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1. Anatomy of Film Based on text by Bernard F. Dick
2. Film, Movie or Cinema? Movie suggests popular culture
Cinema suggests art culture
Film encompasses all
3. Reading Critically Jaxtaposition
Visual elements
Sound elements
Context
Time & Place
Social Interaction
4. 4 Formal Structure Systems Mise-en-scene
Cinematography
Editing
Sound
5. Narrative Film Narrative told through sound and image, that builds to a climax and culminates in a resolution
Does not require dialogue
Images themselves can tell part of the story and can carry as much weight as words
6. Time-Space Relationships Conflict is heard and seen
Visually represents events unfolding—some occurring at the same time
7. Movie Time Must tell a story within a certain period of time
Manipulates real time
Is elastic—time compressed or prolonged
8. Employs many forms of art Print
Dialogue
Music
Camera movement
Settings
Costumes
Performance
9. Graphics Logos
Main titles, credits, precredits sequences and end credits
Opening titles and end titles
Other print materials: letters, signposts, street signs, newspapers, plaques
Minimizes the need for expository dialogue
10. Sound Actual Sounds
Sound Effects
Noise
Silence
Commentative Sounds
Music
Synchronization—sound and image are related contextually, spatially, and temporally
Asynchronization—sound and image are related symbolically, metaphorically, or ironically
An Introduction to Film Sound: http://www.filmsound.org/marshall/index.htm
11. Overlapping Sound Sound or dialogue that either carries over from one scene to the next or anticipates the new scene
Can build narrative
http://imv.au.dk/~pba/Homepagematerial/MMproduktionmateriale/Raskin%20Sound%20%20Paper.pdf
12. Sound Overview
13. Voice-Over Narration The Narrating “I”
Absurdly overused
The Voice of God
An authoritative voice that belongs to no character—completely disembodied
Weaves in and out of the action, commenting, reflecting, even questioning
Imparts a feeling of objectivity
Can insinuate itself into the characters, noting their moods and emotional states
14. Voice-Over Narration Epistolary Voice—plot through letters
Allows the audience to hear the other characters
Plot device whose contents must be heard
Subjective Voice—the inner voice of the character
15. Voice-Over Narration The Repetitive Voice
The Voice from the Machine
Deus ex machina—god from the machine, of Greek theater
16. Film process The Shot
The Scene vs. The Sequence
Appear to be virtually synonymous
Chief difference—there can be scenes within a sequence, but not sequences within scenes
17. Camera Movements
18. The Shot Defined in terms of distance, area or the subjects they contain Types:
Close-up
Extreme Close-up
Long Shot
Full Shot
Extreme Long Shot
Medium Shot
Establishing Shot
Two-shot, Three-Shot
Shot/Reverse Shot
Over-the-shoulder shot
19. Shots
20. The Shot High-angle Shot
God’s Eye
Suggest entrapment or frustration
Low-Angle shot
Makes subject appear larger
Suggests dominance or power
Objective-view of camera
Point of View Shot
21. The Moving Shot Pan shot—horizontal
Tilt shot—vertical
Mobile Camera shots
Swish pan—unusually rapid & produces momentary blur
Tracking Shot—greater area and more detail
Dolly Shot
Crane Shot
22. The Moving Shot
23. Zooms and Freezes Zoom in/Zoom out
camera does not move
Represents deceptive motion and distorts size
Freeze Frame
Stopped motion
Suggests stasis
Implies immobility, helplessness or indecision
24. The Sequence A group of shots forming a self-contained segment of the film that is, by and large, intelligible in itself
Types
Linear Sequence
Associative Sequence
Montage Sequence
25. The Linear Sequence Beginning initiates the action
Middle adds to the action
End follows and completes the action
Elliptical linear sequence
Certain details omitted
Viewers must make connections
26. The Associative Sequence Scenes linked by an object or a series of objects
http://mcel.pacificu.edu/JAHC/JAHCV2/ARTICLES/david/david.html
27. Montage Sequence A series of shots arranged in a particular order for a particular purpose
Rapid succession telescoping an event or several events
American Montage: 30s & 40s
Collapses time as shots blend together, wipe each other away or are superimposed
Calendar pages, headlines, etc.
28. Montage Sequence Feature of both linear and associative sequence
Can be unified by images
http://www.vsmu.sk/rybarova/unit_7.doc
29. Cuts Verb—terminate a shot
Noun—a strip of film
Film stages: rough cut ? director’s cut ? final cut
30. Cuts Joining of two separate shots
Straight cut—one image replaces another
Contrast cut—images are dissimilar
Crosscut (Parallel)—2 actions occurring simultaneously
Jump cut—break in continuity
Form cut—a cut from one object to another of similar shape
Match cut—one shot complements or “matches” the other, following smoothly without any break in continuity of time and space
31. Transitions—Bridge Scenes The Fade:
Fade-out & Fade-in
Denotes demarcation—the end of a narrative sequence
The Dissolve
denotes continuity by the gradual replacement of one shot by another
No sooner said than done
32. Transitions Synecdoche or metonymy:
Two images blend in such a way that their union constitutes a symbolic equation
However, the result is a metaphorical dissolve
A sign replaces the signified
http://afronord.tripod.com/theory.html
33. Transitions Form Dissolve—merging two images with the same shape or contours
Easy on the eyes
Can relate to plot
The Wipe—Line traveling vertically across the scene
More fluid than a cut and faster than a dissolve
Ideal for presenting a series of events in quick succession
34. The Iris Masking Shot or Iris Shot—everything blacked out except what is to be seen telescopically
Irising In/Irising Out
35. Editing Selecting and arranging the shots based on
Their place within the narrative
Their contribution to the mood of a particular scene or to the film as a whole
Their enhancement of the film’s rhythm
their elucidation of the film’s deeper meaning
their fulfillment of the filmmaker’s purpose
36. Continuity Editing Assembling shots so that they follow each other smoothly without interruption
Preserves the illusion of an ongoing narrative
37. Eisenstein’s Theory of Montage Based on contrast and conflict
http://www.sensesofcinema.com/contents/directors/04/eisenstein.html
http://afronord.tripod.com/~afronord/eisen.html
38. Continuity Editing Rhythm—variations in speed, movement, and pace
Time—parallel cutting depicts two concurrent actions
Space—parallel cutting affects sense of space as well
Tone—primarily light, shade and color
Theme—juxtaposing contrasting shots can deepen a film’s theme
39. Role of the Editor Takes what has been shot and improves on it
The director’s alter ego
Controls the rhythm and tone
Primary purpose is to bring to completion an artistic work already in progress
40. Mise-en-Scène French phrase used to describe the staging of a play
In film—composing a shot or a sequence with the same attention to detail (set, lighting, costumes, makeup, positioning of actors within the frame, etc) that a state director lavishes on a play
A form of framing—the art of composing a shot
http://www.mediaed.org.uk/posted_documents/Teaching_mise_en_scene.htm
41. Framing Frame—strip of celluloid on which the image is captured
Shots can be framed
In terms of horizontal, vertical and diagonal lines
Geometrically
Iconographically
In deep or shallow focus
From a high or low angle
In a frame that has been masked or doubled
42. Framing Tight framing
Subject appears to be confined withing the horizontal and vertical borders of the frame
Not a hint of offscreen space
Gives a feeling of oppression
Canted shot—frame looks lopsided
Geometrical compositions can be symbolic as well as visually interesting
43. Iconography Framing a shot to imitate a painting or sculpture
44. Focus Deep Focus
foreground, middle ground and background are equally visible
Conveys a greater sense of depth
Minimizes the need to cut from one shot to another
Brings out meanings that otherwise not be apparent
Shallow Focus
Foreground is more distinct than background
45. Takes Long take
A shot that lasts more than a minute
Steadicam
46. Color & Lighting Color palettes and lighting sets tone and mood
Lighting has a direct bearing on the way an image is perceived
47. Special Effects/Visual Effects “Art never improves, but . . . The material of art is never quite the same.”
--T. S. Eliot
48. Film Genres The Musical
The Western
The Crime Film
Film Noir
Combat Film
Comedies
Romantic Comedy
Screwball Comedy
Farce
Satire
The Reflexive Film
The Woman’s Film
The Documentary
The Horror Film
Science-Fiction
49. Subtext Infranarrative
A complex structure beneath the narrative consisting of the various associations the narrative evokes in us
Film’s dual nature
Level of meanings found in
Symbols
Image patterns
References/allusions
Reading critically
50. Mythic Associations Operates on an unconscious level, presenting us with
Characters
questers
the enchanted and the enchanter
ogres
scapegoats
monsters
talking animals
Apparitions
Themes
The homeward journey
The quest
Ancestral curses
Revenge
Patricide
Matricide
Settings
Caves
Wastelands
Subterranean rivers
Enchanted islands
Flat-topped mountains
Ominous castles
Desolate moors
Lost worlds
51. Myths Tap into our collective memory
Themes of myth are universal
Return of the hero
The desire for forbidden knowledge
The quest for identity
Coming of age
Rebellion against tyranny
Transcends time and place
Ultimate truths about life and death, fate and nature, gods and humans
52. Film and Myth Speak the same language—picture language
Both are oral and visual
Both are intimately associated with dreams
Making a mythic association involves remembering a pattern of experience that is universal.
53. Mythic Types The quester
The convert
The foundling
The exile
The knight-errant
The blessed damsel
The earth mother
The lost child
The eternal child
The alien
The shadow self—doppelganger
The liberator
54. Mythic Themes The descent to the underworld
The quest for the grail, sword, ring, or chalice
The journey into the unknown
The homeward journey
The birth of the hero
The life force versus the force of reason
Wilderness versus civilization
The transformation myth
The savior myth
Good versus evil
55. Visual/Iconic Associations Icon’s dual nature
Depicts not just a person but a person who stands out from the ordinary
56. Icons Definition: http://www.bartleby.com/65/ic/iconogra.html
Greek Icons: http://web.uvic.ca/grs/bowman/myth/info/attributes.html
Australian Icons: http://www.jintaart.com.au/iconography/iconhmpg.htm
Christian Icons: http://www.traditionaliconography.com/
Cemetery Iconography: http://freepages.genealogy.rootsweb.com/~txcemeteries/symbol.htm
57. Intellectual Associations We relate the film as a whole—not just one aspect of it—to history, to another medium such as literature or opera, to another film, or even to an earlier version of itself.
Intertextuality
58. Musical Associations Music has 2 main functions
Advances narrative
plot device
not subtextual
Enhances narrative
functions as subtext
Deepens the narrative by bringing it to another level of interpretation
59. Music Capable of forging ethnic and national connections
Has the power to reinforce stereotypes
Can evoke certain associations
Classical music can constitute the entire subtext
60. The Film Director The Auteur—director as primary creative force behind a film
May collaborate with a screenwriter, a cinematographer, a composer, an actor, an editor, a producer, or a studio
61. Literary Techniques Flashback
Flash-forward
Dramatic foreshadowing
Point-of-view
Omniscient narrator
Implied author
Film Adaptation
62. Analyzing Films What techniques did the filmmaker use to create the feeling of a complete film rather than a mere collection of scenes?
Could it have been anything other than a film—a novel, a short story, a play, for example—and still have been as effective; or was film the medium in which it reached its level of excellence?
63. Analyzing Films How much of the film is told through images or camera movement, without recourse to dialogue?
Does the use of film deepen or enhance the story being told?
64. Analyzing Film Do the camera and the script work together, each doing what it does best, so that word and image are allies rather than enemies?
What is the subtext, or infranarrative? How does it enrich the film?
65. Rebel Without a Cause The Director: Nicholas Ray talks about heros: http://www.youtube.com/watch?v=WcZU1WYfzJYNatalie Wood interview—how she got role: http://www.youtube.com/watch?v=pY9Lf_7o-94&feature=related
66. Credits Material taken from Bernard F. Dick’s Anatomy of Film, Fifth Edition. Boston: Bedford/St. Martin’s, 2005.
Presentation by Patricia Burgey
67. On-line Guides Readfilm.com http://www.readfilm.com/HTRBook/HTR3.pdf
Yale Film Studies http://classes.yale.edu/film-analysis/
http://www.cwrl.utexas.edu/~hogan/fall04/FilmAnalysis.doc
http://www.filmsite.org/genres.html
Film Terms
http://homepage.newschool.edu/~schlemoj/film_courses/glossary_of_film_terms/glossary.html
http://www.psu.edu/dept/inart10_110/inart10/film.html