Mise enscène Lighting In under lighting the light comes from below the subject filmed In Tim Burtons first Batman the low angle shot is combined with under lighting It creates distorted images ID: 424189
Download Presentation 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 Slide2
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.
JokerSlide3
Jack Nicholson again shown in under lighting. It is frequently used in horror films.
Stanley Kubrick’s
Shining
Slide4Slide5
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.
SXSlide6
Lighting
The position
of light
motivates
the lighting decisions and design.
In a scene from
La Terra
trema
,
Cora lights a
lamp
and light is directed to him from below. Slide7
Lighting
In
Colour
lighting, thin
colour
film placed in front of a light gives image a universal tint.Slide8
Lighting
In Michael Powell and
Emeric
Pressburger’s
Black Narcissus,
their cinematographer Jack Cardiff got scenes lit in bold
colours
. Intense key light comes from the screen right in blue and orange.Slide9
Lighting
The theatrical lighting in blue in the concluding sequence of
Nagisa
Oshima’s
last film,
Taboo
(1999) Slide10
Lighting
Dominant
colour
can be chosen to fit the mood of the film. Woody Allen’s
Purple Rose of Cairo
has sepia tone in order to reflect symbolically the mood of the Depression, which was the period setting for the film. Slide11
Photography: Tonality
Film stock, lighting and development determines the tonality of photography
In general, a slow film stock will produce a high-contrast look – the sharp difference between the darkest and lightest areas of the frame.
Hard lighting (Low
-
key)
lighting
creates strong
‘contrast’
In film developing process, contrast can be heightened or
lessened – high-contrast and low contrast. Slide12
Photography: Tonality
In most black-and-white films, grays, blacks and whites are balanced through high-key
(soft) lighting
, ‘normal’ film stock and standard developing.
Jean
Renoir’s
Crime of M. Lange Slide13
Photography: Tonality
In the dream sequence of Ingmar Bergman’s
Wild Strawberries
a bleached-out look (little
colour
gradation) is created through a combination of film stock, over-exposure and laboratory processing.Slide14Slide15Slide16
Photography: Tonality
News-reel like photography in Jean Luc Godard’s
Les
Carabiniers
‘The positive prints were simply made on a special Kodak high contrast stock … Several shots, intrinsically too gray, were duped again sometimes two or three times, always to their highest contrast.
’
In cinemaSlide17Slide18
Photography: Tonality
Technicolor [
colour
film stock] famous for its sharply distinct, heavily saturated hues. Rich
colours
created by a specially designed camera and a printing process. Vincent
Minelli’s
Meet Me in St.
Louis
(1944
)
The Trolley SongSlide19
Photography: Tonality
Soviet film stock tended to lower contrast and give the image a murky greenish-blue cast.
The
monochromish
colour
design in Andrei
Tarkovsky’s
The Stalker
.
Actions seem to be taking place underwater
.
StalkerSlide20
Photography: Tonality
TINTING -
Already developed positive film is
im-mersed
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’AccuseSlide21
Photography: 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 ClubSlide22
Photography: 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.Slide23
Photography: Tonality
Manipulations of tonalities
Stan
Brakhage
scratches off the emulsion in certain parts of the image for creating a graphic design.Slide24
Photography: 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 Dryer overexposes the windows to create a religious atmosphere in
Ordet
.
Funeral
5.30Slide25
Photography: Tonality
The city of Naples in Francesco
Rosi’s
Hands on the City
is a little overexposed so that details are not clearly distinguishable. The city corrupt and hazy. Slide26
Photography: Tonality
Women in the foreground shot in well-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.Slide27
Photography: 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. Slide28
Perspective Relations
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.
Focal length of the lens can affect perspective relations in the things in a frame.Slide29
Perspectiv
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
leftwardSlide30
Nicholas
Roeg’s
Don’t Look NowSlide31
Perspectiv
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 extensivelySlide32Slide33
openingSlide34
Perspective 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.
ArrivalSlide35
Perspectiv
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 apartSlide36
Perspectiv
e Relations
Long focal length (telephoto) lens
-
A lens of
long focal
length between
75 and 250
mm
or more.
It flatten the space between what is in the foreground and in the background
The planes seem squashed together
Chen
Kaige’s
Life on a StringSlide37
Perspective Relations
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.
25.15Slide38
Perspective Relations
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.Slide39
Perspective Relations
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 GraduateSlide40
Perspective Relations
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
demagnify
the subject.
The
Conversation