Download presentation
Presentation is loading. Please wait.
Published bySamson Newman Modified over 9 years ago
1
Mise en Scene CINEMATOGRAPHY
2
The frame is defined by the edge of the film or sensor Aspect ratio refers to how high the image is versus how wide Prior to the 1950s, movies were shot in a variety of aspect ratios, with the most common being 1.33:1 1950s introduced the widescreen format Until recently, most TV was filmed in 1.85:1 Widescreen is now filmed in 2.35:1 THE FRAME
3
FULL SCREEN
4
WIDESCREEN
5
RULE OF THIRDS
6
Everyone, even formalists, use center weighting for dominance in basic shots CENTER WEIGHTING
7
The edges are viewed as insignificant, but directors often use this space symbolically Shadows at the edges symbolize the unknown, danger Mysteries often use the edges for lurking figures Directors use the edges to place important objects THE EDGES = INSIGNIFICANCE
8
In Classical style, the composition of elements in a frame is balanced Like the angle of the shot being straight, it comforts the eye to see balanced composition Just like some shots require oblique angles, some shots are intentionally composed in an unbalanced style to make the viewer uncomfortable. COMPOSITION AND DESIGN
11
The eye can view up to eight major areas in a frame at a time, generally in sequence. The director “directs” the viewer’s eye to particular area first by using dominant contrast This is done in black and white by adding one element in harsh contrast In color, by using a bold, generally primary color DOMINANT CONTRAST
14
After the dominant, where do we look next? The director gives you second place to look, often by size of element or proximity to dominant element SUBSIDIARY CONTRASTS
15
SUBSIDIARY CONTRAST
16
Objects have “weight” or significance based upon where on screen it is In Western cinema in particular, most people go from left to right in viewing a scene The upper part of the screen is “heavier” than the lower part Singular objects are “heavier” than clusters or groups Visual lines suggest movement and emotion The sharper the angle of the line off the axis, the more tension WEIGHTING
18
Space communicates just as much as every other element of film We are aware of how people close are in spacing to each other… it can imply many things Closeness can imply relationships, can be imposing, can suggest power Distance can imply weakness, detachment TERRITORIAL SPACE
20
Tightly framed can imply restraint. It is also used extensively in horror movies when something bad is about to come from another angle Loosely framed can imply freedom, escape TIGHT VS LOOSE FRAMING
21
TIGHT FRAMING
22
LOOSE FRAMING
23
Proximity is part of space… There are four kinds Intimate Skin contact to 18 inches away Personal 18 inches to four feet away Social Four feet to to twelve feet Public Beyond twelve feet PROXEMICS
24
INTIMATE SPACE
25
PERSONAL SPACE
26
SOCIAL SPACE
27
PUBLIC SPACE
28
Generally regarded as an art term, but useful in film analysis In general, realists use open forms, formalists use closed forms Open form emphasizes informal, unobtrusive composition. Often, it has no discernable structure and suggest randomness Closed form emphasizes a more stylized design. Objects and figures are more precisely placed and well-balanced OPEN AND CLOSED FORMS
29
OPEN FORM
30
CLOSED FORM
Similar presentations
© 2025 SlidePlayer.com. Inc.
All rights reserved.