Dramatization By: Sarah Heynen, Stuart Burger, Eric Zhu

Time, Space, and Language

Time Shot- the basic unit of construction in movies is the. A shot is the image the is recorded continuously from the time the camera starts to the time it stops. The average shot lasts 8 to 10 seconds meaning the cinematic shot can be lengthen or shorten time more subtly. Dramas can expand or contract time between hundreds of shots because they have to chop out huge parts of time in the relatively few scenes. Flashbacks -temporary dislocations of the storyline, and an editing technique that suggests the interruption of the present to bring back an important scene in the past.

Space Closed forms - A visual style that inclines toward self-conscious designs and carefully harmonized compositions. The action takes place in a unified area that has specific limits that are defined by the proscenium arch. Frame -The proscenium arch is the that is a masking device that isolates objects and people temporarily. Close-up - a detailed view of a person or object. A close-up of an actor usually includes his or her head.

Language Conventions - are implied agreements between the view and artist to accept certain artificialities as real in a work of art. Editing - the juxtaposition of shots are accepted as “logical” even though a viewer’s perception of reality is continuous and unfragmented. Pans - short for “panorama”, this is revolving horizontal movement of the camera from left to right or vice versa.

Space, Time, and Language Movie Clips 7ujU - “ War Horse” 7ujU FGEE - “ Saving Private Ryan” FGEE

The Director

Vocabulary/Notes The director is responsible for the general interpretation of the script and usually defines the limits for the actors, designers, and technicians. Must see to it that all of the production elements are harmonized and subordinated to an overall interpretation. The director converts three-dimensional space into a two- dimensional image of space. Deep-Focus - a technique of photography that permits all distance planes to remain clearly in focus, from close-up ranges to infinity. But even in deep-focus photography, “depth” is not literal. Dollying/Craning - a character can enter the frame from below, from above, from any side, and from any angle. A camera can also take us “into” a set, permitting objects to pass by us.

The Director Movie Clips M542V - “Blue Valentine” M542V kcF9Nk- “In The Land of Blood And Honey” kcF9Nk

Setting and Décor

Vocabulary Genre - a category of artistic composition, as in music or literature, characterized by similarities in form, style, or subject matter. Realism - is the film style that shows the truth. A realist director will preserve the illusion that their film world is not manipulated and direct reflection of the world. Don’t build sets but find buildings and structures already crated. i.e. documentaries Formalism - opposite of realism, the directors do not try to preserve the illusion of no manipulation to film world. This film style is very abstract and deals more with symbolic lighting, characters and music. Directors do not intend audience to forget that the film is a movie.

Continued Vocab. Miniatures - smaller, scaled down objects that directors use to make filming easier. For instance if they want to shoot a cliff shot they can build a small cliff and through special effects make it seem as if it is a full sized cliff. Production Values - Production values are the lighting, sound, scenery and props used to improve a film Back-lot sets - Sets that are built in a back-lot that can be modified for different purposes as need requires. They are multipurpose sets that can be used over and over again. For example, city streets, alley ways.

Setting and Décor Movie Clips Formalistic movie with unrealistic set: “Edward Scissorhands” - edward’s house - suburban neighborhood Realistic Set: “Black Hawk Down”

Costumes and Makeup

Costume and Makeup play essential roles in film because they can reveal many things about the characters; like their class level, self-image, or even psychological states.

Vocabulary Here are a few important words to think about when examining costume and makeup in film. COLOR- symbolic implications of colors, “hot or cool”, solids or patterns, subdued or bright what does the color say about the character? BODY EXPOSURE- amount of exposure given to the character, how does this correlate with their personality and or actions? BODY ATTITUDE- posture plays an important role in characterization in film IMAGE- what is the overall image that the costume/makeup creates PERIOD- era that the costume falls under CLASS- the presumed income level of the character wearing the outfit SILHOUETTE- loose/baggy or formfitting ACCESSORIES- excess jewelry, hats, bags, etc

Costumes and Makeup Movie Clips - “The Dark Knight” Psychotic unpredictability Sad, clownish Face art seems deranged, insane - “The Seven Year Itch” Class- upper to middle, elegant Feminine, form-fitting Radiates confidence - “The Leopard” Texture and florid patterns – artificiality, sealed off from nature Costumes are elegant and constricting, suggest upper class, idle people, not concerned with utility of clothing

History of Dramatization The golden age of the Hollywood studio systems started in the 1930’s and ended in the 1950’s. During this time period, each of the majors had a characteristic visual style, determined in large part by the designers at each studio. Some were called, “production designers,” others “art directors,” a few simply “set designers. Their job was to determine the “look” of each film, and they worked closely with producers and directors to ensure the sets, décor, costumes and photographic style was coordinated to produce a unified effect. In the mid-1950s, the French periodical Cahiers du Cinema popularized the auteur theory, and view that stressed the dominance of the director in film art. According to this view, whoever controls the mise en scene (the medium of the story) is the true “author” of the movie. The other collaborators (writers, cinematographer, etc) are merely the director’s technical assistants.

Continued History In the early 1960’s, the studio system in Hollywood declined, because many films were now made on location in other countries. In the later 1960’s, Hollywood filmmakers began to create more innovative and groundbreaking films that reflected the social revolution taken over much of the western world such as Bonnie and Clyde (1967). In the 1970’s, film director’s began to express personal vision and creative insights with the development of auteur style of filmmaking. Directors has greater control over their projects than ever. In the 1990’s, major studios began to create their own “independent” production companies to finance and produce noon-mainstream fare. Present day, filmmakers are influenced by the works of Alfred Hitchcock, Woody Allen, Francis Ford Coppola, and Steven Spielberg and continue to change the film industry with new concepts.

Key Players in Dramatization Major Directors like Alfred Hitchcock, Woody Allen, Francis Ford Coppola, and Stephen Spielberg have shaped and influenced the film industry by creating new ways to build suspense and keep the audience entertained. MGM- Gilbert Adrian of MGM was the costume designer in the 1930’s at this very feminine, women- oriented studio. He specialized in hiding figure faults, using corrective padding, to keep up with era’s glamour. He made sexy yet simplistic dresses that highlighted women’s best features. Edith Head- head costume designer at Paramount from , created costumes for over 1,100 movies. She insisted that costume is a projection of a character. Travis Banton- costume designer at Paramount, specialized in classy, elegant dresses.

Sources greatest-directors-of-all-time/ greatest-directors-of-all-time/