1. FILMIC TECHNIQUE

2. FRAMING
Long shot
Close up
Medium shot

3. Framing/Shots: The building blocks of film
Long Shot: a shot taken from some distance; shows the full subject and perhaps surrounding scenes
A long shot often scans a wide area, providing information (literal and symbolic) including setting; it establishes parts of the narrative.

5. Framing/Shots cont.
Close-Up: The image takes up at least 80 percent of the frame.
Directs the viewer’s attention, emphasizes facial expressions or gestures, etc.

6. Framing/Shots cont. Medium Shot: People are seen from the waist up
Considered a “neutral” shot

8. Close to Medium to Long shifts in frame reveal what’s he’s afraid of/running from

9. Go to video Looking at Movies DVD, Chap. 4, 2.01-end
Youtube clip: (1.34 to end):

10. FOCUS
Soft
Sharp
Rack
Deep

11. Focus
Soft Focus: A director intentionally puts his or her object slightly out of focus to make the image look softer or clearer

12. Soft focus
Intentional out-of-focus portrayal to make the image either softer or unclear
Often used in romantic comedies to lighten the mood
Also used in mystery to emphasize uncertainty about a character or situation

13. SHARP
Distinguishes an image with brilliant clarity

14. SHARP

15. Focus (cont.)
Rack Focus: When a director shifts the focus from one object to another in the same shot in order to direct the audience’s attention.

16. Deep focus: when the foreground and background are equally in focus

17. ANGLES
Low
High
Eye Level
Dutch/Canted

18. Angles
Low Angle: Camera shoots subject from below; has the effect of making the subject look larger than normal—strong, powerful or threatening.

19. Angles (cont.)
High Angle: Camera is above the subject; usually has the effect of making the subject look smaller than normal—weak, powerless, trapped.

20. High Angle

21. Angles (cont.)
Eye Level: Accounts for percent of the shots seen because it is most natural—camera is even with the key character’s eyes.

22. Angles (cont.)
Dutch angle—shot that is tilted sideways on the horizontal line (also called “Canted angle” used to add tension to a static frame, it creates a sinister or distorted view of a character.

23. Go to Video Looking at Movies DVD, Chapter 4, whole clip
Youtube clip: .57 to end:

24. LIGHTING
Low key
High key

25. Lighting
Low-key: scene is flooded with shadows and darkness; creates suspense/suspicion.

26. Lighting (cont.)
High-key: scene is flooded with light; creates bright and open looking scene.

27. Lighting (cont.) Chiaroscuro:
Gradations and subtle variations of lights AND darks within an image

29. Go to video on lighting https://www.youtube.com/watch?v=clBT7O3A3wI
2.58-4:02

30. SOUND
Diegetic
Nondiegetic

31. Sound A character coughing or speaking
A dog barking
A radio playing
TV blaring
Traffic
Etc.
Diegetic: sound that can be heard logically by the characters within the film

32. Sound (cont.)
Nondiegetic: sound that could not be heard by characters; sound is given directly to audience by director.
Teacher flashdrive clips:
Jaws
Stranger Than Fiction

33. CAMERA MOVEMENT
See video clip:
Pan: 1.30 to 2.27
Tilt: 4.00 to 4.45
Zoom (push): 6.28 to 7:48
Dolly shot/tracking:

34. EDITING Fade Dissolve- will see in Vertigo Montage- Devil Wears Prada
Crosscutting Godfather clip
Eye-line match/POV shot Hitchcock clip and Vertigo clip
Flashback- Father of the Bride
Shot duration-
Shot/reverse shot- Silence of the Lambs clip;
Match-on-action: 2001: A Space Odyssey

35. EDITING
Fade
Dissolve-
Saw in A Trip to the Moon
will see in Vertigo

36. EDITING
Montage-
Devil Wears Prada (basic montage)
More on this later! We’ll develop definition.
Crosscutting Godfather clip:
Eye-line match/POV shot Hitchcock clip and Vertigo clip
Hitchcock (6.21 to 7:34)
Vertigo:

37. EDITING
Flashback- Father of the Bride clip:
Shot duration
Shot/reverse shot- Hunger Games (begin at .28):
Match-on-action: 2001: A Space Odyssey

38. Match-on-Action and
Graphic Match Cut:
In Stanley Kubrick’s 2001: A Space Odyssey (1968), a match-on-action (between pictures 1 and 2) and a graphic match cut (involving all 3 images) enables humanity to rocket from prehistory into outer space. An ape-man (picture 1) rejoices in his newfound weaponry, a bone, by tossing it into the air (picture 2), at which point it becomes technology of a far more sophisticated kind (picture 3).

39. EDITING Intertextuality: Untouchables
Go to Looking at Movies DVD, Chapter 6
8: : Way Down East clips/analysis
Youtube (whole clip)
AND youtube: start of clip to 2.34:
21.40: Battleship Potemkin Odessa steps (see teacher)
Intertextuality: Untouchables
Clip:

40. MISE-EN-SCENE
Refers to what appears within the frame of a shot, including the costumes, props, acting, lighting and scenery
See next slide for model, then group work to select an image and analyze

42. medium close up of queen’s face: a feeling of fear and isolation
low angle shot: queen looks powerful, dominating the scene.
Props- Crown (Smaller than her head-faux authority) Big head (selfish,vain) not a very good queen as ego is too big for crown
Hair=red, high collar—parody of Elizabeth I?
Make-up (hyperbolic-faux authority—is she taken seriously?)
Light on the frog's face, shadow on the queen- Good and Evil

43. MISE-EN-SCENE
Go to Looking at Movies DVD: Chapter 3: Setting and Expressionism
Youtube link:
Practice: Philadelphia clip: Andy seeks representation for his wrongful termination suit
Chapter 4 in DVD

44. FOCALIZATION
Subjective
Authorial
Neutral

45. SUBJECTIVE FOCALIZATION:
like the 1st person
shots are clearly aligned with one character’s point of view
the audience does not always get all the information because
the info is being filtered through a certain character’s
perspective
eyeline match is often used

46. AUTHORIAL FOCALIZATION:
like 3rd person omniscient (all knowing)
the director is the “author” of the film
shots that are meaningfully constructed that do not come
through a character’s perspective
a way for the director to convey information directly to the
audience without filtering it through a character’s point of view
uses devices like the long shot and high angle

47. NEUTRAL FOCALIZATION:
like the 3rd person
straightforward
realistic
information provided without interpretive commentary,
opinion, or specific/particular meaning
includes devices like the medium shot, even lighting, etc.

48. Focalization Clips Subjective Focalization: Saving Private Ryan clip:
to 2.50
Authorial and Subjective Focalization: The Sixth Sense clip: