Mise enscène Photography Tonality TINTING Already developed positive film is immersed in dye Lighter areas pick up the colour while darker ones remain black and gray In Abel Gances ID: 780645
Download The PPT/PDF document "Introduction to Film Studies" is the property of its rightful owner. Permission is granted to download and print the materials on this web site for personal, non-commercial use only, and to display it on your personal computer provided you do not modify the materials and that you retain all copyright notices contained in the materials. By downloading content from our website, you accept the terms of this agreement.
Slide1
Introduction to Film Studies
Mise
-en-scène
Slide2Photography: Tonality
TINTING
- Already developed positive film is immersed in dye. Lighter areas pick up the
colour
while darker ones remain black and gray. In Abel
Gance’s
J’accuse
!
(1919) the image was tinted in pink.
J’Accuse
Slide3Photography: Tonality
TONING – when dye is added during the developing of the positive print, the darker areas of the frame are
coloured
and the brighter portions remain white or only faintly
coloured
.
Veá
Chytilová’s
Daisies
Night Club
Slide4Photography: Tonality
Hand
colouring
–
Portions of black-and-white images are painted in
colours
, frame by frame. The ship’s flat in Sergei Eisenstein’s
Battleship Potemkin
is hand
coloured
red.
Red flag
Slide5Each frame painstakingly hand
coloured
in George
Méliès
A Trip to the Moon
colour
version
Slide6Photography: Tonality
Manipulations of tonalities
Stan
Brakhage
scratches off the emulsion in certain parts of the image for creating a graphic design.
Chinese series
Slide7Photography: Tonality
Tonality is the most crucially determined by exposure. Overexposure (too much light admitted through the lens) make the image too bright and underexposure (little light) make the image too dark. Carl Dreyer overexposes the windows to create a religious atmosphere in
Ordet
.
Funeral
Photography: Tonality
The area in the strong sunshine is slightly over-exposed, while the areas in shadows are shot in right exposure. Francesco
Rosi’s
Salvatore
Giuliano
.
Slide9Slide10Photography: Tonality
Women in the foreground shot in right-exposure, but the sun-lit town in the background is overexposed.
Inside the house a woman is underexposed, while the countryside in the background well-exposed.
Slide11Photography: Tonality
Filter
– a slice of glass or gelatin placed in front of the lens reduces certain frequencies of light reaching the film.
Day for Night
– A filter can block out part of the light and make footage shot in daylight seem to be shot at night.
Slide12George Stevens
,
Shane
Slide13Perspective Relations: Lens
Types of camera
lenses determined
by their
focal length – distance between the
centre
of the lens to the point where light rays converge on the film.
30-80 mm – normal lens; under 35mm – wide-angle lens; over 85 mm – telephoto lens
Slide14Perspective Relations: Lens
WIDE ANGLE LENS – a lens with short focal length with a wide angle of view. It exaggerates apparent depth of space and distorts
straight lines lying near the edges of the frame.
Slide15Perspective Relations: Lens
With wide angle lens a wide area of space is captured.
With telephoto lens an angle of view is very narrow
With normal lens an angle of view is narrower than with wide angle lens but wider than with telephoto
Slide16Perspective Relations: Lens
With wide angle lens, our impression of the depth
of space is exaggerated.
Stanley Kubrick’s
Paths of Glory
Slide17Perspectiv
e Relations
Short focal length (wide-angle) lens -
A lens of less than 35 mm in focal length
Distort straight lines lying near the edges of the frame.
Two towers appear to lean rightward and leftward
Slide18Nicholas
Roeg’s
Don’t Look Now
Slide19Perspectiv
e Relations
Anything nearer the camera appear to bulge and its shape look distorted.
In Terry Gilliam’s
Brazil
a wide-angle lens is used extensively
Slide20Slide21opening
Slide22Perspective Relations
The wide-angle lens exaggerate depth. In a scene from William Wyler’s
Little Foxes
the lens makes the characters seem farther away from each other than we would expect.
Arrival
Slide23Perspectiv
e Relations
Middle focal length (normal) lens
– A lens of medium focal length between 35 and 50 mm.
No noticeable perspectival distortion: horizontal and vertical lines are rendered straight and perpendicular
Depth does not look stretched apart or squeezed
Slide24Perspective Relations: Lens
TELEPHOTO LENS – a lens of long focal length with a narrow angle of view. It condenses space, flattens depth, and bring distant things close.
Slide25Perspectiv
e
Relations: Lens
Long focal length (telephoto) lens
-
A lens of
long focal
length between
80 and
250
mm
or more.
It condenses space and flatten the space between what is in the foreground and in the background
The planes seem squashed together
Chen
Kaige’s
Life on a String
Slide26Perspective
Relations: Lens
In Godfrey Reggio’s
Koyaanisqatsi
an airport is shot from a great distance by a telephoto lens. The long lens makes the
aeroplane
look as if it were landing on a crowded motorway.
25.15
koyaanisqatsi
Slide27Perspective
Relations: Lens
Akira Kurosawa frequently used the telephoto lens. In his
Red Beard
a mad woman walks in a doctor’s room. It is filmed over the shoulder of the doctor and the distance between the two characters appear close at first. When they are shown sideways, the viewer would know that they are far apart.
Slide28Perspective
Relations: Lens
As the telephoto lens flatten depth, a figure moving towards the camera appears to take more time to cover what seems to be a small distance.
Running-in-place
Mike Nichols’
The
Graduate
run for
elaine
Slide29Perspective
Relations: Lens
Zoom lens
– a lens which can change focal length and transform perspective relations within a single shot.
The zoom lens can substitute for moving the camera forward and backward, as it can magnify and
de-magnify
the subject.
The
Conversation
Slide30Describe that in Kurosawa Akira’s
Kagemusha
what
lenses are used and what effects do they create.
Slide31Describe that in Stanley Kubrick’s
Shining
what lenses are used and what effects they create
.
Come play with us
Slide32The Lens: Depth of Field and Focus
Depth of focus = the range
before the lens within which
objects can be photographed
i
n sharp
focus.
A lens with a depth of field of 10ft (3m) to infinity renders any object in that range clearly, but anything outside it (e.g. in 4ft) goes out of focus.
Slide33Lens: Depth of Field and Focus
A wide-angle lens has a relatively greater depth of field than does a telephoto lens. A scene from Orson Welles’
Citizen Kane –
an example of ‘pan’ focus. All the people in this frame are in sharp focus.
Slide34Depth of Field
and
Focus
Only one plane is in focus and the other planes are blurred –
s
hallow focus
. David Fincher’s
Social Network
(2010) A young man’s head in focus, another man in front slightly out of focus, and everybody beyond the central figure completely out of focus.
A scene
Slide35Depth of Field
and
Focus
Objects nearer to the camera are thrown out of focus, so that the viewer’s attentions is drawn to the sharper middle ground.
A popular visual style in the 1940s.
More recent example,
Godfather
(1972)
Slide36Lens: Depth of Field and Focus
Selective
f
ocus
can be used for a more abstract compositional effect. Leo
Carax’s
Boy Meets Girl
(1984)
I am what I am
Depth of Field and Focus
Faster film stock, wider-angle lens, more intense lighting yield a greater depth of field.
Deep focus
photography, in which everything is in focus. In
Citizen Kane
Greg
Toland
achieved memorable deep focus photography.
Slide38Slide39Lens: Depth of Field and Focus
Deep focus
photography a popular stylistic choice in the 1940s and 50s. Samuel Fuller,
Underworld USA
(1961)
The Girl Backed down
Slide40Lens: Depth of Field and Focus
Perspective relations can be adjusted by using
rack (racking) focus
or
pulling focus
. One object is in focus in one plane and you
rack focus
so that another thing in another place, which was out of focus, come in focus. Wes Anderson’s
Rushmore
Swimming pool
Slide41Describe the ways in which scenes are focused in Paul Thomas Anderson’s
The Master
and what effects it creates?
The cause
Slide42Describe the ways in which scenes are focused in Stephen Spielberg’s
Close Encounters of the Third Kind
and what kind of effects it creates.
Last encounter
Slide43Where in the scene is the rack focus found and for what effect is it used?
Da
vinci
code