Spike Lee 1989 Review Montage vs Mise enscene Continuity Editing ShotReverse shot Do The Right Thing 15501630 Mother Sister and Da Mayor Eyeline match Jump Cuteg ID: 143774
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Slide1
Do The Right Thing
Spike Lee, 1989Slide2
Review:
Montage vs.
Mise
-en-scene
Continuity Editing
Shot-Reverse shot (
Do The Right Thing
(15:50-16:30) Mother Sister and Da Mayor)
Eyeline
match
Jump Cut—e.g.
Bonnie and Clyde
(Penn, 1967)
Parallel Editing/Cross-cutting (Within Our Gates [
Micheaux
, 1920])
Subjective shot (e.g.
Lady in the Lake
[1947] and
Being John
Malkovich
(1999)
Direct AddressSlide3
Shot: A. A stretch of film made up of a series of frames that is uninterrupted by editing. (The shot ends as soon as the editing begins.) B. A single frame of a film.
The Long Take: A shot that continues for an unusually long period of time before the transition to the next shot.
E.g.
A Touch of Evil
(Welles, 1959)Slide4
Camera Placement
Angle:
Low Angle
Straight-on Angle
High Angle
Oblique Angle—comes at a diagonal, disrupts our sense of vertical orientation.
Height:
Crane shot—Change in framing accomplished by having the camera above the ground and moving through the air in any direction.
Distance:
Extreme Close up (usually focuses on some aspect of the face, not rendering the entire face)
Close-up (typically renders the entire face, scale of the face—or other object is large)
Medium Close-up (Frames the human body from the waist up)
Medium shot
American shot (Figure is shot from the knees up).
Medium Long shot
Long shot (Human figures are visible but background dominates.
Extreme Long shot (Human figure is barely visible)Slide5
The Passion of Joan of Arc
(1928)Slide6Slide7Slide8
The Passion of Joan of Arc
(1928)Slide9
Do The Right Thing
(1989)Slide10Slide11
Establishing shot
Usually a distant framing that illustrates the spatial relations among important figures, objects and settings. It also usually provides a view of all the space in which the action is about to occur. Often comes at the beginning of a scene. Can also tell us something about the quality of this space. Slide12
Horizontal Camera Movement
Achieved in two ways, generally:
Panning—Camera mimics the action of turning one’s head. When the angle of vision shifts horizontally, as if the camera is “looking” from left to right, but the camera itself stays stationary.
Tracking Shot—Rather than just moving its head, the camera “walks.” Tracking shot is when the camera actually moves from left to right or backward or forward. (
Do The Right Thing
[35:25])Slide13
Zoom—Gives the viewers the sense of getting closer to the subject
through the camera’s
lens without moving the camera. Slide14
Deep Focus—When the camera renders figures in the foreground and background in relatively equal focus, causing the viewer to have to attend to multiple planes of action. Slide15
Handheld shot—One created with a camera not stabilized by a tripod. (
Do The Right Thing
(7:40)Slide16
Two Shot: A shot with two figures in it.Slide17
Deep Focus
Citizen Kane
(Welles,
1941)Slide18
Deep Focus 2
Citizen Kane
(Welles,
1941)Slide19
Deep Focus 3
Citizen Kane
(Welles, 1941)Slide20
Do The Right Thing
(1989)Slide21Slide22
Mise-En-
Abyme
When one space gives way to another in a seemingly infinite succession (e.g.
The Gang’s All Here
[Berkeley, 1943]) Slide23
Lighting
Three Point Lighting—Dominant in Classical Hollywood film. There are three sources of light in the shot:
O
ne primary source of light, usually facing the scene’s primary figure diagonally (Key Light);
One from a source near the camera, but still facing the figure (fill light) and
O
ne from behind and above the figure (back light).
High Key Lighting—sense of brightness and illumination created. Not very much contrast between light and dark.
Low Key Lighting—e.g.
Touch of Evil
(1959) The key light is dimmed to create a high contrast between light and shadow.
Backlighting—Comes from behind the subject being filmed. Creates a silhouette.
Slide24
Backlighting
The Big Combo (1955)Slide25
Sound
Sound’s three components: Noise, Music, Speech
Diegetic sound—Comes from within the narrative.
Non-Diegetic sound—Comes from outside the narrative
Voice-over
Music on the soundtrack
Sound Bridge—When a sound seems to carry over from one scene to another.
Polyphony—
when (conflicting) voices are juxtaposed at a dialogical angle that reveals more than any one voice alone would have revealed.