The Big One

Analysing Moving Image Texts: 'Film Language'

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SIGNS, CODES and CONVENTIONS Denotation, denotes, denoting;

connotation, connotes, connoting; iconic, iconicity; index, indexical, indexicality; symbol, symbolic,

symbolism...

Denotation, denotes, denoting; connotation, connotes, connoting; iconic, iconicity; index, indexical, indexicality; symbol, symbolic,

symbolism...

MISE-EN-SCÈNE

(meez-ahn-sen)(meez-ahn-sen)

What is it? (I)

» Physical creation and an emotional concept

» Literally means “staging or putting on an action or a scene” in the theater or cinema

» Filmmaker’s control of what the audience sees and hears within the frame of the movie image

» Physical creation and an emotional concept

» Literally means “staging or putting on an action or a scene” in the theater or cinema

» Filmmaker’s control of what the audience sees and hears within the frame of the movie image

What is it? (II)

» What is put before the camera and How it is photographed

» Thus, a total arrangement of: Settings Costumes Lighting Sound Acting

» What is put before the camera and How it is photographed

» Thus, a total arrangement of: Settings Costumes Lighting Sound Acting

Usage

» Umbrella term for explaining how all the formal elements of cinema contribute to your interpretation of a film’s meaning.

» Umbrella term for explaining how all the formal elements of cinema contribute to your interpretation of a film’s meaning.

Mise-en-Scène

» French phrase used to describe the staging of a play

» In film—composing a shot or a sequence with the same attention to detail (set, lighting, costumes, makeup, positioning of actors within the frame, etc) that a state director lavishes on a play

» A form of framing—the art of composing a shot» http://www.mediaed.org.uk/posted_documents/T

eaching_mise_en_scene.htm

» French phrase used to describe the staging of a play

» In film—composing a shot or a sequence with the same attention to detail (set, lighting, costumes, makeup, positioning of actors within the frame, etc) that a state director lavishes on a play

» A form of framing—the art of composing a shot» http://www.mediaed.org.uk/posted_documents/T

eaching_mise_en_scene.htm

Framing

» Frame—strip of celluloid on which the image is captured

» Shots can be framed In terms of horizontal, vertical and diagonal

lines Geometrically Iconographically In deep or shallow focus From a high or low angle In a frame that has been masked or doubled

» Frame—strip of celluloid on which the image is captured

» Shots can be framed In terms of horizontal, vertical and diagonal

lines Geometrically Iconographically In deep or shallow focus From a high or low angle In a frame that has been masked or doubled

Framing

» Tight framing Subject appears to be confined withing

the horizontal and vertical borders of the frame

Not a hint of offscreen space Gives a feeling of oppression

» Canted shot—frame looks lopsided» Geometrical compositions can be

symbolic as well as visually interesting

» Tight framing Subject appears to be confined withing

the horizontal and vertical borders of the frame

Not a hint of offscreen space Gives a feeling of oppression

» Canted shot—frame looks lopsided» Geometrical compositions can be

symbolic as well as visually interesting

Iconography

» Framing a shot to imitate a painting or sculpture

» Framing a shot to imitate a painting or sculpture

Focus

» Deep Focus foreground, middle ground and background are

equally visible Conveys a greater sense of depth Minimizes the need to cut from one shot to

another Brings out meanings that otherwise not be

apparent

» Shallow Focus Foreground is more distinct than background

» Deep Focus foreground, middle ground and background are

equally visible Conveys a greater sense of depth Minimizes the need to cut from one shot to

another Brings out meanings that otherwise not be

apparent

» Shallow Focus Foreground is more distinct than background

Colour & Lighting

» Colour palettes and lighting sets tone and mood

» Lighting has a direct bearing on the way an image is perceived

» Colour palettes and lighting sets tone and mood

» Lighting has a direct bearing on the way an image is perceived

http://www.fis.ie/

Lighting & meaning

» Lighting can create atmosphere and mood as well as signify meaning, e.g. in a horror movie, light and shade are important codes of meaning.

» High-key lighting is harsh; soft-key lighting creates a romantic atmosphere, spotlighting picks out a character from a group, etc.

» Lighting can create atmosphere and mood as well as signify meaning, e.g. in a horror movie, light and shade are important codes of meaning.

» High-key lighting is harsh; soft-key lighting creates a romantic atmosphere, spotlighting picks out a character from a group, etc.

EDITING

» Some important edits are called: continuity (or 'Hollywood') edits; MTV ('music television') edits; cross-cuts; follow-cuts; match-cuts; jump cuts; eye-line matches; dissolves; fades; montages; bridging; flashbacks...

» Some important edits are called: continuity (or 'Hollywood') edits; MTV ('music television') edits; cross-cuts; follow-cuts; match-cuts; jump cuts; eye-line matches; dissolves; fades; montages; bridging; flashbacks...

SHOT TYPES

» Establishing shot / long-shot / mid-shot / close-up / point-of view shot / soft-focus...

» Establishing shot / long-shot / mid-shot / close-up / point-of view shot / soft-focus...

Semiotics » Semiotics is the name given to the study of the way by which meaning is created in the world, especially in the mass media. It is based upon the Idea of 'signs' and 'codes', 'denotation' and 'connotation'. A sign is the basic unit of meaning in semiotics. A sign is any individual thing that signifies meaning; for example, your

» clothes are a group of 'fashion signs' which signify meaning (perhaps you are trying to look 'cool'?)

» Semiotics is the name given to the study of the way by which meaning is created in the world, especially in the mass media. It is based upon the Idea of 'signs' and 'codes', 'denotation' and 'connotation'. A sign is the basic unit of meaning in semiotics. A sign is any individual thing that signifies meaning; for example, your

» clothes are a group of 'fashion signs' which signify meaning (perhaps you are trying to look 'cool'?)

Denotation/ connotation» There are two ways that signs create

meaning: all signs have a literal meaning, which is called their denotation; but, depending on the context, many signs also suggest other 'layers' of meaning, which is called their connotation. For example, an image of a girl dressed all in white denotes just that, I.e. this is what you 'see'; but it may also connote innocence or purity (and all that this means in our society and culture), i.e. this is what you 'think'. Connotation, therefore, is always more than the denotation.

» There are two ways that signs create meaning: all signs have a literal meaning, which is called their denotation; but, depending on the context, many signs also suggest other 'layers' of meaning, which is called their connotation. For example, an image of a girl dressed all in white denotes just that, I.e. this is what you 'see'; but it may also connote innocence or purity (and all that this means in our society and culture), i.e. this is what you 'think'. Connotation, therefore, is always more than the denotation.

Signs - codes» Signs rarely work alone. They are most

often combined with other signs to form a code. A code is a group of signs that we recognise as going 'naturally together' to signify meaning (e.g. a rose is a sign; but

» being handed to a girl by a boy could create a 'romance code' and suggest love). Film and TV codes are often called technical codes because technical equipment is used to create them. There are three ways through which codes and signs can signify meaning:

» Signs rarely work alone. They are most often combined with other signs to form a code. A code is a group of signs that we recognise as going 'naturally together' to signify meaning (e.g. a rose is a sign; but

» being handed to a girl by a boy could create a 'romance code' and suggest love). Film and TV codes are often called technical codes because technical equipment is used to create them. There are three ways through which codes and signs can signify meaning:

Iconicity: » Iconicity: an iconic sign or code

looks just like the thing it seems to represent, e.g. an image of a cowboy seems to be just that; but it is called iconic because it suggests far more than it should: for example, our culture tends to associate extra meanings with the idea of 'cowboy', such as toughness, heroism, masculinity, etc. Iconic signs are never reality: they are a representation of reality.

» Iconicity: an iconic sign or code looks just like the thing it seems to represent, e.g. an image of a cowboy seems to be just that; but it is called iconic because it suggests far more than it should: for example, our culture tends to associate extra meanings with the idea of 'cowboy', such as toughness, heroism, masculinity, etc. Iconic signs are never reality: they are a representation of reality.

Indexicality» Indexicality (an indexical sign

or code) in a sign directly suggests meaning because what it shows seems to be the result of something we associate with the thing it represents, e.g. smoke suggests fire, sweat suggests exercise, appearance can suggest wealth, etc. This can be a short-cut way for a film director to create meaning.

» Indexicality (an indexical sign or code) in a sign directly suggests meaning because what it shows seems to be the result of something we associate with the thing it represents, e.g. smoke suggests fire, sweat suggests exercise, appearance can suggest wealth, etc. This can be a short-cut way for a film director to create meaning.

Symbolism

» Symbolism (a symbolic sign or code) suggests meaning because we have learned this meaning in our culture; a symbol, in itself, has no association with what it means, e.g. a red heart shape suggests love; letters combine to make words, etc.

» Symbolism (a symbolic sign or code) suggests meaning because we have learned this meaning in our culture; a symbol, in itself, has no association with what it means, e.g. a red heart shape suggests love; letters combine to make words, etc.

Meaning =culturally determined

» The meaning we gain from codes is said to be culturally determined which means that our culture 'taught' us that particular way to interpret the meaning. For example, when we see the UK national flag, the Union Jack, we see more than what it simply denotes - a piece of coloured cloth: patriotism and pride, etc.

» The meaning we gain from codes is said to be culturally determined which means that our culture 'taught' us that particular way to interpret the meaning. For example, when we see the UK national flag, the Union Jack, we see more than what it simply denotes - a piece of coloured cloth: patriotism and pride, etc.

Enigma code» An important code is an

enigma code. These codes put a fascinating question in the mind of the audience that only watching the movie will answer. They tempt the audience to watch and are often used in trailers.

» An important code is an enigma code. These codes put a fascinating question in the mind of the audience that only watching the movie will answer. They tempt the audience to watch and are often used in trailers.

Conventions» A convention is simply a way of doing something that we are so used to we usually fail to notice it; conventions can seem 'perfectly natural' or 'realistic' yet are anything but. So: women in cowboys tend conventionally to be either 'very good' or 'very bad' - and this seems 'normal' within the genre of cowboy movies; the wheels of a car always screech; guns always kill outright; a punch always knocks a person out cold. Genre and narrative are important media conventions that are covered later, as are editing techniques and-the use of certain shot types (such as an establishing shot sequence or montage - see later).

» A convention is simply a way of doing something that we are so used to we usually fail to notice it; conventions can seem 'perfectly natural' or 'realistic' yet are anything but. So: women in cowboys tend conventionally to be either 'very good' or 'very bad' - and this seems 'normal' within the genre of cowboy movies; the wheels of a car always screech; guns always kill outright; a punch always knocks a person out cold. Genre and narrative are important media conventions that are covered later, as are editing techniques and-the use of certain shot types (such as an establishing shot sequence or montage - see later).

Effects, meaning , purpose » Cinema and TV codes are created within an

area bounded by the edges of a screen. By controlling what objects and action are in this frame, a film director creates what is called a mise-en-scene. Asking questions such as 'who, what and where' of the characters and objects and their relative positions, expressions, appearance, costume, make-up, scenery, props, lighting, sounds, etc. in a mise-en-scene will help you analyse it. Try to consider what effects are created in a mise-en-scene', what meaning they have (their denotation and, most importantly, connotation), how they have been created and why they were created (which will be the director's purpose - perhaps to develop a character, a mood, the storyline or plot and sometimes to explore a deeper meaning or idea, i.e. a theme).

» Cinema and TV codes are created within an area bounded by the edges of a screen. By controlling what objects and action are in this frame, a film director creates what is called a mise-en-scene. Asking questions such as 'who, what and where' of the characters and objects and their relative positions, expressions, appearance, costume, make-up, scenery, props, lighting, sounds, etc. in a mise-en-scene will help you analyse it. Try to consider what effects are created in a mise-en-scene', what meaning they have (their denotation and, most importantly, connotation), how they have been created and why they were created (which will be the director's purpose - perhaps to develop a character, a mood, the storyline or plot and sometimes to explore a deeper meaning or idea, i.e. a theme).

Editing» Editing is the placing of separate shots

together. This allows a director to manipulate space and time hundreds of miles or weeks of time can be reduced to a few scenes that appear perfectly natural and believable to the audience.

» A montage is a most important editing technique. It is a series of shots that are edited together to create a kind of ' individual unit' of meaning.

» Editing is the placing of separate shots together. This allows a director to manipulate space and time hundreds of miles or weeks of time can be reduced to a few scenes that appear perfectly natural and believable to the audience.

» A montage is a most important editing technique. It is a series of shots that are edited together to create a kind of ' individual unit' of meaning.

Continuity edits» Continuity edits - especially matched cuts - are called

'Hollywood editing'. This creates a sequence that seems to flow naturally on from the previous one, and in which the edits are 'invisible'. These have the effect of creating a realistic and seamless flow to a story or narrative (see below) where one event leads naturally onto the next.

» Jump-cuts are dramatic edits; » MTV edits are rapid sequences of fast jump cuts used to

create a conscious effect as used first in pop-videos; » cross-cuts follow different actions such as two people

talking; » follow-cuts follow an action to its consequence, e.g. a

character looking edits to what they look at» eye-line matches are a kind of follow cut). » A sound-bridge is a sound edit that allows sound from

one shot to cross into the next to create continuity.

» Continuity edits - especially matched cuts - are called 'Hollywood editing'. This creates a sequence that seems to flow naturally on from the previous one, and in which the edits are 'invisible'. These have the effect of creating a realistic and seamless flow to a story or narrative (see below) where one event leads naturally onto the next.

» Jump-cuts are dramatic edits; » MTV edits are rapid sequences of fast jump cuts used to

create a conscious effect as used first in pop-videos; » cross-cuts follow different actions such as two people

talking; » follow-cuts follow an action to its consequence, e.g. a

character looking edits to what they look at» eye-line matches are a kind of follow cut). » A sound-bridge is a sound edit that allows sound from

one shot to cross into the next to create continuity.

The Shot

» Defined in terms of distance, area or the subjects they contain

» Defined in terms of distance, area or the subjects they contain

» Types: Close-up Extreme Close-up Long Shot Full Shot Extreme Long Shot Medium Shot Establishing Shot Two-shot, Three-Shot Shot/Reverse Shot Over-the-shoulder shot

» Types: Close-up Extreme Close-up Long Shot Full Shot Extreme Long Shot Medium Shot Establishing Shot Two-shot, Three-Shot Shot/Reverse Shot Over-the-shoulder shot

http://www.fis.ie/

Shots

http://www.fis.ie/

The Shot

» High-angle Shot God’s Eye Suggest entrapment or frustration

» Low-Angle shot Makes subject appear larger Suggests dominance or power

» Objective-view of camera» Point of View Shot

» High-angle Shot God’s Eye Suggest entrapment or frustration

» Low-Angle shot Makes subject appear larger Suggests dominance or power

» Objective-view of camera» Point of View Shot

http://www.fis.ie/

The Moving Shot

» Pan shot—horizontal » Tilt shot—vertical » Mobile Camera shots» Swish pan—unusually rapid & produces

momentary blur» Tracking Shot—greater area and more

detail» Dolly Shot» Crane Shot

» Pan shot—horizontal » Tilt shot—vertical » Mobile Camera shots» Swish pan—unusually rapid & produces

momentary blur» Tracking Shot—greater area and more

detail» Dolly Shot» Crane Shot

The Moving Shot

http://www.fis.ie/

Shots and meaning» An establishing shot is usually the

opening shot of a sequence; it 'sets the scene' and locates the action. It is often followed by a

» mid-shot followed by a » close-up shot. » A subjective point-of-view shot

(POV) is at eye-level and appears as if you are viewing the scene from the character's perspective (as in 'Blair Witch').

» An objective point-of-view shot acts as if you are an observer secretly looking into a scene.

» An establishing shot is usually the opening shot of a sequence; it 'sets the scene' and locates the action. It is often followed by a

» mid-shot followed by a » close-up shot. » A subjective point-of-view shot

(POV) is at eye-level and appears as if you are viewing the scene from the character's perspective (as in 'Blair Witch').

» An objective point-of-view shot acts as if you are an observer secretly looking into a scene.

Camera moves, lighting etc

» CAMERA ANGLE Eye-line match / high / low

» CAMERA MOVEMENT Zooming / tracking / panning / hand-held / etc

» LIGHTING» High key, neutral, low key

» CAMERA ANGLE Eye-line match / high / low

» CAMERA MOVEMENT Zooming / tracking / panning / hand-held / etc

» LIGHTING» High key, neutral, low key

More vocabulary

» 'DIEGESIS' AND SOUND» VISUAL EFFECTS / SFX» NARRATIVE» GENRE» ICONOGRAPHY» THE 'STAR SYSTEM'

» 'DIEGESIS' AND SOUND» VISUAL EFFECTS / SFX» NARRATIVE» GENRE» ICONOGRAPHY» THE 'STAR SYSTEM'

REALISM

» 'Verisimilitude' » 'Generic verisimilitude' » 'Cultural verisimilitude'

» 'Verisimilitude' » 'Generic verisimilitude' » 'Cultural verisimilitude'

Film process

» The Shot» The Scene vs. The Sequence

Appear to be virtually synonymous Chief difference—there can be scenes within

a sequence, but not sequences within scenes

» The Shot» The Scene vs. The Sequence

Appear to be virtually synonymous Chief difference—there can be scenes within

a sequence, but not sequences within scenes

Camera angles & meaning

» Camera angles can signify meaning, e.g. a subjective POV high angle shot can crate a superior feel.

» Camera angles can signify meaning, e.g. a subjective POV high angle shot can crate a superior feel.

Camera Movements

http://www.fis.ie/

180 degree rule180 degree rule

Shot reverse shot

Shot reverse shot

camera movements & meaning

» Different camera movements can create significant meaning - a zoom into a close-up of a face can create emotion, a pan across a war scene can suggest violence; POV tracking shots and POV hand-held camera shot can create tension and involvement by making you feel as if you are a part of the action.

» Different camera movements can create significant meaning - a zoom into a close-up of a face can create emotion, a pan across a war scene can suggest violence; POV tracking shots and POV hand-held camera shot can create tension and involvement by making you feel as if you are a part of the action.

The Sequence

» A group of shots forming a self-contained segment of the film that is, by and large, intelligible in itself

» Types Linear Sequence Associative Sequence Montage Sequence

» A group of shots forming a self-contained segment of the film that is, by and large, intelligible in itself

» Types Linear Sequence Associative Sequence Montage Sequence

The Linear Sequence

» Beginning initiates the action» Middle adds to the action» End follows and completes the

action» Elliptical linear sequence

Certain details omitted Viewers must make connections

» Beginning initiates the action» Middle adds to the action» End follows and completes the

action» Elliptical linear sequence

Certain details omitted Viewers must make connections

The Associative Sequence

» Scenes linked by an object or a series of objects

» http://mcel.pacificu.edu/JAHC/JAHCV2/ARTICLES/david/david.html

» Scenes linked by an object or a series of objects

» http://mcel.pacificu.edu/JAHC/JAHCV2/ARTICLES/david/david.html

Montage Sequence

» A series of shots arranged in a particular order for a particular purpose

» Rapid succession telescoping an event or several events

» American Montage: 30s & 40s Collapses time as shots blend together,

wipe each other away or are superimposed Calendar pages, headlines, etc.

» A series of shots arranged in a particular order for a particular purpose

» Rapid succession telescoping an event or several events

» American Montage: 30s & 40s Collapses time as shots blend together,

wipe each other away or are superimposed Calendar pages, headlines, etc.

Montage Sequence

» Feature of both linear and associative sequence

» Can be unified by images» http://www.vsmu.sk/rybarova/unit_

7.doc

» Feature of both linear and associative sequence

» Can be unified by images» http://www.vsmu.sk/rybarova/unit_

7.doc

Cuts

» Verb—terminate a shot» Noun—a strip of film

Film stages: rough cut director’s cut final cut

» Verb—terminate a shot» Noun—a strip of film

Film stages: rough cut director’s cut final cut

Cuts» Joining of two separate shots

Straight cut—one image replaces another Contrast cut—images are dissimilar Crosscut (Parallel)—2 actions occurring

simultaneously Jump cut—break in continuity Form cut—a cut from one object to another of similar

shape Match cut—one shot complements or “matches” the

other, following smoothly without any break in continuity of time and space

» Joining of two separate shots Straight cut—one image replaces another Contrast cut—images are dissimilar Crosscut (Parallel)—2 actions occurring

simultaneously Jump cut—break in continuity Form cut—a cut from one object to another of similar

shape Match cut—one shot complements or “matches” the

other, following smoothly without any break in continuity of time and space

Transitions—Bridge Scenes

» The Fade: Fade-out & Fade-in Denotes demarcation—the end of a

narrative sequence

» The Dissolve denotes continuity by the gradual

replacement of one shot by another No sooner said than done

» The Fade: Fade-out & Fade-in Denotes demarcation—the end of a

narrative sequence

» The Dissolve denotes continuity by the gradual

replacement of one shot by another No sooner said than done

Transitions

» Synecdoche or metonymy: Two images blend in such a way that

their union constitutes a symbolic equation

However, the result is a metaphorical dissolve

A sign replaces the signified http://afronord.tripod.com/theory.html

» Synecdoche or metonymy: Two images blend in such a way that

their union constitutes a symbolic equation

However, the result is a metaphorical dissolve

A sign replaces the signified http://afronord.tripod.com/theory.html

Transitions

» Form Dissolve—merging two images with the same shape or contours Easy on the eyes Can relate to plot

» The Wipe—Line traveling vertically across the scene More fluid than a cut and faster than a

dissolve Ideal for presenting a series of events in

quick succession

» Form Dissolve—merging two images with the same shape or contours Easy on the eyes Can relate to plot

» The Wipe—Line traveling vertically across the scene More fluid than a cut and faster than a

dissolve Ideal for presenting a series of events in

quick succession

The Iris

» Masking Shot or Iris Shot—everything blacked out except what is to be seen telescopically

» Irising In/Irising Out

» Masking Shot or Iris Shot—everything blacked out except what is to be seen telescopically

» Irising In/Irising Out

Editing» Selecting and arranging the shots

based on Their place within the narrative Their contribution to the mood of a

particular scene or to the film as a whole

Their enhancement of the film’s rhythm

their elucidation of the film’s deeper meaning

their fulfillment of the filmmaker’s purpose

» Selecting and arranging the shots based on Their place within the narrative Their contribution to the mood of a

particular scene or to the film as a whole

Their enhancement of the film’s rhythm

their elucidation of the film’s deeper meaning

their fulfillment of the filmmaker’s purpose

Continuity Editing

» Assembling shots so that they follow each other smoothly without interruption

» Preserves the illusion of an ongoing narrative

» Assembling shots so that they follow each other smoothly without interruption

» Preserves the illusion of an ongoing narrative

Eisenstein’s Theory of Montage

» Based on contrast and conflict» http://www.sensesofcinema.com/c

ontents/directors/04/eisenstein.html

» http://afronord.tripod.com/~afronord/eisen.html

» Based on contrast and conflict» http://www.sensesofcinema.com/c

ontents/directors/04/eisenstein.html

» http://afronord.tripod.com/~afronord/eisen.html

Continuity Editing

» Rhythm—variations in speed, movement, and pace

» Time—parallel cutting depicts two concurrent actions

» Space—parallel cutting affects sense of space as well

» Tone—primarily light, shade and color» Theme—juxtaposing contrasting shots

can deepen a film’s theme

» Rhythm—variations in speed, movement, and pace

» Time—parallel cutting depicts two concurrent actions

» Space—parallel cutting affects sense of space as well

» Tone—primarily light, shade and color» Theme—juxtaposing contrasting shots

can deepen a film’s theme

Role of the Editor

» Takes what has been shot and improves on it

» The director’s alter ego» Controls the rhythm and tone» Primary purpose is to bring to

completion an artistic work already in progress

» Takes what has been shot and improves on it

» The director’s alter ego» Controls the rhythm and tone» Primary purpose is to bring to

completion an artistic work already in progress

non-linear editing

Takes

» Long take A shot that lasts more than a minute Steadicam

» Long take A shot that lasts more than a minute Steadicam

Diegesis, sound. esp.

» Diegesis means the 'world of the film': if something seems to be a part of the 'world of the film', it is called 'diegetic'. So, sound that is a part of the action is diegetic sound, e.g. wind noise, screeching cars, etc; but sound that is added’ to create, most often, mood or atmosphere is called

» non-diegetic sound. Diegetic sounds may also be added in after filming, or may be exaggerated for effect (e.g. loud footsteps).

» Diegesis means the 'world of the film': if something seems to be a part of the 'world of the film', it is called 'diegetic'. So, sound that is a part of the action is diegetic sound, e.g. wind noise, screeching cars, etc; but sound that is added’ to create, most often, mood or atmosphere is called

» non-diegetic sound. Diegetic sounds may also be added in after filming, or may be exaggerated for effect (e.g. loud footsteps).

Soundbridge/ Overlapping Sound

» Sound or dialogue that either carries over from one scene to the next or anticipates the new scene

» Can build narrative» http://imv.au.dk/~pba/Homepagem

aterial/MMproduktionmateriale/Raskin%20Sound%20%20Paper.pdf

» Sound or dialogue that either carries over from one scene to the next or anticipates the new scene

» Can build narrative» http://imv.au.dk/~pba/Homepagem

aterial/MMproduktionmateriale/Raskin%20Sound%20%20Paper.pdf

Example: Malcolm X» Malcolm walks along a street thronged

with prostitutes, we hear the words “What has happened to our women?” Is this what Malcolm is thinking? The next scene clarifies the situation: The question is part of a sermon that is about to end. The incident in the 1st scene inspired the subject matter of the sermon in the 2nd, with the question becoming the link between them.

» Malcolm walks along a street thronged with prostitutes, we hear the words “What has happened to our women?” Is this what Malcolm is thinking? The next scene clarifies the situation: The question is part of a sermon that is about to end. The incident in the 1st scene inspired the subject matter of the sermon in the 2nd, with the question becoming the link between them.

Sound Overview

http://imv.au.dk/~pba/Homepagematerial/MMproduktionmateriale/Raskin%20Sound%20%20Paper.pdf

Musical Associations

» Music has 2 main functions Advances narrative

»plot device »not subtextual

Enhances narrative»functions as subtext»Deepens the narrative by bringing it to

another level of interpretation

» Music has 2 main functions Advances narrative

»plot device »not subtextual

Enhances narrative»functions as subtext»Deepens the narrative by bringing it to

another level of interpretation

Music

» Capable of forging ethnic and national connections

» Has the power to reinforce stereotypes

» Can evoke certain associations» Classical music can constitute the

entire subtext

» Capable of forging ethnic and national connections

» Has the power to reinforce stereotypes

» Can evoke certain associations» Classical music can constitute the

entire subtext

Foley Process

» The Foley artist on a film crew is the person who creates and records many of the natural, everyday sound effects in a film, in contrast to the production of special (audio) effects, which is generally left to the sound designer.

» The Foley artist on a film crew is the person who creates and records many of the natural, everyday sound effects in a film, in contrast to the production of special (audio) effects, which is generally left to the sound designer.

Foley Tricks of the Trade

» Galloping horses

(Banging empty coconut shells together)

» Galloping horses

(Banging empty coconut shells together)

» Footsteps in snow » (Squeezing a box of corn starch)

» Footsteps in snow » (Squeezing a box of corn starch)

» Kissing (Kissing back of

hand)

» Kissing (Kissing back of

hand)

» Punching someone (Thumping watermelons)

» Punching someone (Thumping watermelons)

» High heels

(Artist walks in high heels on wooden platform)

» High heels

(Artist walks in high heels on wooden platform)

» Bone-breaking blow

(Breaking celery or bamboo or twisting a head of lettuce)

» Bone-breaking blow

(Breaking celery or bamboo or twisting a head of lettuce)

» Bird flapping its wings

(Flapping a pair of gloves)

» Bird flapping its wings

(Flapping a pair of gloves)

» Grass or leaves crunching

(Balling up audio tape)

» Grass or leaves crunching

(Balling up audio tape)

Ben BurttSound Designer

» In 1977, Star Wars, revolutionized film sound with Ben Burtt's award winning sound effects.

» In 1977, Star Wars, revolutionized film sound with Ben Burtt's award winning sound effects.

Ben Burtt

“The basic thing in all films is to create something that sounds believable to everyone, because it's composed of familiar things that you can not quite recognize immediately"

“The basic thing in all films is to create something that sounds believable to everyone, because it's composed of familiar things that you can not quite recognize immediately"

» Imperial Walkers» The sound of the Imperial Walkers were

created by modifying the sound of a machinist's punch press. Added to this for complexity, were the sounds of bicycle chains being dropped on concrete.

» Imperial Walkers» The sound of the Imperial Walkers were

created by modifying the sound of a machinist's punch press. Added to this for complexity, were the sounds of bicycle chains being dropped on concrete.

» TIE fighter» The screech of a TIE Fighter is a

drastically altered elephant bellow.

» TIE fighter» The screech of a TIE Fighter is a

drastically altered elephant bellow.

Star Trek sliding doors

(Pulling a piece of paper from envelope)

Star Trek sliding doors

(Pulling a piece of paper from envelope)

Star Wars sliding doors

(Flare gun plus sneakers squeak)

Star Wars sliding doors

(Flare gun plus sneakers squeak)

» Lightsaber» Burtt blended the sounds of his TV set

and an old 35 mm projector to create the hum of a light saber.

» Lightsaber» Burtt blended the sounds of his TV set

and an old 35 mm projector to create the hum of a light saber.

Editing: Cubase VST

The Transport Bar

Editing II

ArrangementWindow

Editing III

The Parts Display

Editing IV

The Audio Mixer Window

EQ andEffect Windows

Audioeditor

Wave editor

Visual SFX

» SFX (‘Special effects') often use computer-generated graphics to create compelling realism and meaning.

» SFX (‘Special effects') often use computer-generated graphics to create compelling realism and meaning.

Latent Image Matte Painting

» A photographic technique of combining two scenes

» Runs film through twice, once with a portion blacked out and unexposed

» Used now with stills and paintings

» A photographic technique of combining two scenes

» Runs film through twice, once with a portion blacked out and unexposed

» Used now with stills and paintings Notice the use of bridal veil material on

the right to create diffusion and a sense of atmosphere in this filming for An Ewok Adventure

Latent Image, cont.

» Pros Original stock

quality (highest) Matching of

hues easy» Cons

Hard to estimate need footage with live action

Mistakes are expensive

» Pros Original stock

quality (highest) Matching of

hues easy» Cons

Hard to estimate need footage with live action

Mistakes are expensive

Latent image projection used with Matte Painting in Return of the Jedi

Rear Projection

» Movie projector placed behind glass with painting

» Window covered with frosted plastic

» Camera films from front

» Movie projector placed behind glass with painting

» Window covered with frosted plastic

» Camera films from front

Rear Projection, cont.» Pros

Easiest

» Cons Loss of

image quality

Least sharp image of all techniques

» Pros Easiest

» Cons Loss of

image quality

Least sharp image of all techniques

Composite of Completed Rear Projection from Return of the Jedi

Front Projection

» Both camera and projector on same side of glass panel.

» Scene projected through glass backed with Scotchlite (highly reflective)

» A partially reflecting mirror is placed between camera and projector at 45 degree angle (to put both in exact same perspective)

» Both camera and projector on same side of glass panel.

» Scene projected through glass backed with Scotchlite (highly reflective)

» A partially reflecting mirror is placed between camera and projector at 45 degree angle (to put both in exact same perspective)

Front Projection (cont)» Pros

Sharper image than rear (with highly reflective screen)

Well regulated perspective from exact same point

» Cons complicated

» Pros Sharper image

than rear (with highly reflective screen)

Well regulated perspective from exact same point

» Cons complicated

A woman paints a matte on glass for Temple of Doom.

Digital Painting

» Advantages Ability to move camera No more limitations of pan

» Ex. In Empire Strikes Back

Reflections and moving animations can be combined easily

Digital editing is cost efficient and easier

» Advantages Ability to move camera No more limitations of pan

» Ex. In Empire Strikes Back

Reflections and moving animations can be combined easily

Digital editing is cost efficient and easier

Truman Show:Digital Matte goes 3D

A “camera”is tracked with the image in the exact motion and perspective of the actual camera.

Titanic: Matte and more

» Digital Matte Clouds

» Digital Animation Water (with reflections)

» Model Boat» Animated

People» Digital

Animation smoke

» Digital Matte Clouds

» Digital Animation Water (with reflections)

» Model Boat» Animated

People» Digital

Animation smoke

» The use of a narrative structure is a major convention of cinema and TV. We are all immersed in narratives and have been since childhood as we tell of or hear about the complex events of the world not in the form of long-winded complex details or bald information but as absorbing and interesting stories. Yet this way of explaining real as opposed to fictional events greatly oversimplifies reality whilst at the same time; paradoxically, appearing very realistic and believable.

» The use of a narrative structure is a major convention of cinema and TV. We are all immersed in narratives and have been since childhood as we tell of or hear about the complex events of the world not in the form of long-winded complex details or bald information but as absorbing and interesting stories. Yet this way of explaining real as opposed to fictional events greatly oversimplifies reality whilst at the same time; paradoxically, appearing very realistic and believable.

» For instance, real events are rarely clearly 'connected' by such simple 'cause and effect' relationships as in stories (i.e. this leads to that because...). Yet in narrative they always are. And in the real world people are not either good (i.e. 'heroes') or evil (i.e. 'villains'); but in narrative they always are to some degree at least. And so on. For better or worse, we tell and hear of world events as narratives and media producers know this and use it to create media texts that rely on narrative structures and forms to be absorbing, compelling and convincingly realistic. Because of this, filmed narratives can easily trick us into thinking we are viewing a real 'window on the world'.

» For instance, real events are rarely clearly 'connected' by such simple 'cause and effect' relationships as in stories (i.e. this leads to that because...). Yet in narrative they always are. And in the real world people are not either good (i.e. 'heroes') or evil (i.e. 'villains'); but in narrative they always are to some degree at least. And so on. For better or worse, we tell and hear of world events as narratives and media producers know this and use it to create media texts that rely on narrative structures and forms to be absorbing, compelling and convincingly realistic. Because of this, filmed narratives can easily trick us into thinking we are viewing a real 'window on the world'.

» Genre means the kind of narrative being told, e.g. detective, sci-fi, horror, etc. Genre defines a text by its similarities to other texts. Importantly, when we watch a genre film we have many pre-existing expectations of the types of characters, setting and events we want to see (prediction is a major aspect of our enjoyment of a film, and genre helps this). Genre conventions are an important way a director can create believable 'versions of reality' because we fail to see that what is shown is not reality at, all, but a media convention that we have become accustomed to seeing in that kind of film.

» Genre means the kind of narrative being told, e.g. detective, sci-fi, horror, etc. Genre defines a text by its similarities to other texts. Importantly, when we watch a genre film we have many pre-existing expectations of the types of characters, setting and events we want to see (prediction is a major aspect of our enjoyment of a film, and genre helps this). Genre conventions are an important way a director can create believable 'versions of reality' because we fail to see that what is shown is not reality at, all, but a media convention that we have become accustomed to seeing in that kind of film.

» So... we don't mind the owner of a casino being horribly killed because we see him, in the gangster genre as naturally a 'villain'. Film companies use genre to sell and make films: a popular genre creates a greater chance of commercial success; and genre can be cost effective, making it cheaper to write new stories and reducing the need for entirely new sets.

» So... we don't mind the owner of a casino being horribly killed because we see him, in the gangster genre as naturally a 'villain'. Film companies use genre to sell and make films: a popular genre creates a greater chance of commercial success; and genre can be cost effective, making it cheaper to write new stories and reducing the need for entirely new sets.

» Iconography is an important aspect of genre. We come to expect to see certain objects within the mise-en scene of a particular genre, for example, in a Western, we expect to see dusty lonely roads, saloon bars, cowboy hats and horses, jails, sheriffs badges, etc.; in a modern horror film, we expect lonely girls, 'normal' objects, use of dark and light, etc. These 'genre indicators' are called the iconography of the genre.

» Iconography is an important aspect of genre. We come to expect to see certain objects within the mise-en scene of a particular genre, for example, in a Western, we expect to see dusty lonely roads, saloon bars, cowboy hats and horses, jails, sheriffs badges, etc.; in a modern horror film, we expect lonely girls, 'normal' objects, use of dark and light, etc. These 'genre indicators' are called the iconography of the genre.

» Celebrities and film stars are an important part of the iconography of cinema and TV. Different stars can be important signifiers of meaning. They can create expectations of character and action, help identify genre, and create powerful iconic representation of such as masculinity and femininity.

» Celebrities and film stars are an important part of the iconography of cinema and TV. Different stars can be important signifiers of meaning. They can create expectations of character and action, help identify genre, and create powerful iconic representation of such as masculinity and femininity.

» Cinema and TV are able to offer high levels of 'realism': the bright screen, the clear and powerful Dolby sound, darkened room, etc. are highly compelling and persuasive. Such 'appearance of reality' is given the odd name of verisimilitude.

» Cinema and TV are able to offer high levels of 'realism': the bright screen, the clear and powerful Dolby sound, darkened room, etc. are highly compelling and persuasive. Such 'appearance of reality' is given the odd name of verisimilitude.

» This is yet another convention of course - there is nothing 'realistic' about an image on a flat screen. There are two kinds of verisimilitude: generic verisimilitude is the 'realism' that convinces us because of the genre we are watching (in the horror genres it seems highly realistic for a vampire to sink his teeth into a person's neck); cultural verisimilitude is the kind of reality that convinces us because it looks like the way things are or should be within our own society.

» This is yet another convention of course - there is nothing 'realistic' about an image on a flat screen. There are two kinds of verisimilitude: generic verisimilitude is the 'realism' that convinces us because of the genre we are watching (in the horror genres it seems highly realistic for a vampire to sink his teeth into a person's neck); cultural verisimilitude is the kind of reality that convinces us because it looks like the way things are or should be within our own society.

Subtext

» Infranarrative A complex structure beneath the narrative

consisting of the various associations the narrative evokes in us

Film’s dual nature Level of meanings found in

»Symbols» Image patterns»References/allusions»Reading critically

» Infranarrative A complex structure beneath the narrative

consisting of the various associations the narrative evokes in us

Film’s dual nature Level of meanings found in

»Symbols» Image patterns»References/allusions»Reading critically

Mythic Associations» Operates on an unconscious

level, presenting us with Characters

» questers» the enchanted and the

enchanter» ogres» scapegoats» monsters» talking animals» Apparitions

Themes» The homeward journey» The quest» Ancestral curses» Revenge» Patricide» Matricide

» Operates on an unconscious level, presenting us with Characters

» questers» the enchanted and the

enchanter» ogres» scapegoats» monsters» talking animals» Apparitions

Themes» The homeward journey» The quest» Ancestral curses» Revenge» Patricide» Matricide

» Settings Caves Wastelands Subterranean rivers Enchanted islands Flat-topped mountains Ominous castles Desolate moors Lost worlds

» Settings Caves Wastelands Subterranean rivers Enchanted islands Flat-topped mountains Ominous castles Desolate moors Lost worlds

Myths

» Tap into our collective memory» Themes of myth are universal

Return of the hero The desire for forbidden knowledge The quest for identity Coming of age Rebellion against tyranny

» Transcends time and place» Ultimate truths about life and death, fate

and nature, gods and humans

» Tap into our collective memory» Themes of myth are universal

Return of the hero The desire for forbidden knowledge The quest for identity Coming of age Rebellion against tyranny

» Transcends time and place» Ultimate truths about life and death, fate

and nature, gods and humans

Film and Myth

» Speak the same language—picture language

» Both are oral and visual» Both are intimately associated with

dreams» Making a mythic association

involves remembering a pattern of experience that is universal.

» Speak the same language—picture language

» Both are oral and visual» Both are intimately associated with

dreams» Making a mythic association

involves remembering a pattern of experience that is universal.

Mythic Types

» The quester» The convert» The foundling» The exile» The knight-errant» The blessed damsel» The earth mother» The lost child» The eternal child» The alien» The shadow self—doppelganger» The liberator

» The quester» The convert» The foundling» The exile» The knight-errant» The blessed damsel» The earth mother» The lost child» The eternal child» The alien» The shadow self—doppelganger» The liberator

Mythic Themes

» The descent to the underworld» The quest for the grail, sword, ring, or

chalice» The journey into the unknown» The homeward journey» The birth of the hero» The life force versus the force of reason» Wilderness versus civilization» The transformation myth» The savior myth» Good versus evil

» The descent to the underworld» The quest for the grail, sword, ring, or

chalice» The journey into the unknown» The homeward journey» The birth of the hero» The life force versus the force of reason» Wilderness versus civilization» The transformation myth» The savior myth» Good versus evil

Visual/Iconic Associations

» Icon’s dual nature Depicts not just a person but a person

who stands out from the ordinary

» Icon’s dual nature Depicts not just a person but a person

who stands out from the ordinary

Icons

» Definition: http://www.bartleby.com/65/ic/iconogra.html

» Greek Icons: http://web.uvic.ca/grs/bowman/myth/info/attributes.html

» Australian Icons: http://www.jintaart.com.au/iconography/iconhmpg.htm

» Christian Icons: http://www.traditionaliconography.com/

» Cemetery Iconography: http://freepages.genealogy.rootsweb.com/~txcemeteries/symbol.htm

» Definition: http://www.bartleby.com/65/ic/iconogra.html

» Greek Icons: http://web.uvic.ca/grs/bowman/myth/info/attributes.html

» Australian Icons: http://www.jintaart.com.au/iconography/iconhmpg.htm

» Christian Icons: http://www.traditionaliconography.com/

» Cemetery Iconography: http://freepages.genealogy.rootsweb.com/~txcemeteries/symbol.htm

Intellectual Associations

» We relate the film as a whole—not just one aspect of it—to history, to another medium such as literature or opera, to another film, or even to an earlier version of itself.

» Intertextuality

» We relate the film as a whole—not just one aspect of it—to history, to another medium such as literature or opera, to another film, or even to an earlier version of itself.

» Intertextuality

Literary Techniques

» Flashback» Flash-forward

Dramatic foreshadowing

» Point-of-view Omniscient narrator Implied author

» Film Adaptation

» Flashback» Flash-forward

Dramatic foreshadowing

» Point-of-view Omniscient narrator Implied author

» Film Adaptation

Analyzing Films

1. What techniques did the filmmaker use to create the feeling of a complete film rather than a mere collection of scenes?

2. Could it have been anything other than a film—a novel, a short story, a play, for example—and still have been as effective; or was film the medium in which it reached its level of excellence?

1. What techniques did the filmmaker use to create the feeling of a complete film rather than a mere collection of scenes?

2. Could it have been anything other than a film—a novel, a short story, a play, for example—and still have been as effective; or was film the medium in which it reached its level of excellence?

Analyzing Films

3. How much of the film is told through images or camera movement, without recourse to dialogue?

4. Does the use of film deepen or enhance the story being told?

3. How much of the film is told through images or camera movement, without recourse to dialogue?

4. Does the use of film deepen or enhance the story being told?

Analyzing Film

5. Do the camera and the script work together, each doing what it does best, so that word and image are allies rather than enemies?

6. What is the subtext, or infranarrative? How does it enrich the film?

5. Do the camera and the script work together, each doing what it does best, so that word and image are allies rather than enemies?

6. What is the subtext, or infranarrative? How does it enrich the film?

On-line Guides

» Readfilm.com http://www.readfilm.com/HTRBook/HTR3.pdf

» Yale Film Studies http://classes.yale.edu/film-analysis/

» http://www.cwrl.utexas.edu/~hogan/fall04/FilmAnalysis.doc

» http://www.filmsite.org/genres.html» Film Terms

http://homepage.newschool.edu/~schlemoj/film_courses/glossary_of_film_terms/glossary.html

http://www.psu.edu/dept/inart10_110/inart10/film.html

» Readfilm.com http://www.readfilm.com/HTRBook/HTR3.pdf

» Yale Film Studies http://classes.yale.edu/film-analysis/

» http://www.cwrl.utexas.edu/~hogan/fall04/FilmAnalysis.doc

» http://www.filmsite.org/genres.html» Film Terms

http://homepage.newschool.edu/~schlemoj/film_courses/glossary_of_film_terms/glossary.html

http://www.psu.edu/dept/inart10_110/inart10/film.html