Papers. Paper 260. http://opensiuc.lib.siu.edu/gs_rp/260 This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. THERE’S SOMETHING BRITISH ABOUT THAT: AURAL EXPRESSIONISM AND MONTAGE IN HITCHCOCK’S BLACKMAIL, PSYCHO, AND THE BIRDS by Laura Borger B.A., Southern Illinois University, 1998 B.S., Southern Illinois University, 1998 M.S., Southern Illinois University, 2003 A Research Report Submitted in Partial Fulfillment of the Requirements for the Master of Arts Department of English in the Graduate School Southern Illinois University Carbondale August 2012 Copyright by Laura Borger, 2012 All Rights Reserved RESEARCH REPORT APPROVAL THERE’S SOMETHING BRITISH ABOUT THAT: AURAL EXPRESSIONISM AND MONTAGE IN HITCHCOCK’S BLACKMAIL, PSYCHO, AND THE BIRDS By Laura Borger A Research Report Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the field of English Approved by: Scott McEathron, PhD, Chair Graduate School Southern Illinois University Carbondale June 25, 2012 AN ABSTRACT OF THE RESEARCH REPORT OF LAURA BORGER, for the MASTER OF ARTS degree in ENGLISH, presented on June 25, 2012, at Southern Illinois University Carbondale. -
Shot Types Identified Refer To: There Is a Convention in Video and Filmmaking That Assi
Shot Types identified; Camera angles and movement 1 Info Sheet Shot Types Identified Refer to: http://www.mediacollege.com/video/shots/ There is a convention in video and filmmaking that assign names and guidelines to common types of shots, framing and picture composition. The list below briefly describes the most common shot types. The exact terminology often varies between production environments but the basic principles are the same. Shots are usually described in relation to a particular SUBJECT. 1. EWS (Extreme Wide Shot) / Establishing Shot The view is often on the level of showing the entire landscape. The view is so far from a human subject, for example, that s/he isn't even visible. Often used as an establishing shot. 2. An establishing shot is used to show the location or environmental context of the action shot that follows. 3. VWS (Very Wide Shot) / Wide Angle The human subject is visible, but barely noticeable in the frame. The emphasis is on placing him/her in context/environment. 4. WS (Wide Shot) The subject takes up the full frame, or at least as much as comfortably possible. AKA: long shot, or full shot. The subject is shown from head to toe. 5. MS (Medium Shot) Shows some part of the subject in more detail while still giving an impression of the whole subject. Usually shows the subject from the hips or waist to the top of the head. 6. MCU (Medium Close Up) Half way between a MS and a CU. 7. CU (Close Up) A certain feature or part of the subject takes up the whole frame. -
Kenji Mizoguchi Cinematographic Style (Long Take) in 'The Life of Oharu' (1952)
KENJI MIZOGUCHI CINEMATOGRAPHIC STYLE (LONG TAKE) IN 'THE LIFE OF OHARU' (1952). Rickmarthel Julian Kayug Bachelor ofApplied Arts with Honours (Cinematography) 2013 UNIVERSITI MALAYSIA SARAW AK BORANG PENGESAHAN STATUS TESIS/LAPORAN JUDUL: Kenji Mizoguchi Cinematographic Style (Long Take) In The 'Life OfOharu' (1952). SESI PENGAJIAN: 200912013 Saya RICKMARTHEL JULIAN KA YUG Kad Pengenalan bemombor 890316126011 mengaku membenarkan tesisl Laporan * ini disimpan di Pusat Khidmat Maklumat Akademik, Universiti Malaysia Sarawak dengan syarat-syarat kegunaan seperti berikut: 1. Tesisl Laporan adalah hakmilik Universiti Malaysia Sarawak 2. Pusat Khidmat Maklumat Akademik, Universiti Malaysia Sarawak dibenarkan membuat salinan untuk tujuan pengajian sahaja 3. Pusat Khidmat Maklumat Akademik, Universiti Malaysia Sarawak dibenarkan membuat pengdigitan untuk membangunkan Pangkalan Data Kandungan Tempatan 4. Pusat Khidmat Maklumat Akademik, Universiti Malaysia Sarawak dibenarkan membuat salinan tesisl laporan ini sebagai bahan pertukaran antara institusi pengajian tinggi 5. *sila tandakan rn (mengandungi maklumat yang berdarjah keselamatan SULIT 6·D atau kepentingan seperti termaktub di dalam AKTA RAHSIA 1972) TERHAD D (mengandungi maklumat Terhad yang telah ditentukan oleh Organisasilbadan di mana penyelidikan dijalankan) V ~IDAK TERHAD Disahkan Disahkan Oleh: c:dt~f • Tandatangan Penulis Tandatangan Penyelia Tarikh t:L~ 1"""~ ~ l3 Tarikh: '~I O-=l""/?4l ~ Alamat Tetap: Kg. Pamilaan, Peti Surat 129,89908 Tenom, Sabah. Mobil Jefri ~ samareoa Lect\Il'U . faculty ofApplie4 aM CrcallVe Catatan: *Tesis/ Laporan dimaksudkan sebagai tesis bagi Ijazah Doktor Falsafah,~a Muda • lika Tesis/ Laporan SULIT atau TERHAD, sila lampirkan surat daripada pihak berkuasal organisasi berkenaan dengan menyatakan sekali sebab dan tempoh tesis/ laporan ini perlu dikelaskan $ebagai SULIT atau TERHAD This project report attached hereto, entitled "KENJI MIZOGUCHI CINEMATOGRAPHIC STYLE (LONG TAKE) IN THE LIFE OF OHARU (1952)". -
Download English-US Transcript (PDF)
MITOCW | watch?v=ftrKlCmELm4 The following content is provided under a Creative Commons license. Your support will help MIT OpenCourseWare continue to offer high quality educational resources for free. To make a donation or to view additional materials from hundreds of MIT courses, visit MIT OpenCourseWare at ocw.mit.edu. PROFESSOR: I want to talk a little bit about producing and realizing your visions, and give an example of some of the things that Chris was talking about. So we shot a video on how engines worked, and there is a part of the video where the two creators were talking about how a turbine engine works. And I think I might have told this story before, about how we ended up finding like an actual Boeing engine. But there are a lot of ways that we could have filmed this scene. We could have animated it, we could have done a wide frame shot with animation overlay, like I showed you with George's [INAUDIBLE] videos. We could have done B-roll, so we could have just done like close up shots of the engine while you heard Luke explaining how it worked, with his voiceover. Or we could have done a live explanation, which is what we went with. So this is how George shot Luke. We went with the traditional thirds framing. Again, this isn't necessarily a rule that you have to go by, it just worked really well for this scene. And we went with this because it also gave us the ability to do sort of an interesting point of view shot. -
Four Elements of Film
Four Elements of Film Mise-en-scène Mise-en-scène is everything that the audience can see in the frame. This includes the set ⎯ whether on location or in a studio, and some studio sets are so large that they can fool you into thinking you are seeing an on-location shot ⎯ props, lighting, the actors, costumes, make-up, blocking (where actors and extras stand), and movement, whether choreographed or not. All kinds of movement, from crossing a room to a sword-fight, can be choreographed, not just dance. Mise-en-scène demonstrates how film is the ultimate collaborative art, requiring contributions from professionals with a wide variety of skills. Cinematography Cinematography is the way in which a shot is framed, lit, shadowed, and colored. The way a camera moves, stands still, or pans (stands still while changing where it points), the angle from which it views the action, whether it elevates (usually a crane shot, when the camera is mounted on a crane, but sometimes a director will employ a helicopter shot instead), whether it follows a particular actor or object (a tracking shot, also called a dolly shot, because the camera is placed on a dolly, meaning a small, wheeled platform), zooms in, zooms out ⎯ these all affect the way the audience views the action, whether literally or metaphorically. Think of cinematography as being to a film what a narrator is to prose fiction. Sound Sound is probably the element of film that people most often underestimate. It includes dialogue, ambient sound, sound effects, and music. Consider how a “Boing!” sound in the soundtrack would change how we view a love scene or a scene in which an old lady falls down. -
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. -
COM 320, History of the Moving Image–The Origins of Editing Styles And
COM 320, History of Film–The Origins of Editing Styles and Techniques I. The Beginnings of Classical/Hollywood Editing (“Invisible Editing”) 1. The invisible cut…Action is continuous and fluid across cuts 2. Intercutting (between 2+ different spaces; also called parallel editing or crosscutting) -e.g., lack of intercutting?: The Life of An American Fireman (1903) -e.g., D. W. Griffith’s Broken Blossoms (1919) (boxing match vs. girl/Chinese man encounter) 3. Analytical editing -Breaks a single space into separate framings, after establishing shot 4. Continguity editing…Movement from space to space -e.g., Rescued by Rover (1905) 5. Specific techniques 1. Cut on action 2, Match cut (vs. orientation cut?) 3. 180-degree system (violated in Cabinet of Dr. Caligari (1920)) 4. Point of view (POV) 5. Eyeline match (depending on Kuleshov Effect, actually) 6. Shot/reverse shot II. Soviet Montage Editing (“In-Your-Face Editing”) 1. Many shots 2. Rapid cutting—like Abel Gance 3. Thematic montage 4. Creative geography -Later example—Alfred Hitchcock’s The Birds 5. Kuleshov Effect -Established (??) by Lev Kuleshov in a series of experiments (poorly documented, however) -Nature of the “Kuleshov Effect”—Even without establishing shot, the viewer may infer spatial or temporal continuity from shots of separate elements; his supposed early “test” used essentially an eyeline match: -e.g., man + bowl of soup = hunger man + woman in coffin = sorrow man + little girl with teddy bear = love 6. Intercutting—expanded use from Griffith 7. Contradictory space -Shots of same event contradict one another (e.g., plate smashing in Potemkin) 8. Graphic contrasts -Distinct change in composition or action (e.g., Odessa step sequence in Potemkin) 9. -
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. -
10 Tips on How to Master the Cinematic Tools And
10 TIPS ON HOW TO MASTER THE CINEMATIC TOOLS AND ENHANCE YOUR DANCE FILM - the cinematographer point of view Your skills at the service of the movement and the choreographer - understand the language of the Dance and be able to transmute it into filmic images. 1. The Subject - The Dance is the Star When you film, frame and light the Dance, the primary subject is the Dance and the related movement, not the dancers, not the scenography, not the music, just the Dance nothing else. The Dance is about movement not about positions: when you film the dance you are filming the movement not a sequence of positions and in order to completely comprehend this concept you must understand what movement is: like the French philosopher Gilles Deleuze said “w e always tend to confuse movement with traversed space…” 1. The movement is the act of traversing, when you film the Dance you film an act not an aestheticizing image of a subject. At the beginning it is difficult to understand how to film something that is abstract like the movement but with practice you will start to focus on what really matters and you will start to forget about the dancers. Movement is life and the more you can capture it the more the characters are alive therefore more real in a way that you can almost touch them, almost dance with them. The Dance is a movement with a rhythm and when you film it you have to become part of the whole rhythm, like when you add an instrument to a music composition, the vocabulary of cinema is just another layer on the whole art work. -
Mcconkey on Thailand Jour, Supplanting Any and All Spurious History Continued on Page 8
NEWS FOR OPERA TORS AND OWNERS olume 1, number 3 Dec. '88 Ancient History "The Brown Stabilizer" That's what I wanted to call it. It wasn't just ego (that came later!). I thought it needed a simple, honest, "70's" kind of natural name, a pure name, not a stupid, gimmicky name like "Steadicam." It was Ed DiGiulio's suggestion, which I hated immediately. Of course, as he predicted, the word has now become simply a word, a noble word, meaning exactly what it says, and in fact , I am daily (well, yearly...), grateful that he prevailed and that we didn't call it the bloody Brown Stabilizer! In any event, I recently unearthed some early pictures, and have been inspired to relate the one-and-only true version of the birth of our noble gadget. So here it is: the truth du McConkey on Thailand jour, supplanting any and all spurious History continued on page 8 For three months in the Spring of McCONKEY: The first day it 1988, Larry McConkey worked on was 1200 in the sun, and the humidity Brian De Palma's new feature, made it feel like it was virtually "Casualties ofWar." Thefilm is raining all the time. I had a long coming out in early 1989. tracking shot down a dirt street in the Vietnamese village set. Now, I tend to be very careful not to wear myself LEITER: Was it any fun? out during a shoot, and I get as much McCONKEY: Yes. I had never rest as possible between takes and as been to Southeast Asia before, and much help from the crew as I can, but Thailand is now one of my favorite even so, after four or five takes I was places in the world. -
TRANSCRIPT Editing, Graphics and B Roll, Oh
TRANSCRIPT Editing, Graphics and B Roll, Oh My! You’ve entered the deep dark tunnel of creating a new thing…you can’t see the light of day… Some of my colleagues can tell you that I am NOT pleasant to be around when I am in the creative video-making tunnel and I feel like none of the footage I have is working the way I want it to, and I can’t seem to fix even the tiniest thing, and I’m convinced all of my work is garbage and it’s never going to work out right and… WOW. Okay deep breaths. I think it’s time to step away from the expensive equipment and go have a piece of cake…I’ll be back… Editing, for me at least, is the hardest, but also most creatively fulfilling part of the video-making process. I have such a love/hate relationship with editing because its where I start to see all the things I messed up in the planning and filming process. But it’s ALSO where - when I let it - my creativity pulls me in directions that are BETTER than I planned. Most of my best videos were okay/mediocre in the planning and filming stages, but became something special during the editing process. So, how the heck do you do it? There are lots of ways to edit, many different styles, formats and techniques you can learn. But for me at least, it comes down to being playful and open to the creative process. This is the time to release your curious and playful inner child.