2. MICRO FEATURES ARE Cinematography Editing Mise en Scene
Narrative Sound 3. MICRO VS. MACRO Macro Features Genre, Narrative,
Ideology (Messages and Values) Micro Features Mise n Scene,
Cinematography, Sound, Editing 4. MISE EN SCENE What is in the shot
5. WHAT IT INCLUDES: Setting Dcor Props Costume and make up Figure
expression and movement 6. SETTING The actual setting of a film
will create a lot of meaning for an audience. The setting conveys
the world of the film and can go a long way to setting the mood and
atmosphere of a film. Remember the setting can also be the interior
of a building not just the exterior world. 7. IN TAXI DRIVER
(SCORCESE 1976), THE DARK DIRTY STREETS OF NEW YORK ADD FEELING AND
MOOD TO THE SLEEZY ATMOSPHERE OF THE FILM 8. IN AMERICAN BEAUTY
(MENDES 1999) WE SEE THE PERFECT WORLD OF SUBURBAN AMERICA WITH ITS
WHITE PICKET FENCES AND PERFECTLY MANICURED GARDENS. 9. DCOR The
dcor is basically the objects contained in the setting of the
scene. It can be used to amplify character emotion or the dominant
mood of the film In a film, the dcor of the set can also give us
very specific indicators about period, the world of the characters,
the lifestyle of the character and the functionality of the
setting. 10. WHAT DOES THE DCOR IN THIS SHOT TELL US? 11. PROPS The
Props or items from the property department are the items used to
dress the set. But they can communicate just as much meaning to an
audience. For example, in Sci Fi, we expect to see futristic
weapons Like the LifeSaber in Star Wars. 12. COSTUME Costume simply
refers to the clothes that characters wear. Costume in narrative
cinema is used to signify character, or advertise particular
fashions/periods in time, or to make clear distinctions between
characters. 13. WHAT DOES THE COSTUME IN THESE SHOTS TELL US? 14.
FIGURE EXPRESSION AND MOVEMENT Like everything else in the mise en
scene figure expression is used to support the narrative Figure
expression refers to the facial expressions and the posture of an
actor, whereas figure movement refers to all other actions of the
actor, including gestures. 15. CINEMATOGRAPHY Photographic elements
16. WHAT THIS INCLUDES: Framing/composition Camera shots Camera
angles Camera movement Depth of focus Lighting Colour Special
effects 17. CAMERA SHOTS 18. OVERHEAD SHOT This is where the camera
looks down on the action 19. EXTREME LONG SHOT This is where the
setting fills the frame. It establishes location and sets the
scene. 20. LONG SHOT This is where we see the entire subject in
relation to their surroundings (with space above the head and below
the feet). 21. MEDIUM LONG SHOT This is where we see almost the
entire subject, the shot is tight with no space above the head and
below. 22. MEDIUM SHOT This is where the subject is cut off at the
waist. You can still see their costume and surroundings but also
some of their emotions. 23. MEDIUM CLOSE UP This is where the head
and shoulders of the subject is shown in the shot. 24. CLOSE UP
This is where the subject fills the frame. It shows emotion
clearly. 25. EXTREME CLOSE UP This is used to emphasise something
in the shot. 26. CAMERA MOVEMENTS 27. Movement Name Static camera?
What movement does it make? Meaning Produced Zoom Yes The camera
mechanically moves closer or father away from the subject changing
the camera shot Makes the audience feel closer or further away from
the action. Can be used to highlight something. Tracking No The
camera is mounted on a track and moves smoothly to follow the
action Makes the audience feel involved in the scene following the
action with the characters. Pan Yes The camera moves from side to
side on the tripod Shows more information Tilt Yes The camera tilts
up and down on the tripod Shows more information Hand Held No The
camera is not fixed to anything and moves in all directions Makes
the scene appear more real or chaotic. Crane No Basically, a
tracking shot in the air. A crane (or jib), can move up, down,
left, right, swooping in on action or moving diagonally out of it.
The audience are able to get stuck in to the action. Ariel No
Basically a crane shot but using a helicopter Gives a god like
overview of the scene 28. DEPTH OF FOCUS The depth of focus can
give us as the spectator an insight into the character/action on
screen Deep focus can make the film appear more real Shallow focus
can tell us that the character is disconnected from their
surroundings or only concerned with what they are doing, everything
else is irrelevant. 29. DEEP FOCUS The whole image is in focus.
Nothing is the centre of the spectators focus all characters and
setting have equal focus 30. SHALLOW FOCUS By using a restricted
depth of focus only one plane in sharp focus The rest of the shot
is out of focus and blurred. 31. HIGH ANGLE 32. LOW ANGLE 33. EYE
LEVEL 34. OVERHEAD 35. CAMERA SHOTS, ANGLES AND MOVEMENTS VIDEO
Video 36. LIGHTING The intensity, direction, and quality of
lighting can have a huge effect on the way an image is perceived.
It can focus attention on particular elements of the composition or
hide others. Most mainstream films use three-point lighting Other
films, for example documentaries and realist cinema, rely on
natural light to create a sense of authenticity. 37. THREE POINT
LIGHTING The back light picks out the subject from the background
Bright key light highlights the object The fill light from the
opposite side makes sure that the key light only casts a faint
shadow 38. NATURAL LIGHTING Elephant (2003, Gus Van Sant) 39.
COLOUR The greatest invention after sound in the movie business?
Regardless it is very effective. A modern film like La Haine shot
in B&W is very powerful in communicating the bleakness of life.
Traffic, uses a grey/blue filter at times to represent the
different situations to us Collateral was shot in HD, illuminating
the colours of the night even more 40. Colour also can create mood
and atmosphere, Shindlers List for example uses a touch of colour
during the rounding up of the Ghetto scene. The red coat of the
little blond girl, highlights the pain of the situation with great
clarity and emotion. 41. SPECIAL EFFECTS Sin City (2005, Miller,
Rodriguez, Tarentino) 42. FRAMING/COMPOSITION This refers to the
organisation of pictorial elements in a frame. The purpose of the
frame is to direct the spectators attention to the focus of the
narrative in the scene 43. PERFORMANCE 44. We have already looked
at figure expression and movement, we are now going to look at the
performance of an actor as a whole and what it contributes the
sensory impact of the film 45. SOUND Diegesis 46. DIEGESIS There
are two main types of sound that you can hear in films. Sound can
be broken down into diegetic and non diegetic sound 47. DIEGETIC
SOUND Diegetic sound is sound that is recorded at the time of
filming the scene. Sometimes sound is added post production but we
know the characters are supposed to hear this sound. This is still
classed as diegetic sound, but you should note that you understand
that the sound had not originated from the original recording. 48.
DIEGETIC SOUND The sound generated from within the narrative of the
text. The characters and the audience can hear the sound. 49.
EXAMPLES OF DIEGETIC SOUND Characters speech Sounds made by objects
in the narrative e.g a creaking door Music That is played by
characters on screen in a band Radio that a character has turned on
Some sound effects Dog barking, sirens, car passing 50. THE EFFECT
OF DIEGETIC SOUND Reinforces the narrative It helps to set the
scene and make the scene more believable. e.g. if you see two
characters talking in a caf, you expect to hear other people
chatting, cups clinking, and people moving around. If the scene was
silent it would not be believable. 51. NON DIEGETIC SOUND Non
diegetic sound is the opposite to diegetic sound. It is sound that
the characters in the story can not hear. Non diegetic sound is
added post production 52. NON DIEGETIC SOUND Sound that is
generated outside the narrative of the text. Only the audience can
hear the sound 53. EXAMPLES OF NON DIEGETIC SOUND Narration by an
off screen character (Voice Of God Sound effects that are added for
dramatic effect Mood music Film score (background Music) Theme tune
54. THE EFFECT OF NON DIEGETIC SOUND Non Diegetic sound helps to
create the atmosphere and mood of the film and scenes within the
film. The background music can completely change the mood of the
film and convey the emotion that the director wants them to
feel
