Composition1. Framing - Boundaries of a motion picture media or art form – the mark of a personality of a director- Framing is the basis of staging and photographing- Puts the picture togethera) Aspect ratiosb) Aesthetic Considerations- Important action/actor goes in the middle of the frame (rule may be broken)- Decenter – put more important characters in the corner of the frame- Put things at the top of the frame audience feels below them- Put things on the bottom of the frame audience feels above them/power over them- Put things on the side of the frame audience feels tense/danger/anxious - Right side of the frame is stronger- The rule is to frame the essential - In a horror film, you usually frame the unessentialc) On-screen vs. Off-screen- Six zones of infinite infinity – of off screen space, space we don’t necessarily but used by the director to create meaning1. Front of the screen2. Right of the screen3. Left of the screen4. Behind the screen5. Above the screen6. Below the screenVisual Analysis #1- Left all of the everyday in the off screen and has transcended the space- Lovers transcend and go away from the world - More energy going on outside the frame than inside the frame love is a very quiet thing - Love does not need all the commotion of dancing, orchestra, etc.- Completely unaware of everything around them in off screen space2. Staginga) Proxemic patterns within the frame- To arrange a player in relationship to another player in relationship to décor in relationship to quantity of light and the direction of light - Meanings are created through stagingb) Shape, line, plane and stasis/movement (within the frame)- Larger shapes attract more attention than smaller shapes- Not many shapes you feel free- Many shapes feel claustrophobic - Horizontal line peaceful, tranquil, rest- Vertical line power, strength, control, cities- Diagonal line movement- Jagged line chaosc) Balance; dominant and subsidiary contrasts- Staging is a system of contrast- Eyes go to contrast- Conflict of colors, actors – eyes go to conflictVisual Analysis #2- As the scene goes on they move closer and closer togetherand further and further away from everyone else- Put two faces together to make a jagged line which causes tension- Movement is pretty static until she runs3. Photographya) Proxemic patterns outside the frame (between spectacle and spectator); focal length of the lens and camera distance b) Image size- Extreme long shot see person and environment- Long shot, medium shot see person from head to toe- Medium long shot see person knees to top - Medium shot see person hips to face- Close-up face- Extreme close-up facial part c) Angle- Most films shot five ft. off the ground - The height of most people- Low angle gives an empowering image- High angle makes audiences feel superior, image look inferior, plays faster because it’s a different way than we view things, more dramaticd) Stasis/movement (of the camera): through space and in a fixed position on a tripod - Still, static, or whether it is going to moveVisual Analysis #3- Starts at the eye level then moves down to a low angle idealizes them- The notion of perspective: physical; psychological; ideological implications- The correlative relationship of space and time- Objective camera; subjective camera; mind screen- Distortions of movement: fast motion, slow motion, reverse motion, freeze
View Full Document
Unlocking...