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Film Language: An Introduction

Film Language: An Introduction. Basic building blocks of film: Static image : still image and the arrangement of the objects in the image (Pasolini) Shot : single piece of film without cutting or editing Editing : how the shots are put together. ASPECT RATIO. ASPECT RATIO.

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Film Language: An Introduction

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  1. Film Language: An Introduction Basic building blocks of film: Static image: still image and the arrangement of the objects in the image (Pasolini) Shot: single piece of film without cutting or editing Editing: how the shots are put together

  2. ASPECT RATIO

  3. ASPECT RATIO 1.53:1 aspect ratio 1.33:1 aspect ratio (aka 4:3) Wide angle lens (left) and fisheye lens (above)

  4. MASKED FRAME

  5. COMPOSITION • Proportion and balance • -size of figures and relation of figures/objects to each other • -symmetrical or asymmetrical • -centered/decentered • -rule of thirds

  6. COLOR Shots from Zhang Yimou’s Judou

  7. COMPOSITION • Exposure • -overexposed vs. underexposed

  8. -direction of light (back, fill, key lighting) • -focused or diffuse (high-key or low-key lighting) LIGHTING Above: high-key lighting; below: low-key light Above: Three point lighting

  9. FOCUS sharp focus soft focus

  10. FOCUS deep focus shallow focus

  11. RACKING FOCUS changes the focus from one object to another

  12. DEPTH OF FIELD “The extent to which the space represented is in focus”

  13. SHOT SCALE extreme long shot long shot medium long shot medium close-up close-up extreme close-up

  14. ANGLE OF CAMERA: Tilt Low angle shot: camera tilted up Tatami shot typical of Ozu’s films High angle shot: camera tilted down

  15. ANGLE OF CAMERA: pans and rolls Pan

  16. TRACKING SHOT

  17. EDITING: MONTAGE SCHOOL -developed by Soviet filmmaker Eisenstein in the 1920s -juxtaposing two different shots to generate a third meaning -fast editing of disparate images to create a whole mood -Odessa steps sequence from The Battleship Potemkin Sergei Eisenstein (1898-1948)

  18. EDITING: CONTINUITY EDITING -developed in Hollywood -editing that attempts to economically ensure narrative continuity -smooth flow from shot to shot -figures balanced from shot to shot -lighting consistent from shot to shot -rhythm of cutting depends on camera distance: long shot=long take, medium shot=medium take, close-up=short take

  19. SHOT-REVERSE-SHOT

  20. ESTABLISHING SHOT

  21. EYELINE MATCH Shot B: what it being looked at Shot A: the looker

  22. PARALLEL EDITING, or CROSS-CUTTING

  23. LONG TAKE • shots can last from 1 frame to an entire film • Hollywood tends toward shot shots with fast pacing • some art film directors prefer longer shots, called “long takes” (to distinguish from a “long shot”) • the long take creates a slower pace

  24. AVANT-GARDE Jump cut: An elliptical cut that appears to be an interruption of a single shot. Either the figures seem to change instantly against a constant background, or the background changes instantly while the figures remain constant. -seems to disturb the temporal and spatial organization of the film Crossing 180 degree line

  25. PUNCTUATION abrupt cutting (e.g. Eisenstein’s montage) Dissolve: one image gradually superimposes over another, the latter fades out Fade out: usually indicates a long time elapsing Iris: a scene disappears or appears like a iris shutting or opening Wipe: line runs through the screen replacing one image with another

  26. SOUND AND MUSIC diegetic sound: sound that is part of the realistic world of the film extra-diegetic sound: sound that is added, in particular music (but music can also be diegetic) speech: natural vs. artificial, colloquial vs. elevated, dialect vs. standard, etc. Music:creates a mood that can radically change the way we see an image

  27. NARRATIVE STRUCTURE -how are all the shots put together into a plot line -draws from many dramatic and literary traditions -temporal organization: duration, frequency, and order -perspective: objective or subjective

  28. GENRE -closely tied to narrative -the genre a film is working in determines to a large extent the structure and style of the film -examples: western, erotic thriller, horror, love story; each has its own conventions -of course, filmmakers can stretch the conventions or play with them

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