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28 Cards in this Set
- Front
- Back
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Framing shot scale
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• Long
• Extreme Long Shot (ELS) • Long Shot (LS) • Medium • Medium Long Shot (MLS) • Medium Shot (MS) • Medium Close-Up (MCU) • Close-Up • Close-Up (CU) • Extreme Close-Up (ECU) |
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Wide-angle lens (35mm)
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• Requires less light
• Provides greater depth of field • Perpendiculars can start to “bulge” |
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Normal lens
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Requires adequate lighting conditions
• Moderate depth of field • Preserves classical perspectiv |
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Telephoto lens (>50mm)
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• Requires more intense light
• Provides little depth of field • Tends to “flatten” the imag |
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Setting the frame in motion
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Camera Movement relates to
Movement in the Image! Changing functions of offscreen space! |
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Dissolve
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end of shot A superimposed on beginning of shot B
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Goals of continuity editing
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¡ Creation of coherent space
¡ Smooth flow of action from shot to shot ¡ Link viewer’s gaze with that of characters ¡ Economize on production costs by standardizing shooting procedures |
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30 degree rule
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maintaining a minimum difference of 30º between camera
position |
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180 degree rule
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establishing & not crossing a “center line” / “axis of action
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match cut
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any cut that emphasizes spatio-temporal continuity. It is a cut in film editing from one scene to another in which the two camera shots' compositional elements match, helping to establish a strong continuity of action - and linking two ideas with a metaphor.
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montage theory by Eisenstein
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• Shot as “montage cell”
• Emphasis on “collision” between shots • “Montage of Attractions”: seizing the spectator • “Intellectual Montage”: generating visual concepts |
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Intensified continuity
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“Intensified continuity is traditional
continuity amped up, raised to a higher pitch of emphasis. It is the dominant style of American massaudience films today.” |
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Intensifie continuity (quantitative)
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• A close analysis of today’s
films shows that there hasn’t been a fundamental shift in Hollywood. • Aspects of film such as exposition, character development, and representations of time and space generally adhere to classical continuity technique |
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4 major stylistic changes Intensified Continuity
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ü Faster Editing
ü Bipolar Extremes of Lens Lengths ü Close Framings ü Free-Ranging Camera |
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Close framings in Thomas Crown Affair
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• Reference point is
“single” instead of “twoshot” • Medium to closeups preferred over medium long shots • Performance based more in the face • Editing process has greater role in constructing the actors’ performances. |
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3 uses of sound
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• Creating / “sculpting”
a space • Creating character • Creating a story world |
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Walter Murch and what he did in Apocalypse Now
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Mixing: Layers of Sound
(“quintaphonic sound” |
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nondiagetic
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from outside the story worl
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diagetic
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from within the story world
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Spacial relations with diagetic
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from within the story world
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Temporal relations with diagetic
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• Simultaneous /
Nonsimultaneous • Sound Before Image • Sound flashback • Image flashforward • Sound Bridge • Sound After Image • Sound flashforward • Image flashback • Sound Bridge |
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Sound history
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1925: Warner Bros. Acquires rights to Vitaphone (Fox: Movietone;
RCA: Phototone) 1927: The Jazz Singer (musical accompaniment & occasional talking passages) 1927-1929: Musicals begin to locate source of music on-screen (synchronized diegetic sound) 1928: Lights of New York advertised as “first 100% all-talkie” Introduction of Musical Shorts, featuring Jazz and Blues artists (Bessie Smith, Duke Ellington, etc.) 1929: Industry completes conversion to sound |
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Fritz Lang's M
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• Sound as Motif
• Sound/Image Relations: Bridges • Silence as Motif • A whistling murderer • Internal Diegetic Sound |
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Parallel sound
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sound & image work together toward same ends
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Contrapuntal sound
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sound & image work toward different ends
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(guest lecture) 4 reasons for editor cuts
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1. Wants to show continuity from shot 1 to shot 2
2. to guide the eye; to call attention to detail 3. first shot losing energy 4. in order to change pace--speed or slow down |
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Movie that revolutionized jump cuts
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Breathless (1960)
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One way that cutting can slow down speed for dramatic effect that is portrayed in Hitchcock film
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walking up or down stairs
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