Bazin Focuses on m ise enscène and cinematography as primary forms of communication Realism Favored long takes Long shotsdeep focus Sequence Shots More realistic More ambiguous More like looking at reality ID: 538350
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Andre Bazin
Focuses on mise-en-scène and cinematography as primary forms of communicationRealism Favored long takesLong shots—deep focusSlide2
Sequence Shots
More realisticMore ambiguousMore like looking at realityTo Bazin, a film image looking more like real life was a good thingElevated our true experience to something holySlide3
Mise-en-scène
The arrangement of everything that appears in the framing – actors, lighting, décor, props, costume Slide4
Perspective
DistanceHeightAngleDepth of FieldMovement Slide5
Whose Eyes?
Objective Subjective Slide6
Angles
Straight onLow anglesHigh angles Slide7
On-Screen-Off-Screen Space
Left of the frameRight of the frame Top of the frameBottom of the frameBack of the frameThe front of the frame (4th wall) Slide8
The 4th Wall
Divides the diegetic space from the audienceSlide9
How is off-screen space implied?
Spoken about in dialogueA character or object can leave the frameA character can glance at another character or object outside the frameCharacters can re-enter the frameSound Slide10
Shot types
Extreme long shotLong ShotMedium Long Shot Medium Close UpClose UpExtreme Close Up Slide11
Extreme Long Shot Slide12
Long Shot Slide13
Medium Long Shot Slide14
Medium Close-Up Slide15
Close-Up Shot Slide16
Extreme Close-Up Slide17
High-Angle Shot Slide18
Low-Angle Shot Slide19
Canted Angle Slide20
Expressionism Slide21
Moves
Pan TiltTrackingSteadicamHand-HeldCraneSlide22
Time
Fast Motion Slow Motion Long Take Slide23
The Thin Blue Line (1988)
Documentary about the arrest and conviction of Randall Adams for the murder of a Dallas Policeman in 1976Slide24
Documentary
A documentary film is, at its heart, a document. The word comes from the Latin docere, to teach.Slide25
In aiming to inform, teach or persuade, the documentarian can be a recorder of history, a political activist, an observer of humanity, or a visual poet.Slide26
In his search to uncover the facts in the case of a convicted murderer, Morris seeks not only to reveal the truth but also to right a wrong, becoming, in essence, a self-proclaimed investigator and a purveyor of justice.Slide27
Reflexive
Draws attention to formal cinematic processes Slide28
Expressionistic
Milkshake sailing through air in slow motionStopwatch swinging back and forthNews clippings shown in microscopic close-upsStylizedCalls for the viewer to question what they are seeing and reflect on what it means Slide29
Allows Morris to expose the institutionalized “self-deception” that led to Adams’ conviction and life sentence Slide30
Re-enactments
Errol Morris’ crime re-enactments were meant to be hypnotic and expressiveDraw attention to varying viewpointsThe style has been used in countless “true-crime” shows since Slide31
Errol Morris
Morris’ films have won many awards, including an Academy Award for Best Documentary Feature, an Emmy, the Grand Jury Prize at Sundance Film Festival, the Silver Bear at Berlin International Film Festival, the Golden Horse at the Taiwan International Film Festival and the Edgar from the Mystery Writers of America.The Tin Blue Line is one of the most acclaimed documentaries ever made Slide32
Errol Morris
He is a graduate of the University of Wisconsin-Madison and was a graduate student at Princeton University and the University of California-Berkeley.Went to a variety of graduate school programs, and after attending Berkeley for some time became a regular at the Pacific Film ArchivesSlide33
Made two features (narratives) before making The
Thin Blue LineMorris was interested in Dr. James Grigson, a psychiatrist in Dallas. Met Randall Dale Adams (was unconvinced of his innocence)Not sure after reading transcripts and meeting David Harris Slide34
At the time Morris was a private detective Put together his skills with his interest in film
His un-edited interviews were used in Adams’ appeal hearingProsecution witnesses’ contradictionsSlide35
“Two Films Grafted Together”
Simplest terms: “Did he do it or not?”The film is also an essay on false historyA group of people, literally everyone, believed a version of the world that was entirely wrong.His accidental investigation of the story provided a different version of what happened Slide36
Give an example of the film being reflexiveGive an example of the film being expressionist
How did your understanding of truth shift throughout the film?