Film class vocab presentation
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The document discusses key concepts in mise-en-scène and cinematography that are important for analyzing films. It defines mise-en-scène as all the visible elements of a movie scene including actors, lighting, sets, costumes, and makeup. Key elements of mise-en-scène discussed include types of lighting like key, back, and fill lighting; blocking or actor placement; set design and its use of realism versus surrealism; and makeup. Cinematography techniques covered are depth of field, framing, shot types from extreme long shot to close up, camera angles, pans, tracking shots, and the invention of the Steadicam. Examples are provided throughout to illustrate these
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Film class vocab presentation
- 1. Looking at Movies Film Vocabulary
- 3. Mise-en-scène • Used in film studios to refer to all the elements that of a movie scene that are organized and that are later visible on screen. They include the scenic elements of a movie— such as actors, lighting, sets, costumes, make- up— essentially “everything in front of the camera.”
- 5. Mise-en-scène • Key Lighting – The main source of non-natural lighting in a scene. High-key light is even; low-key light shows strong contrast. • Backlighting – a lighting technique that illuminates the person or object from behind, tending to silhouette the subject. • Fill lighting – A lighting technique using secondary fill lights to balance the key lighting by removing shadows or to emphasize other spaces and objects in the scene.
- 6. Lighting
- 7. Lighting • Example of High-key light from Hero • Example of Low-key light from Seven
- 8. Lighting Example of Backlighting from Kill Bill, vol. 2
- 9. Other Elements of mise-en-scène. • Blocking – the arrangement and movement of actors in relation to each other within the mise-en-scène. • Set Design • Make-up • Costume Design
- 10. Other Elements of mise-en-scène: Blocking • Blocking in The Cabinet of Dr. Caligari
- 11. Other Elements of mise-en-scène: Set Design • Verisimilitude – The appearance of being true or real. • Often filmmakers will want to evoke a specific mood using their setting. As a viewer, you have to think: is this supposed to be realistic, or is this supposed to feel “unreal?” • Filmmakers that want to give their film a more documentary type of film will film in actual locations, limiting the role of the set-designer; these films are meant to evoke realism.
- 12. Other Elements of mise-en-scène: Set Design • An example of verisimilitude in the Italian neo-realist classic Bicycle Thieves, directed by Vittorio De Sica, shot on location amidst the rubble of post-WWII Rome. • Here, the setting is intended to reflect the turmoil of the characters.
- 13. Other Elements of mise-en-scène: Set Design • Other films completely remove verisimilitude in order to give their film an “otherworldly” feel. If you’ve seen a Tim Burton movie, then you’ve seen an example of this. • This is most common in sci-fi, fantasy, and especially horror films. • On the next slide is an example of this using a frame from Dario Argento’s highly influential, landmark Italian horror film Suspiria, which used its sets to deliberately displace the viewer • Argento wanted his film to be like a live-action version of Snow White, and, in fact, had his set-designers watch the Disney cartoon frame by frame for inspiration. • His film is in no way meant to be taken as “realistic”
- 14. Other Elements of mise-en-scène: Set Design
- 15. Other Elements of mise-en-scène: Make-up
- 16. Cinematography
- 17. CINEMATOGRAPHY Depth of field – The range or distance before and behind the main focus of a shot within which objects remain relatively sharp and clear. Lawrence of Arabia (d. Lean)
- 18. CINEMATOGRAPHY Deep focus – A focus in which multiple planes (foreground, middleground, background) in the shot are all in focus simultaneously . The Best Years of Our Lives (d. Wyler)
- 19. CINEMATOGRAPHY Framing – A measure of the filmed subject that appears within the borders of the frame and correlates with camera distance. Mulholland Dr. (d. Lynch)
- 20. Framing the shot: Shot Types Extreme long shot (XLS)– emphasis is not on characters but on their relationship to the surroundings. Long shot (LS) – The “who, what, and where” shot. Often used as an establishing shot at the beginning or ending of a scene. Full Shot (FS) - Generally contains the full body of one or more characters. Background is beginning to be reduced. Medium shot (MS) – Shows the character from the waist up; the most frequently used shot in film Close-up (CU) – The camera pays very close attention to the subject, whether an object or a person Extreme close-up (ECU) – The extreme close-up is a variation focusing on a very small detail of the subject.
- 21. CINEMATOGRAPHY EXTREME LONG SHOT Undertow (d. Green)
- 22. CINEMATOGRAPHY LONG SHOT Zodiac (d. Fincher)
- 23. CINEMATOGRAPHY FULL SHOT Last Days (d. van Sant)
- 24. CINEMATOGRAPHY MEDIUM SHOT Pulp Fiction (d. Tarantino)
- 25. CINEMATOGRAPHY Close-up Extreme close-up The Passion of Joan of Arc (d. Dreyer) Psycho (d. Hitchcock)
- 26. CINEMATOGRAPHY High angle shot – The camera is looking down upon its subject. Conventionally means the subject is thought to be weak or vulnerable Low angle shot – The camera is looking up at its subject. Conventionally means the subject is thought to be in a position of power or importance. The Shining (d. Kubrick) Touch of Evil (d.
- 27. Dutch Angle/Canted Angle • The Dutch angle, also known as a canted angle, is a type of camera shot where the camera is tilted. • In cinematography, the Dutch angle is one of many cinematic techniques often used to portray the psychological uneasiness or tension in the subject being filmed. The Dark Knight (d. Nolan)
- 28. Dutch Angles in The Cabinet of Dr. Caligari Sometimes these angles are referred to as “German Angles” because they were so predominant in German Expressionism.
- 29. CINEMATOGRAPHY Pan – A horizontal movement of the camera, whose tripod or mount remains in a fixed position Tracking shot – A shot that moves forward, backward, or around the subject, usually on tracks that have been constructed in advance or on a dolly that follows a determined course; also called a dolly shot or traveling shot.
- 30. CINEMATOGRAPHY Steadicam • Steadicam allows for a smooth shot, even when moving quickly over an uneven surface. The Steadicam was invented by cameraman Garrett Brown and was introduced in 1975. • A Steadicam essentially combines the stabilized steady footage of a conventional tripod mount with the fluid motion of a dolly shot and the flexibility of hand-held camera work. While smoothly following the operator's broad movements, the Steadicam's armature absorbs jerks, bumps, and shakes.