1 / 32

Understanding Movies

Understanding Movies. Pengantar Penelitian Sastra. Elements that we are going to learn today are…. Camera distance Camera Angle Camera Movement Mise on Scene. Camera Distance. Extreme Long Shot Long Shot (Full Shot) Medium Long Shot Medium Shot Medium Close Up Close Up

hastin
Télécharger la présentation

Understanding Movies

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. Understanding Movies PengantarPenelitianSastra

  2. Elements that we are going to learn today are… • Camera distance • Camera Angle • Camera Movement • Mise on Scene

  3. Camera Distance • Extreme Long Shot • Long Shot (Full Shot) • Medium Long Shot • Medium Shot • Medium Close Up • Close Up • Extreme Close Up

  4. Camera Distance: Extreme Long Shot (ELS) • Shows location • Often used as an initial establishing shot in a sequence

  5. Camera Distance: Long Shot (full shot) frames the entire body of one or more characters

  6. Camera Distance: Medium Long Shot • is also called “plan américain” or American shot • shows 1 to 3 characters from the thigh up. • shows characters and their roles without emphasizing their emotions.

  7. Camera Distance: Medium Shot • Waist up • Focus on character(s)

  8. Camera Distance: Medium Close Up • Chest up • Focus on character(s)

  9. Camera Distance: Close Up Can be of people Can be of objects

  10. Camera Distance: Close Up • If the close up is of the whole or part of the face then it shows emotion and reinforces spectator involvement

  11. Camera Distance: Extreme Close Up An extreme close up is more magnified than close up, and will focus on one part (hand, eye, mouth, etc.)

  12. Camera Distance: Extreme Close Up Often used at climax of drama

  13. Camera Angle • Straight-on Angle • Canted (Dutch) Angle • High Angle • Low ANgle

  14. Camera Angle: Straight-on Angle Normal angle and makes spectator feel comfortable

  15. Camera Angle: Canted (Dutch) Angle produces sense of unease in spectator

  16. Camera Angle: High Angle Connotation - lack of power

  17. Camera Angle: Low Angle A shot taken from below an character, as if he/she is looking down on us. This may make us feel small and the character seem powerful and authoritative Gladiator, Ridley Scott, 2000

  18. Camera Movement • Panorama • Tilt • Track (dolly) • Zoom

  19. Camera Movement: Pan (Panorama) Camera swivels left or right on axis. Used for: • Showing scene • Following movement • Guiding attention

  20. Camera Movement: Tilt Camera swivels up or down. Used for: • Showing scene on different levels • Following movement

  21. Camera Movement: Track (Dolly) - camera on wheels, usually on a little cart called a dolly (so sometimes known as a “dolly shot”; or the verb “to dolly” is used. - can track in/out, left/right, slow/fast.

  22. Camera Movement : Track (dolly) Tracking in Lateral track(ing shot)

  23. Camera Movement : Zoom Use of zoom lens to create illusion of camera moving in/out. Can zoom in/out (forward zoom/reverse zoom)

  24. Mise en scène (pronounced “meez on sen” with second syllable nasalised, term from French theatre) refers to everything we see on the screen. • Lighting • Props and Objects • Color • Proxemic Patterns and Gestures

  25. Mise en scène: Lighting • Three point system of lighting • Key light: main source of light • Backlight: adds highlights and differentiates actor from background • Fill light: softens shadows from key light

  26. Lighting • High Key Lighting • Low Key Lighting

  27. Mise en scène High Key Lighting - lighting scheme in which fill light is raised to almost the same level as key light - produces images that are usually very bright, few shadows on principal subjects. This bright image is characteristic of entertainment genres such as musicals Peking Opera Blues /Do Ma Daan, Tsui Hark (Honk Kong, 1986)

  28. Mise en scène Low Key Lighting Key light dimmed (may be moved – kick light), very little fill light, creating strong contrasts between the brightest and darkest parts of an image and often creating strong shadows that obscure parts of the principal subjects. Shadows - connote unease, sense of evil - feature of horror Touch of Evil (Orson Welles, 1957)

  29. Mise en scène: Props and Objects Costumes are important props. In film, any portion of a costume may become a prop. His Girl Friday (Howard Hawkes, 1940)

  30. Mise en scène: Colour • Colouris strongly linked to emotions • Cool colours (blue, green, violet) suggest calm • Warm colours (red, yellow, orange) suggest aggression and violence

  31. Mise en scène: Proxemic Patterns and Gestures • The relationships between the organisms in a space are called Proxemic Patterns. • The proxemic pattern is determined by distance and may be Intimate (touching – ½ m away), Personal (½ m – 1m) , Social (1m – 4m), or Public (greater than 4m distance).

  32. Source • Giannetti, Louis. 2002. Understanding Movies 9th Edition. New Jersey: Prentice Hall • www.smcisd.net/Understanding%20Film11 • www.wiredshire.org.uk/LanguageofFilmPC

More Related