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Kubrick

John Ford. Leone . Scorsese . Spielberg. Kubrick. Francis Ford Coppola. Spike Lee. Spike Lee. Hitchcock. COMM 1851 Introduction to Film . Film Structure. Chapter 1 1. Elements of Film Structure . Elements of Film Structure. Topics: The Production Process The Role of the Director

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Kubrick

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  1. John Ford Leone Scorsese Spielberg Kubrick Francis Ford Coppola Spike Lee Spike Lee Hitchcock

  2. COMM 1851 Introduction to Film Film Structure Chapter 1 1. Elements of Film Structure

  3. Elements of Film Structure Topics: • The Production Process • The Role of the Director • Time and Space in Cinema • Mechanics of Film

  4. Production Process3 Phases of the Production Process • Preproduction • Production • Post-production

  5. Production Process1. Preproduction Planning/preparation phase: • Secure project financing • Script writing & revision • Hiring of the cast & crew • Actor Rehearsals

  6. Production Process1. Preproduction Planning/preparation phase: • Production Design: • Location scouting, sets, props • Planning the cinematography

  7. Production Process2. Production • Begins with “The start of principle photography” • Designates the filming of the Script • Shooting & Sound • The use of Temp Tracks

  8. Production Process3. Postproduction phase • Editing picture & sound • Mixing audio • Composition, recording of the score. • Additional sound effects (Foley) & ADR additional dialogue replacement

  9. Production Process3. Postproduction phase • Creation of SFX (CGI, Matte etc.) “Computer Generated Images” • Processing of prints (timing) for distribution • Distribution of the film

  10. The Role of the Director • “The chief artistic authority” • Coordinates and organizes the production team • Motivates and instructs actors for performance quality • Answers to the Producer/Studio Quentin Tarantino

  11. The Role of the Producer • Acts as the studio “liaison” • Budget concerns • Schedule concerns • Often gives input to director on creative decisions George Lucas

  12. “Total filmmakers” • Dual role as Producer & Director • Extremely rare.. (Director must $ & studio approval!) • A type of Auteur Charlie Chaplin Orson Welles

  13. Who is the Cinematographer? The person responsible for the planning and execution of the: • Lighting • camera/lens selection & film stock • camera angle & position • Sometimes operates the camera • Consults with the director on how the film/shots should “look”

  14. Time & Space in Cinema Time • Running Time The amount of real time it takes a viewer to watch a film from the beginning to the end. • Story Time The amount of time covered by the narrative. EX: High Noon

  15. Time & Space in Cinema Time • Internal Structural Time The dynamic tempo of a film as established by the internal structure (editing, soundtrack etc…) Also called “Pacing.” • Rarely at constant rate. EX: any film with a car chase

  16. Time & Space in Cinema Space Frame • The dimensions of the objects in the projected area on screen • Also refers to the individual still image on the film strip

  17. Time & Space in Cinema Frame Sizes: Widescreen Full Screen Theatrical Presentation Image appears magnified with a loss of frame information; 1/3 frame on each side

  18. Time & Space in Cinema Anamorphic Widescreen Frame Sizes: “Letterboxed” Widescreen Matted for standard TV screen; preserves original aspect ratio of the theatrical presentation Image is horizontally compressed to fit onto the standard TV screen

  19. Time & Space in Cinema Space Composition The arrangement of objects in the projected area on screen. Represents a purposeful design initiated by the cinematographer & director Mise en scène

  20. Mechanics of Film • How do see film? • How does the brain & eye integrate the movement of the still image of the film strip into a moving image?

  21. Mechanics of Film Generally Accepted Theory 3 Processes: • Persistence of Vision • Flicker fusion • Beta movement (PHI) Continuous illumination of the screen & the perception of movement

  22. Mechanics of Film Persistence of Vision A characteristic of human vision in which the eye retains the image after its source has been removed. EX: The afterimage of a flashbulb

  23. Mechanics of Film Flicker Fusion The threshold of the speed of the light source, switching on/off, which produces a blending of images of the individual pulses of light. 12 frames a second Overcomes the gaps of darkness in the film frame.

  24. Mechanics of Film Beta Movement (PHI) Explains “apparent motion.” The close proximity of the illuminated images to each other repeated through a rapid session produces movement of the image. Film = 24 frames a second EX: Flip Book

  25. Mechanics of Film Is this really what happens?

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