DOCSLIB.ORG

DELC Intro to Film Analysis

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
DELC Intro to Film Analysis Introduction to Film Analysis (DELC) Dr David Sorfa (Film Studies) The Very Basics Image / Music / Text Methodologies • Formal Analysis • Historical Analysis • Film as representation of history • Film as symptom of history • Theoretical Approaches • Economic / Political (Marxist, Industrial) • Identity • Feminist / Sexualities and Gender • Race and Ethnicity • Semiotic / Structuralist • Psychological • Psychoanalysis • Cognitive Science • Philosophy Les Parapluies de Cherbourg (Jacques Demy, 1964) The Elements of Film Language • Mise-en-scène • Cinematography • Editing • Sound • Narrative and Narration Two Elements of Film Writing • Description of the form, content and texture of the film sequence • Analysis of the meaning of the film as a whole Et Dieu... créa la femme (Roger Vadim, 1956) Three (Different) Aims • Evaluation Is it good? • Analysis How does it work? • Interpretation What does it mean? Bienvenue chez les Ch'tis (Dany Boon, 2008) Cinematography (Distance) • Extreme Long Shot (ELS) • Long Shot (LS) – figures discernible • Medium Long Shot (American Shot) - (MLS) • Medium Shot (MS) – Gesture and expression • Medium Close-Up (MCU) – Chest and up • Close-Up (CU) – Head, small object • Extreme Close-Up – Lips, eye, etc. L'Heure d’été (Olivier Essayas, 2008) / Der siebente Kontinent (Michael Haneke, 1989) • Extreme Long Shot (ELS) L'Heure d’été (Olivier Essayas, 2008) Cinematography (Distance) • Extreme Long Shot (ELS) • Long Shot (LS) – figures discernible • Medium Long Shot (American Shot) - (MLS) • Medium Shot (MS) – Gesture and expression • Medium Close-Up (MCU) – Chest and up • Close-Up (CU) – Head, small object • Extreme Close-Up – Lips, eye, etc. L'Heure d’été (Olivier Essayas, 2008) / Der siebente Kontinent (Michael Haneke, 1989) • Long Shot (LS) – figures discernible L'Heure d’été (Olivier Essayas, 2008) Cinematography (Distance) • Extreme Long Shot (ELS) • Long Shot (LS) – figures discernible • Medium Long Shot (American Shot) - (MLS) • Medium Shot (MS) – Gesture and expression • Medium Close-Up (MCU) – Chest and up • Close-Up (CU) – Head, small object • Extreme Close-Up – Lips, eye, etc. L'Heure d’été (Olivier Essayas, 2008) / Der siebente Kontinent (Michael Haneke, 1989) • Medium Long Shot (American Shot) - (MLS) L'Heure d’été (Olivier Essayas, 2008) Cinematography (Distance) • Extreme Long Shot (ELS) • Long Shot (LS) – figures discernible • Medium Long Shot (American Shot) - (MLS) • Medium Shot (MS) – Gesture and expression • Medium Close-Up (MCU) – Chest and up • Close-Up (CU) – Head, small object • Extreme Close-Up – Lips, eye, etc. L'Heure d’été (Olivier Essayas, 2008) / Der siebente Kontinent (Michael Haneke, 1989) • Medium Shot (MS) – Gesture and expression L'Heure d’été (Olivier Essayas, 2008) Cinematography (Distance) • Extreme Long Shot (ELS) • Long Shot (LS) – figures discernible • Medium Long Shot (American Shot) - (MLS) • Medium Shot (MS) – Gesture and expression • Medium Close-Up (MCU) – Chest and up • Close-Up (CU) – Head, small object • Extreme Close-Up – Lips, eye, etc. L'Heure d’été (Olivier Essayas, 2008) / Der siebente Kontinent (Michael Haneke, 1989) • Medium Close-Up (MCU) – Chest and up L'Heure d’été (Olivier Essayas, 2008) Cinematography (Distance) • Extreme Long Shot (ELS) • Long Shot (LS) – figures discernible • Medium Long Shot (American Shot) - (MLS) • Medium Shot (MS) – Gesture and expression • Medium Close-Up (MCU) – Chest and up • Close-Up (CU) – Head, small object • Extreme Close-Up – Lips, eye, etc. L'Heure d’été (Olivier Essayas, 2008) / Der siebente Kontinent (Michael Haneke, 1989) • Close-Up (CU) – Head, small object L'Heure d’été (Olivier Essayas, 2008) Cinematography (Distance) • Extreme Long Shot (ELS) • Long Shot (LS) – figures discernible • Medium Long Shot (American Shot) - (MLS) • Medium Shot (MS) – Gesture and expression • Medium Close-Up (MCU) – Chest and up • Close-Up (CU) – Head, small object • Extreme Close-Up – Lips, eye, etc. L'Heure d’été (Olivier Essayas, 2008) / Der siebente Kontinent (Michael Haneke, 1989) • Extreme Close-Up – Lips, eye, etc. Der siebente Kontinent (Michael Haneke, 1989) Mobile Framing • Pan (panorama): camera pivots horizontally • Tilt: camera pivots vertically • Track (dolly): camera as a whole changes position • Crane shot: camera moves above ground level (sometimes: helicopter shot) • Overhead/Bird’s Eye-view shot • Steadicam • Hand-held • Zoom in/out Defining Narrative • The ‘story’ of a text. • A series of cause and effect relationships. • Minimal narratives: • The queen died. Then the king died. • The queen died. Then the king died of grief. Cause Effect Cause Effect Cause Effect Cause Effect Defining Narration • The way that the narrative is presented. The way the story is told. • Flashbacks / Flashforwards • Ellipses • Mise en scène, Cinematography, Sound, Editing Classical Film Narrative Strict cause and effect narrative logic: • Causes planted early in the film will always have an effect later. Character motivation clearly defined: • Characters have set goals (revenge, love, etc), and often deadlines. Narrative goes through clear stages: • Equilibrium • Disruption • Restoration of equilibrium Transformation Dual focus Damsels in Distress (Whit Stillman, 2011) Les Parapluies de Cherbourg (Jacques Demy, 1964).
Load more

Recommended publications
  • Cutting and Framing in Bauer's and Kuleshov' S Films
    YURI TSIVIAN Cutting and framing in Bauer's and Kuleshov' s Films This article deals with what looks like the most intriguing aspect of silent cinema in Russia as it passed from its pre-revolutionary period to the period known as the clas­ sical Soviet montage school. In terms of style filmmakers seemed to have run from one extreme to another. Almost overnight, long shots and long takes, typical for Russian films of the 1910s, gave way to close framing and fast cutting. In this article I am going to address the issue of cutting rate as related to the emerging notion of 'effi­ cient narrative' and that of closer framing as conflicting with previously established ways of representing the filmic space. Yevgeni Bauer and Lev Kuleshov have been picked out as contrasting figures; besides, in the last years of Bauer's lifetime Kules­ hov had been his devoted pupil, so the change in style is set off by the continuity of generations. 1. Face versus Space What was the chronology of the facial close-up in early Russian cinema? An exami­ nation of existing archival holdings is not very rewarding - only about ten per cent of all Russian film output of the teens has survived, and, what is still worse, this percen­ tage does not equally represent different studio productions. Khanzhonkov's studio style is fairly well known, while we have almost no idea what was the close-up policy of, say, Thieman and Reinhardt studio directors. Memoir sources are interesting but particularly unreliable in regards to close­ ups.
    [Show full text]
  • The Evidence of the Film by Ned Thanhouser
    The Influence of D.W. Griffith on Thanhouser’s 1913 Release: The Evidence of the Film by Ned Thanhouser The transitional era in US cinema (ca. 1907 to 1913) bridged the end of the “primitive” period with the beginning of multi-reel “feature” films. Early “primitive” films were characterized by a single shot, in full frame, with a single point of view that told familiar stories people would recognize and understand. Editing was used to join shots to extend the action or to clarify the events for the audience by showing the same action from a different perspective. “Transitional” films developed new cinematic techniques that allowed the introduction of motivated characters and enabled more complex cause-and-effect narratives. Thanhouser Company was founded in 1909, early in the “transitional” era. The films it produced over the next four years were a reflection of the changes pioneered by D.W. Griffith from 1908 to 1913 while he was at American Biograph. The Thanhouser factory, based in New Rochelle, New York, was Forty-five Minutes from Broadway1 and the Biograph studio, located on 14th Street. By 1913 when D.W. Griffith ended his tenure at Biograph, he had directed over 450 films. It was during this period at Biograph that Griffith developed and refined his ideas on narrative development, cinematography, and editing.2 Griffith and Thanhouser had direct contact during this period. As recounted in a 1976 interview with Victor Heerman (who in 1909 worked at a New York theatrical booking agency while Thanhouser was just getting started), the first contact was the 1 As made popular by George M.
    [Show full text]
  • 1. Introduction 2. Size of Shot
    Prepared by I. M. IRENEE [email protected] 0783271180/0728271180 1. Introduction Cinematographic techniques such as the choice of shot, and camera movement, can greatly influence the structure and meaning of a film. 2. Size of shot Examples of shot size (in one filmmaker's opinion) The use of different shot sizes can influence the meaning which an audience will interpret. The size of the subject in frame depends on two things: the distance the camera is away from the subject and the focal length of the camera lens. Common shot sizes: • Extreme close-up: Focuses on a single facial feature, such as lips and eyes. • Close-up: May be used to show tension. • Medium shot: Often used, but considered bad practice by many directors, as it often denies setting establishment and is generally less effective than the Close-up. • Long shot • Establishing shot: Mainly used at a new location to give the audience a sense of locality. Choice of shot size is also directly related to the size of the final display screen the audience will see. A Long shot has much more dramatic power on a large theater screen, whereas the same shot would be powerless on a small TV or computer screen. Wednesday, January 18, 2012 Prepared by I. M. IRENEE [email protected] 0783271180/0728271180 3. Mise en scène Mise en scène" refers to what is colloquially known as "the Set," but is applied more generally to refer to everything that is presented before the camera. With various techniques, film makers can use the mise en scène to produce intended effects.
    [Show full text]
  • Cinematography Shots Pdf
    Cinematography shots pdf Continue This article is about the technique used in movies. For other customs see in film production and video production, shot a series of frames that runs for a continuous period of time. Film shots are an important aspect of the film where angles, transitions and abbreviations are used to further express emotions, ideas and movement. The term shot can refer to two different parts of the filmmaking process: In production, the shot is the moment when the camera starts rolling until it stops. When editing a movie, a shot is a continuous frame or sequence between two edits or abbreviations. The etymology of the term shot comes from the early days of filmmaking, when the cameras were hand-cranked, and acted in the same way as the hand machine guns of the time. That is, the cameraman will shoot the movie as someone will shoot bullets from a machine gun. Shot categories can be categorized in different ways. By the size of the field, the size of the field explains how visible the object and its surrounding area are in the camera's field of view, and is determined by two factors: the distance of the subject from the camera (the distance of the subject camera) and the focal length of the lens. Note that the shorter the focal length of the lens, the wider the angle of the lens (the angle in the wide-angle lens, for example, which is how much you see), so that the same idea can be expressed as the angle of view of the lens plus the distance of the subject camera field of view.
    [Show full text]
  • Russian Film: Art, Politics, & Society Prof. Vida Johnson, Tufts University
    Russian Film: Art, Politics, & Society Prof. Vida Johnson, Tufts University, Boston, USA THE LANGUAGE OF CINEMA Most technical terms given below are from Louis Giannetti' s Understanding Movies Terms for film analysis represent an eclectic mix of critical approaches. FRAME: 1. the smallest unit of film; any single image on a film strip; 2. the dividing line between the edges of the screen image and the enclosing darkness of the theater; SHOT: one camera action without cut: i.e. an unedited strip of film; those images which are recorded continuously from the time the camera starts to the time it stops. TAKE: a variation of a specific shot; the final shot is often selected from a number of takes. SEQUENCE SHOT: a single lengthy take, usually involving complex staging and camera movements. MASTER SHOT: an uninterrupted shot, usually taken from a long- or full-shot range, which contains an entire scene. Later, the closer shots are photographed, and an edited sequence, composed of a variety of shots, is constructed on the editor’s bench. SEQUENCE: an imprecise structural unit of film, composed of a number of interrelated shots and leading to a major climax; a group of actions in one geographical location. FIRST CUT: also called rough cut: the initial sequence of shots in a movie, often constructed by the director; crudely edited footage--a rough draft; FINAL CUT: also called release print: the sequence of shots in a film as it will be released to the public; MISE EN SCENE: the arrangement of visual weights and movements within a given space; In the live theater, the space is usually defined by the proscenium arch; in movies, by the frame which encloses the images.
    [Show full text]
  • Handout Film Image + Sound + Narrative + Performance → FILM I
    Prof. Dr. S. Lemke Handout Film Image + Sound + Narrative + Performance FILM I. The image The visual code. The smallest unit is a frame showing a single picture. If one projects a sequence of twenty-four frames per second on a screen, the human eye is deceived into seeing a moving image. A shot (“Einstellung”) is a sequence of frames filmed in a continuous (uninterrupted) take of a camera. A take stops when the camera stops rolling or goes offline. A sequence of shots makes up a scene. A scene is a sequence of action segments which take place, continuously, at the same time and in the same place. When you jump from place to place, or from time to time, it is a new scene. Shot types are based on two distinguishing features: 1) the camera's distance from the object, 2) the size of the object. The four central categories are close-up, medium shot, full shot, and long shot. 1. Extreme close-up. A small object or part of an object shown large (a speaking mouth, a telephone receiver). Often a detail shot shows a plot-relevant object -- a ring, a telephone number on an envelope, etc. 2. Close-up, close shot. Full view of, typically, a human face. (semi-close-up shows the upper third of a person's body) 3. Medium shot. A view of the upper half of a person's body. 4. American shot. A three-quarter view of a person, showing her or him from the knees up. 5. Full shot. A full view of a person (Halbtotale) 6.
    [Show full text]
  • Film Form, Part III: Cinematography
    Film Form, Part III: Cinematography The Shot: Cinematography • Film may be broken down into cells accordingly: frame (negative), shot, sequence, scene, act, film • Range of tonalities in a shot can be manipulated by film stock, exposure, and developing • Lighting & aperture, too, affect contrast level •Filters affect exposure greatly; slices of glass or gelatin put in front of the camera lens or printer reduce frequencies of light reaching the film •Before modern improvements in film stock & lighting, filmmakers used a blue filter to make day shooting look like night (hence, day for night) • THE LENS: PERSPECTIVE RELATIONS • The spatial and size relations in a shot make up perspective relations, and are manipulable primarily through the use of lenses (but also setting and lighting) • Lenses function much as our eyes do, letting in light and refracting and transmitting that light onto a surface of the film to form an image that corresponds with the size, depth, and other dimensions of the subject • Focal length is the distance from the center of the lens to the point where light rays converge to a point of focus on the film • The short-focal-length (wide-angle) lens is less than 35 mm in focal length. Such lenses tend to distort straight lines lying nearing the edge of frames and to add greater depth to a shot • The middle-focal-length (normal) lens is between 35 and 50 mm and is free of any noticeable perspective distortion • The long-focal-length (telephoto) lenses tend to flatten the space, squishing the planes of action together. These longer lenses run between 75 and 250 mm or more and are able to magnify subjects shot from any distance • The zoom lens is unique in that it can alter focal length while transforming perspective relations during a single shot.
    [Show full text]
  • 1) Film Language 2) Different Shots
    MAKING VIDEOS Research project 4th ESO 1) FILM LANGUAGE A Film is a story explained through motion pictures. Films are produced by recording images from the real world with cameras, or by creating images using animation techniques or special effects. Films are made up of a series of individual images called frames. When these images are shown rapidly in succession, a viewer has the illusion that motion is occurring. We cannot see the flickering between frames because our eyes retain a visual image for a fraction of a second after the picture has disappeared. This effect is called the “persistence of vision”. Film grammar is defined as follows: 1. A frame is every individual image of a film. It is like a letter. 2. A shot is a single continuous recording of frames made by a camera. It is like a word. 3. A scene is a series of related shots. It is like a sentence. The study of transitions between scenes is described in film punctuation. 4. A sequence is a series of scenes. It tells a major part of a story. It is like a paragraph in a written composition or a chapter in a novel. 2) DIFFERENT SHOTS: The distance from the camera to the subject affects the narrative power of a shot. The five basic shots are: 1. The general/establishing shot. 2. The long shot. Close-up (face) 3. The American shot. 4. The medium shot Close-up (object) 5. The close-up shot. Medium shot More examples of shots we can see in films are: American shot 6.
    [Show full text]
  • CLOSE READING FILM (Narrative 1 of 6) Del Gizzo - Handouts on Critical Readings
    CLOSE READING FILM (Narrative 1 of 6) del Gizzo - Handouts on Critical Readings NARRATIVE Narrative is the overall connection of events within the world of a movie, consisting of exposition, rising action, climax, falling action, and denouement. Compare story and plot. Exposition is the images, action, and dialogue necessary to give the audience the background of the characters and the nature of their situation, laying the foundation for the rest of the narrative. Rising Action is the development of the action of the narrative toward a climax. Compare falling action. Climax is the narrative's turning point, marking the transition between rising action and falling action. Falling Action is the events that follow the climax and bring the narrative to conclusion (denouement). Compare rising action. Denouement is the resolution or conclusion of the narrative. Genre refers to the categorization of fiction films by the stories they tell and/or the way they tell them. Genres are defined by a set of conventions—aspects of storytelling such as recurring themes and situations, and aspects of visual style such as décor, lighting, sound. (Sample genres: Action or Adventure, Biography, Comedy, Fantasy, Film Noir, Gangster, Horror, Melodrama, Musical, Mystery, Romance, Science Fiction, Thriller, War, Western) Story is all the events we see or hear on the screen, and all the events that are implicit or that we infer to have happened but that are not explicitly presented. Compare diegesis, narrative, and plot. Diegesis is the total world of a story - the events, characters, objects, settings, and sounds that form the world in which the story occurs.
    [Show full text]
  • Filmkamerabruk
    Bibliotekarstudentens nettleksikon om litteratur og medier Av Helge Ridderstrøm (førsteamanuensis ved OsloMet – storbyuniversitetet) Sist oppdatert 25.01.21 Filmkamerabruk Et kamera kan brukes på svært mange forskjellige måter. Kamerainnstillinger kan variere i størrelse, perspektiv, lengde, bevegelser av kamera og objektbevegelser (Faulstich 2008 s. 115). Eksperimentering med kamerabruk har oftest som mål å skape en opplevelse av frihet, livskraft og autentisitet (Parkinson 2012 s. 162). Kamerabevegelser er “[a]ny motion of the camera that makes the image seem to move, shift, or change perspective. [...] Zoom shots or rack focus are sometimes considered an aspect of camera movement since there is a change of viewing perspective within the same shot, although technically the camera is stationary.” (Ira Konigsberg m.fl. sitert frå Fuxjäger 2007 s. 62) “While authors can explicitly tell readers what characters are thinking and feeling through techniques such as the omniscient narrator and free indirect speech (Booth, 1961), filmmakers have different constraints when giving viewers direct access to characters’ internal states. Filmmakers must often use cinematic devices associated with editing, camera (e.g., shot scale, lighting, camera movement), and mise-en- scène (e.g., content of the shot, direction of the actors) to help the audience make important inferences” (James A. Clinton m.fl. i https://www.jbe-platform.com/ content/journals/10.1075/ssol.16019.cli; lesedato 22.11.18). Den fransk-sveitsiske filmregissøren Jean-Luc Godard hevdet at kamerabruk er et spørsmål om moral, fordi kameramannen gjør prioritering og valg som krever moralske vurderinger (gjengitt etter Niney 2012 s. 129). Den franske regissøren og dokumentarfilmeksperten François Niney har også hevdet at “en kameraføring er spørsmål om moral i samme grad som estetikk” fordi publikum oppfordres til å innta en bestemt “posisjon” overfor det de ser (2012 s.
    [Show full text]
  • The Main Elements of the Film Composition Dhe Television
    University of Business and Technology in Kosovo UBT Knowledge Center UBT International Conference 2019 UBT International Conference Oct 26th, 1:30 PM - 3:00 PM The main elements of the film composition dhe television Durim Kryeziu University for Business and Technology - UBT, [email protected] Follow this and additional works at: https://knowledgecenter.ubt-uni.net/conference Part of the Social Media Commons Recommended Citation Kryeziu, Durim, "The main elements of the film composition dhe television" (2019). UBT International Conference. 130. https://knowledgecenter.ubt-uni.net/conference/2019/events/130 This Event is brought to you for free and open access by the Publication and Journals at UBT Knowledge Center. It has been accepted for inclusion in UBT International Conference by an authorized administrator of UBT Knowledge Center. For more information, please contact [email protected]. The main elements of the film composition Durim Kryeziu UBT – Higher Education Institution, Lagjja Kalabria, 10000 p.n., Pristina, Kosovo Abstract. Achieving the success of a genuine film work requires devotion and creativity at work. A filmmaker goes through a long and challenging street during the film's realization. Because it needs to convey clear and meaningful messages to bring emotions to the viewer and impress in their memories. The director's imagination and creative imagination links his feelings with the guidance of the actors and the technical crew about the creation of his vision that is the film's success in front of the audience. In addition to the number of actors participating in the film, an irreplaceable place has the technique of film making, which can be mentioned: The camera angles of which the position moves up or down depends on the scenes to be realized, then the movement of the camera that has a maturity of use due to detailed movie scenes, contrasting colors used in film, and contrasting color with which blurred images illuminate and vice versa.
    [Show full text]
  • Storyboard Flirt English – Tantrums and Timeout
    AB 2: Storyboard Flirt English – Tantrums and Timeout Create a storyboard Now that you‘ve completed the script, scene 3 can be shot. Work with a partner. Create a storyboard for your scene. Use the boxes (frames) to draw what you want the shot to look like. A quick sketch will do. Write down explanations next to each frame. Which field sizes and camera angles would you make use of? And why? Check the glossary if you need help. Shot Elizabeth banging on the bathroom door, yelling Shot Conversation between Nino and Elizabeth Shot Everyone moving out the front door Shot Everyone running to catch the bus Shot Bus rushing off Shot Conversation between Nino and Elizabeth Present your storyboard to the class. Flirt English – Tantrums and Timeout © wdr Planet Schule 2012 AB 2: Storyboard Flirt English – Tantrums and Timeout Field sizes: the size in which objects or characters are shown; this depends on how far the camera is away from the object. Field sizes range from extreme long shot to extreme close-up. extreme long shot shows a landscape or city from very far away, with the characters not or barely to be seen long shot shows a character and a great part of the scenery to establish the character in its surroundings medium long shot shows a full view of a character and its immediate surroundings All long shots are used to give viewer an overview over the setting of the scene. They are often used as establishing shots at the beginning of a scene. American shot shows a character from underneath the waist up to the head.
    [Show full text]