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Introduction to Film Studies Introduction to Film Studies

Introduction to Film Studies - PowerPoint Presentation

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Introduction to Film Studies - PPT Presentation

Mise enscène Makeup No makeup applied on the face of Renée Jeanne Falconetti a stage and film actress in The Passion of Jean of Arc Hollywood stars are requested to get their teeth capped eyebrows plucked and makeup applied ID: 175859

light lighting shadows film lighting light film shadows hard source soft lit key shadow fill face photographed man applied

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Slide1

Introduction to Film Studies

Mise

-en-scène Slide2

Make-up

No make-up

applied on the face of Renée Jeanne

Falconetti

, a stage and film actress in

The

Passion of

Jean of Arc

Hollywood stars are requested to get their teeth capped, eyebrows plucked and make-up applied.Slide3

Erich von Stroheim – the first director to have

made the

actor to wear

no make

-up. Slide4

White Queen

(Anne Hathaway) in Tim Burton’s

Alice in the Wonderland

(2010) with many layers of foundation and powder finished with pink blusher. Slide5

Elizabeth Taylor plays Cleopatra with plenty of green and blue eye shadow. Joseph

Mankiewicz’s

Cleopatra

(1963)Slide6
Slide7

Daryl Hannah’s panda eyes in Ridley Scott’s

Blade Runner

(1982)Slide8

Make-up

Monster is created by applying heavy make-ups

According to Mary Shelley’s

Frankenstein

, he has ‘watery glowing eyes’ and ‘flowing black lips’Definitive visualization of Frankenstein (1931) with flat head and hollow eyes.

Girl at pondSlide9

Make-up

One of the greatest make-up that has ever been applied in film. David Lynch’s

Elephant Man

(1980) John Hurt played Joseph Merrick and his make-up was based on a real-life cast made of Merrick’s head after his death.

Train stationSlide10

Make-up

Whenever disguise takes place, make-up is the most significant way to do so.

Jack Lemon and Tony Curtis disguise as female musicians in Billy Wilder’s

Some Like It Hot

(1959

)

stationSlide11

Make-up

In

The Curious Case of Benjamin Button

(2008) Brad Pit is born as an old man and dies as a baby. The curious narrative requires different make-ups are applied to Pit’s face.Slide12

Make-up

The heavily painting make-up in

The Cabinet of Dr.

Caligari

fits not only the characterization in the narrative but also the other aspects of

mise

-en-scène

: lighting and expressionistic set designSlide13

Lighting

Lighting – more than just illumination

Lighter and darker areas create an overall composition of each shot

They guide attention to certain objects and actions

A bright patch draw our eye to a key gestureA shadow conceal a detail or build up suspense Lighting articulate textures Slide14

Standard three point lighting: key, fill and back lightingSlide15

Key lightingSlide16

Fill lighting

3 point lightingSlide17

Lighting

Highlight

– a patch of relative brightness on a surface

Part of a woman’s face in

Matter of Life and Death

and metal grills in

400 Blows

display highlights

Highlight shows

the texture – the woman’s soft skin and hard and cold surface of the grillsSlide18

Lighting

Shadows

An ‘attached’ shadow occurs when light fails to illuminate part of an object, because of its shape or its surface feature

Patches of a girl’s face and body falls into darkness in

Spirit of Beehive FrankensteinSlide19

Lighting

A

‘cast’

shadow occurs when a source of light projects shadows because something in front of it blocks out the light

Kurosawa

Akira’s

The

Stray Dog

, cast shadows

of bars

between the actors and the light source.Slide20

Lighting

Lighting shapes a shot’s overall composition

A pool of light cast by a hanging lamp sets up a scale of importance. The man the most clearly lit is the prominent gangster in

Asphalt Jungle.Slide21

Lighting

‘The proper use of light can embellish and dramatize every object.’ Joseph von Sternberg

4 major features of film lighting

QUALITY; DIRECTION; SOURCE; COLOUR

QUALITY - The relative intensity of the illuminationHard lighting (noon day, summer sunlight) – strong shadowSoft lighting (overcast, winter day) – defused illumination and soft shadowsSlide22

Lighting

Hard lighting – bold shadows and crisp textures and edges

Soft lighting – blurs contours and

texture

and make more diffusions and gentler contrasts between light and shade

Satyajit

Ray’s

Aparajito

(1956)Slide23

Lighting

The hard light can be created by a concentrated source and creates harsh, sharp-edge shadows. It renders the image heavy and serious look.

Wong

Kar

Wai’s In the Mood for Love (2000) photographed by Christopher Doyle.Slide24

Relatively small light source results in a sharp boundary between the lit and shaded side of the object. Slide25

Lighting

Akira Kurosawa made hard lighting even harder by using mirrors. Mirrors reflect harsh light. Photographer, Kazuo

Miyagawa

.

TajomaruSlide26
Slide27

Lighting

Soft light occurs when a light source is large relative to

and

farther from the subject, and cast diffused shadows with soft edges. It renders images lyrical and happy feel.

Lasse Hallström’s Dear John

(2010) photographed by Terry Stacey, love-romance/war film. Slide28

Relatively

large light

source results in a

blurred boundary

between the lit and shaded side of the object. Slide29

Romantic comedy use soft lighting to fit the mood: diffused and soft edge shadowsSlide30

In

Film noir

- post-war crime cinema, hard lighting is the essential part of its visual style. Dark and tragic film ending with the self-destruction. Slide31

Lighting

DIRECTION

The path of light from its source(s) to the object lit

Frontal lighting

tends to eliminate shadows

Frontal lighting results in a fairly flat-looking image

Jean-Luc Godard’s

La

Chinoise

(1967)Slide32

Lighting

The source of illumination is placed near the camera. Paul Thomas Anderson’s

Magnolia

(1999) photographed by Robert

Eslwit Slide33

Lighting

Hard

Side lighting

sculpts the character’s features and the object’s contour.

The right half of the man’s face is in complete shadow, Carol Reed’s

The Man between

(1953)Slide34

Side lighting gives the image dramatic feel. Francis Ford Coppola’s

Godfather

(1972) photographed by Gordon Willis. Slide35

Lighting

Back lighting

comes from behind the subject filmed. It can be positioned at many angles and tends to create silhouettes

Carol Reed’s

The Third Man

(1949) photographed by Robert

Krasker

Slide36

Back lighting gives the images mysterious or menacing atmosphere. Ridley Scott’s

Blade Runner

(1982) photographed by Jordan

Croneweh

.Slide37

Back lighting gives the contours of the subject

glow.

Final BattleSlide38

In James

McTeigue

’s

V for Vendetta, the most of V’s body is concealed and when it is shown, strong backlights are used with a less powerful light showing his face.Slide39

Lighting

In

under lighting

the light comes from below the subject filmed. In Tim Burton’s first

Batman

, the low angle shot is combined with

under lighting

.

It creates distorted images

.

JokerSlide40

Jack Nicholson again shown in under lighting. It is frequently used in horror films

.

Stanley Kubrick’s

Shining

Slide41
Slide42

Lighting

In

top lighting

the

spotlight shines down

from above. Marlene Dietrich’s face is lit from top front in Josef von Sternberg’s

Shanghai Express

(1932). A high frontal light brings out the line of her cheekbones and create shadows in her eye sockets. Hint of corruption and mysterious sexuality.

SXSlide43

Lighting

In

Colour

lighting, thin

colour

film placed in front of a light gives image a universal tint.Slide44

Lighting

In Michael Powell and

Emeric

Pressburger’s

Black Narcissus,

their cinematographer Jack Cardiff got scenes lit in bold

colours

.Slide45

Lighting

The theatrical lighting in blue in the concluding sequence of

Nagisa

Oshima’s

last film,

Taboo

(1999) Slide46
Slide47

Lighting

In William Wyler’s

Jezebel

, Bettie Davis is a central figure and lit by the key light from top right, by the fill light from left and by the back light from slightly high at back. The figures in front remain rather dark as the light do not reach them. Slide48

Lighting

Three point lighting in a

colour

film

Strong key light from left, a fill light from off right of the camera, and the office behind the couple is lit more dimly and softly with background light.

Whenever the camera position moves, the lighting positions must be rearranged. Slide49

Lighting

Three point lighting suited to

high-key lighting

Photography with low contrast between brighter and darker areas

The most frequently used in classical Hollywood cinema.Slide50

Lighting

Low-key lighting

creates stronger contrasts and sharper, darker shadows. The lighting is hard, and fill light is lessened or switched off.

Light is hard and comes from right in the shot above,

The Maltese Falcon

. Fill and back light eliminated creating a dark shadow on the wallSlide51

Lighting

The fill light and back light are significantly less intense in

Andrzey

Wajda’s Kanal making the back of the screen remain opaque.Slide52

Lighting

Low-key lighting

has usually been applied to somber or mysterious scenes. Common in horror films of the 30s and

film noir

in the 40s and 50s. Revived in the 80s in such films as

Blade Runner

and

Rumble Fish