Mise enscène Framing Camera height distance angle and level can be changed within the shot mobile framing a unique aspect of film The change of framing is achieved by moving the camera during filming ID: 655246
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Slide1
Introduction to Film Studies
Mise
-en-scèneSlide2
Framing
Camera height, distance, angle and level can be changed within the shot – mobile framing – a unique aspect of film
The change of framing is achieved by moving the camera during filming.
Several kinds of camera movement
Pan, Tilt, Tracking,
and
CraneSlide3
Framing
The
pan
turns the camera
horizontally on a vertical axis - horizontal scanning of space pscychoThe tilt moves the camera vertically up and down on a horizontal axis Rear WindowTilt up and tilt downSlide4
Framing
In the
tracking
(
dolly
or trucking or traveling) shot, the camera as a whole change positionDay for Night Pan & Travelling shot Day for NightIn the crane shot, the camera moves above the ground level, being carried by a crane.Slide5
Framing
Example of tracking shots Martin Scorsese’s
Age of Innocence
Behind the Scene
Tracking shotSlide6
Dynamic crane shot in Luc
Besson’s
LeonSlide7
Framing
Example of the combination of tracking and crane shot in Orson Welles’s
A Touch of Evil
Opening shotSlide8
Framing
The shot size can be changed without moving the camera – zoom shot
The zoom lens with adjustable focal length permits the photographer to change the shot size
Impression of perspectival depth changes
The ShiningSlide9
Framing
When zooming in, the depth of field
become
shallow and the perspective narrow, when zooming out, the depth deepens and the perspectives widens.
Dolly zoom; or vertigo shot – zoom in and track out at the same time The Goodfellas Goodfellas Slide10
One more example of dolly zoom in
Jaws
Raft scene
Slide11
Origin of dolly zoom – Vertigo effect Alfred Hitchcock’s
Vertigo
Vertigo effect
Slide12
Introduction to Film Studies
Montage Slide13
Montage
The editor discards unwanted footage
e.g. The editor of
The Net
(1995) dealt with 300 reels (3,000 minutes or 50 hours) and culled them to 12 reels (120 minutes or 2 hours)Then the editor joins the desired shots, the end of the one to the beginning of another. David LeanSlide14
Montage
A shot is joined to another in various ways
A
Fade-out
gradually darkens the end of a shot to black
A Fade-in gradually lighten a shot from black Citizen KaneA dissolve briefly superimposes the end of shot A and the beginning of shot B, while shot A gradually gives away to shot BCitizen KaneIn a wipe shot B replaces shot A by means of shot B moving across the screenSeven SamuraiSlide15
Dimensions of Film Editing
The film editor consider four aspects of editing
1. Graphic relations between shots
2. Rhythmical relations between shots
3. Spatial relations between shots
4. Temporal relations between shotsGraphic RelationsEditing permits the interaction, through similarity and difference, of the pictorial qualities of shots (lighting, setting, costume, behaviour, framing, photography, and camera movement)Slide16
Graphic Relations in Editing
Montage connecting
two shots with the same
graphic quality – folded hands, hand of a Japanese lover and a hand of a former German lover in Alain
Resnais’s
Hiroshima mon amour 18.00 Slide17
Graphic Relations in Editing
The mos
t bold graphic match: cut from a bone to a spaceship jumping millions of years over two shots. Stanley Kubrick’s
2001, Space Odyssey
bone and spaceshipSlide18
Graphic Relations in Editing
Cutting on action
or
matching on action
– the editor cuts from one shot to another in the way that the action in the second shot matches the one in the first.
A variation of the graphic match editing techniqueG.W. Griffith’s Orphans of the Storm 2.50Slide19
Graphic Relations in Editing
Two people in conversation is typically filmed in one shot showing both without cut, or in shot-reverse-shot (a character shown looking at another character and then the other character is shown looking back at the first character).
The conversation without editing
Play it Again, SamSlide20
Graphic Relations in Editing
Shot and reverse shot: two people in conversation shown not together but individually.
Woody Allen’s
Manhattan
endingSlide21
Graphic Relations in Editing
In a shot-reverse-shot
a
djacent shots do not have to be continuous graphically
Mild discontinuity may appear in widescreen composition in shot-reverse-shot (shots showing characters facing each other)
Wim Wender’s Paris, Texas Slide22
Each shot centres
on the action (the flaming trail and Melanie’s face), but movements thrust in different directions. Contrasts between stillness and movement
BirdsSlide23
Rhythmic Relations in Editing
Acceleration
A group of people talking: 1,000 frames, 41 seconds
Melanie looking out the window 309
fr.
13 sec.Exterior shot of a gas station: 55 fr. 2 1/3 secMelanie joined by Mitch and the Captain: 35 fr. 1 ½ sec.The shot length subordinated to the internal rhythm of the dialogue and the movement in the images.Slide24
Rhythmic Relations in Editing
Melanie’s horrified reaction to the racing flames
70 frames (Flaming car) – 20 frames – 18 frames – 16 frames – 14 frames – 12 frames – 10 frames – 8 frames – punctuate the scene by the two shots with the identical length - 34 frames (Cars at station explode) - 33 frames (Melanie covers her face) – a long shot of the city over 600 frames (pause or reverberation) Slide25
Rhythmic Relations
in Editing
Rhythmic factors include beat, accent and tempo and are supported by
mise
-en-scène
and sound.The tempo of cutting is getting quicker and quicker as the day is getting more hectic in the helicopter sequence of Goodfellas.Jump cuts, rock music with strong beats, clock
GoodfellasSlide26
Rhythmic Relations in Editing
Tempo
of
cutting is slow matching the lugubrious and lethargic mood of the scene, the slow motion movements, and monotonous waltz music in Wong Kar Wai’s In the Mood for Love.Each shot is long lasting over 10 seconds – long take first encounter Slide27
Continuity Editing
Graphic qualities must be kept continuous from shot to shot – once composition is fixed, it must be maintained; the overall lighting tonality must remain constant
The rhythm of editing has its own rules: long shots are left on the screen longer than medium shots, and medium shots are left on longer than close-ups
The aim of continuity editing is to create a smooth flow from shot to shotSlide28
The 180° system or rule
‘Axis of action’, the ‘
centre
line’ or the 180° line
Only the shots taken from the camera placed in the 180° area on either side of the axis of action (the white area) must be edited together.Slide29
Continuity Editing
Once the axis of action is established, the camera stays on the same side.
Annie HallSlide30
This ensures some common space from shot to shot.
The
180° system
ensures constant screen direction.
Once upon a Time in the WestSlide31
Continuity Editing
Eye-line Match
- in one shot a person is shown seeing off screen in one direction and in the next what he/she is seeing is shown
Dario
Argento’s The Stendhal Syndrome a girl looks out of frame to her left, and there is a cut to the painting that she is supposed to be looking at. Art gallerySlide32
Continuity Editing
The 180° rule and the eye-line match are carefully observed and give the viewer consistent sense of direction in Alfred Hitchcock’s
Rear Window.
Jeffrey is a photographer on wheelchair and kills his time by looking into the apartments across from his.
Eyeline matchSlide33
Continuity Editing
Match on action
or
cutting on action –
the first shot is cut to another shot in the way the action started in the former continues in the latter and matches the action in the latter.
In Stephen Soderbergh’s Traffic, a man jumps in shot A and lands on the ground in shot B.Slide34
Continuity Editing
In
Bringing up Baby
, the shot in which Katherine Hepburn strikes a match is cut to the shot in which she is lighting a cigarette.
The action is continuous and matching.