ch04_the_shot_mise_en_scene_cpp.pdf | |
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Until we get a textbook, please see this link to watch video and tutorials on Visual Design, Lighting, and Mise en Scene.http://www.wwnorton.com/college/film/movies5/video-tutorials.aspx
Unit 2: Cinematography, Visual Design, Lighting, Mise en Scene, and Art Direction. Read the chapter above.- Download all documents from Unit 2
- Look at the Powerpoint
- Complete the pdfs for costume, cinematography, and art direction (with group).
- Visit all links, see the videos of the terms, go to the textbook websites for terms and tests
- Take notes from lecture, powerpoint, and video tutorials
- Create a Character Sketch and Mise en scene (with group)
- Read all of the articles about the films to omplete questions for the films screened in class (with partner).
- HOMEWORK UNIT 2 (with group)-See screening checklist, terms, outline, notes and Questions for analyzing cinematography, color, and visual design. You must include a shot by shot analysis with the homework from 1 sequence in the film. Discuss color palette, mise en scene, framing, lighting, camera placement/movement, proxemics, space, etc.
- Study for Multiple-choice Test
- Study for Essay Test
- Extra Credit
TO STUDY FOR THE TESTS:
See website links on UNIT 1 for FILMART chps. 4 & 5http://highered.mcgraw-hill.com/sites/0073386162/student_view0/chapter2/
ART OF WATCHING FILMS chps. 4,5, and 7
http://highered.mcgraw-hill.com/sites/0073386170/information_center_view0/
Looking at Movies chps. 5 and 6. http://www.wwnorton.com/college/film/movies4/ (LATEST EDITION HERE)
Read the pdfs below for info on costume, cinematography, art direction and specific films.
Homework UNIT 2 (100pts):
Choose 1 film nominated for best cinematography and/or art direction and analyze the look of the film. SEE THE LIST OF ALL FILMS NOMINATED FOR ACADEMY AWARDS FOR CINEMATOGRAPHY AND ART DIRECTION-SEE QUESTIONS FOR VISUAL DESIGN (HOMEWORK UNIT 2). Discuss camera work, lighting, mise en scene, framing, film stock, shots, art direction, costumes, framing, etc. Use the handouts, outlines, questions, sites, glossary of terms, packets, YALE clips, to help with your discussion. Underline all terms you use in your discussion.
SCREENING CHECKLIST: Here's how you can discuss the elements in your homework/class assignments: "________________ lighting, camera angles, framing, depth, etc is used to evokes/conveys/mirrors _____________ or make the viewer feel/understand/experience _________."
- 1. As you watch the film or clip, be alert to the overall design plan and mise-en-scène and to your emotional response to them. Are you comforted or made anxious by them? Are your senses overwhelmed or calmed by what you see onscreen? Identify the elements of the mise-en-scène that seem to be contributing the most to your emotional response.
- 2. Does the design in the movie or clip create the correct times, spaces, and moods? Does it go beyond surfaces and relate to developing themes?
- 3. Be alert to the framing of individual shots, and make note of the composition within the frame. Where are figures placed? What is the relationship among the figures in the foreground, middle ground, and background? Is the framing of this film or clip open, or is it closed? How can you tell? What is the effect of this framing on your understanding of the narrative and characters?
- 4. Does the use of light in the movie or clip call attention to itself? If so, describe the effect that it has on the composition in any shot you analyze.
- 5. Does the film or clip employ lots of movement? Very little movement? Describe how the use of movement in the film or clip complements or detracts from the development of the narrative. Note the type of movement (movement of figures within the frame or movement of the frame itself) in important shots, and describe as accurately as possible the effect that that movement has on the relationships among the figures in the frame.
- 6. Does the movie’s design have a unified feel? Do the various elements of the design (the sets, props, costumes, makeup, hairstyles, etc.) work together, or do some elements work against others? What is the effect either way?
- 7. Was achieving verisimilitude important to the design of this film or clip? If so, have the filmmakers succeeded in making the overall mise-en-scène feel real, or verisimilar? If verisimilitude doesn’t seem to be important in this film or clip, what do you suspect the filmmakers were attempting to accomplish with their design?
- 8. How does the design and mise-en-scène in this movie or clip relate to the narrative? Is it appropriate for the story being told? Does it quietly reinforce the narrative and development of characters? Does it partly determine the development of narrative and characters? Does it render the narrative secondary or even overwhelm it?
- 9. Determine whether or not the cinematographic aspects of the film—the qualities of the film stock, lighting, lenses, framing, angles, camera movement, and use of long takes—add up to an overall look. If so, try to describe its qualities.
- Take note of moments in the film in which the images are conveying information that is not reflected in characters’ action and dialogue. These moments are often crucial to the development of a movie’s themes, narrative, and meaning.
- Pay close attention to the length of shots in the film. Is there a recognizable pattern? Are long takes used? To what extent? For what purpose?
- Keep track of instances in which the film uses shots other than the medium shot (MS)—for instance, extreme close-ups (ECUs) or extreme long shots (ELSs). What role are these shots playing in the film?
- Also keep track of camera angles other than eye-level shots. If there are high- or low-angle shots, determine whether or not they are POV shots. That is, is the high or low angle meant to represent another character’s point of view? If so, what does the angle convey about that character’s state of mind? If not, what does it convey about the person or thing in the frame?
- As you evaluate crucial scenes, pay attention to the composition of shots within the scene. Are the compositions balanced in a way that conforms to the rule of thirds, or are the elements within the frame arranged in a less “painterly” composition? In either case, try to describe how the composition contributes to the scene overall.
- Pay attention to camera movement in the film. Sometimes camera movement is used solely to produce visual excitement or to demonstrate technological virtuosity on the part of the filmmaker. Other times it is playing an important functional role in the film’s narrative. Be alert to these differences, and take note of meaningful uses of camera movement.
- Note when the cinematography calls attention to itself. Is this a mistake or misjudgment on the filmmakers’ part, or is it intentional? If intentional, what purpose is served by making the cinematography so noticeable?
- 10. Why was this actor, and not another, cast for the role?
- Does the actor’s performance create a coherent, unified character? If so, how?
- Does the actor look the part? Is it necessary for the actor to look the part?
- Does the actor’s performance convey the actions, thoughts, and internal complexities that we associate with natural or recognizable characters? Or does it exhibit the excessive approach we associate with nonnaturalistic characters?
- What elements are most distinctive in how the actor conveys the character’s actions, thoughts, and internal complexities: body language, gestures, facial expressions, language?
- What special talents of imagination or intelligence has the actor brought to the role?
- How important is the filmmaking process in creating the character? Is the actor’s performance overshadowed by the filmmaking process?
- Does the actor work well with fellow actors in this film? Do any of the other actors detract from the lead actor’s performance?
- How, if at all, is the actor’s conception of the character based on logic? How does the performance demonstrate expressive coherence?
- Does the actor’s performance have the expressive power to make us forget that he or she is acting? If it does, how do you think the actor achieved this effect?
- 10. Why was this actor, and not another, cast for the role?
- Does the actor’s performance create a coherent, unified character? If so, how?
- Does the actor look the part? Is it necessary for the actor to look the part?
- Does the actor’s performance convey the actions, thoughts, and internal complexities that we associate with natural or recognizable characters? Or does it exhibit the excessive approach we associate with nonnaturalistic characters?
- What elements are most distinctive in how the actor conveys the character’s actions, thoughts, and internal complexities: body language, gestures, facial expressions, language?
- What special talents of imagination or intelligence has the actor brought to the role?
- How important is the filmmaking process in creating the character? Is the actor’s performance overshadowed by the filmmaking process?
- Does the actor work well with fellow actors in this film? Do any of the other actors detract from the lead actor’s performance?
- How, if at all, is the actor’s conception of the character based on logic? How does the performance demonstrate expressive coherence?
- Does the actor’s performance have the expressive power to make us forget that he or she is acting? If it does, how do you think the actor achieved this effect?
UNIT 2 Homework-This is your chance to put it all together and to show how much you've learned in UNIT 2. See questions_for_analyzing_visual_design and Screening Checklists (sc_ch 3 and sc_ch 4) for Mise en Scene and Cinematography. For films shown in class, see visual_design_in-class_ assignment. For all discussion, assignments, worksheets, etc., use the SW2, SW3, SW4 docs, your notes, the unit outline, film clips, ppt, links, and a flim glossary to answer the questions. Highlight/Bold/Underline the terms in your homework and explain the function. See sentence frames above for help.
Shot by Shot:
Write time/duration of shot above the photo.
Under the photo:
1) Color palette/film stock
2) Mise en scene/framing/composition
3) Lighting-3 point and 4 terms
4) Shot type/Proxemics
5) Camera angles/Camera movement
6) POV-objective, subjective, indirect subjective, director's interpretive Pov? eyeline?
7) Focal length/Depth of Field
questions_for_analyzing_visual_design.docx | |
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CLICK HERE for a list of some films from the last decade with excellent cinematography-http://thefilmstage.com/2010/06/30/the-best-cinematography-of-the-last-decade/
CLICK HERE FOR 60 OF THE BEST LOOKING FILMS EVER MADE
http://en.wikipedia.org/wiki/Academy_Award_for_Best_Art_Direction
CLICK HERE FOR ANOTHER LIST OF FILMS FOR CINEMATOGRAPHY
MORE RECENT FILMS FOR CINEMATOGRAPHY, ART DIRECTION and PRODUCTION DESIGN:
http://www.goldderby.com/handicapping/oscars-2013-nominations-nominations/best-cinematography.html
http://m.hitfix.com/in-contention/2013-art-directors-guild-award-nominations
http://m.hitfix.com/in-contention/2013-art-directors-guild-award-nominations
costumesmakeup.pdf | |
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cine_print.pdf | |
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artdirection.pdf | |
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http://awardsdatabase.oscars.org/ampas_awards/BasicSearchInput.jsp
http://en.wikipedia.org/wiki/Academy_Award_for_Best_Cinematography
FOR HOMEWORK-CLICK LINKS ABOVE TO SEE ALL FILMS NOMINATED OVER THE HISTORY OF THE ACADEMY AWARDS-RESEARCH MULTIPLE WINNERS FOR EXTRA CREDIT!!!
***READ CHAPTER 4 pdf on MISE EN SCENE FROM THE TEXTBOOK BELOW
***READ CHAPTER 4 pdf on MISE EN SCENE FROM THE TEXTBOOK BELOW
TERMS FOR THIS UNIT:
https://filmanalysis.yale.edu/mise-en-scene/
SEE LINKS ABOVE AND BELOW FOR MISE EN SCENE TERMS
Link to Mise en Scene
http://collegefilmandmediastudies.com/mise-en-scene-2/
Link to Cinematography
SEE LINKS ABOVE AND BELOW FOR CINEMATOGRAPHY TERMS
Link to Cinematography
SEE LINKS BELOW FOR MORE INFO.
http://www.youtube.com/watch?v=A9EUFMDzvXg&sns=em
http://collegefilmandmediastudies.com/cinematography/
cinematographypart1a.ppt | |
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cinematographypart1b.ppt | |
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cinematographypart2.ppt | |
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miseenscenequiz.doc | |
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cinematographyquiz.doc | |
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cinematograpy_study_guide.doc | |
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ch04_the_shot_mise_en_scene_cpp.pdf | |
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Amelie assignment (50 pts): Watch Amelie. Fill out the visual design in class assignment sheet and complete the AMELIE pdf below. Use terms and examples in your responses. You may research Amelie's visual design, costume/art direction, camera work, lighting, and cinematography. You may find articles about the cinematographer (Bruno Delbonnel) and director (Jean-Pierre Jeunet) or other members of the cast and crew. Cite the sources you use immediately after the idea (SOURCE GOES INSIDE THE PARENTHESIS). See the links and files below for several shots and an analysis of Amelie's visual design.
http://evanerichards.com/2011/2120
Click for Shots for Amelie
visual_design_in-class_assignment.docx | |
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amelie.pdf | |
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ameliesceneanalysis.pdf | |
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the_amlie_project__prt__voyager.webarchive | |
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productive_look_in_jean-pierre_jeunets_amelie-libre.pdf | |
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HUGO Assignment (Extra CRedit): Watch the film. Fill out the visual design sheet. Complete the HUGO Filmeducation packet (like the one for Amelie). Read all of the articles below and use the information from the articles to discuss/explain/analyze the film's visual design/cinematography/lighting/mise en scene/art direction/etc. Please cite the article or author in your paper. Make sure to use several film terms (see Yale site and Looking at Movies site) in your analysis. Use the sentence frames.
hugofilmeducation.pdf | |
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sc_ch3.pdf | |
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sc_ch4.pdf | |
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See the shots from the film here-feel free to use these as evidence in your answers
http://blog.cinemaautopsy.com/2012/01/09/film-review-hugo-2011/
http://www.nytimes.com/2012/01/01/movies/awardsseason/inside-the-production-design-of-hugo.html?_r=0
http://library.creativecow.net/legato_rob/magazine_30_HUGO/1
http://cineosphere.blogspot.com/2012/09/the-cinematography-of-hugo.html
http://www.fxguide.com/featured/hugo-a-study-of-modern-inventive-visual-effects/
http://www.davidbordwell.net/blog/2011/12/07/hugo-scorseses-birthday-present-to-georges-melies/
http://sensesofcinema.com/2012/feature-articles/hugo-remediation-and-the-cinema-of-attractions-or-the-adaptation-of-hugo-cabret/
http://www.cinemablography.org/hugo.html
http://tv.adobe.com/watch/moving-to-adobe-premiere-pro-/hugo-filmmaking-past-informs-filmmaking-future/
FIGHT CLUB AND RAGING BULL ASSIGNMENT (50pts ea.=100pts). Watch the films and analyze the visual elements. Use several terms, the screening checklist, and the handouts given out for Amelie and Hugo to help you with your analysis. See articles and links to help you answer the questions on the "visual20design..."doc below. You must cite info from the articles in your answers. Hint: Some answers will come from the special features on the Raging Bull DVD shown in class. You must keep track of each fight in each movie. Is there a pattern? What is the camera doing in each? What is life like for the characters outside of the ring? Discuss lighting, mise en scene, setting, etc. Discuss the visual design in both films and compare the fight scenes in each film.
visual20design20in20fight20club20and20raging20bull.docx | |
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https://www.youtube.com/watch?v=kz-oOQO6lcA
SEE LINK ABOVE FOR
30 AMAZING FACTS ABOUT FIGHT CLUB INCLUDING THOSE SECRET BLIPS
SEE LINK ABOVE FOR
30 AMAZING FACTS ABOUT FIGHT CLUB INCLUDING THOSE SECRET BLIPS
http://evanerichards.com/2010/548-Shots from Fight Club
http://cinemaroll.com/action/film-techniques-in-fight-club/
FIGHT CLUB ANALYSIS CLICK HERE http://edward-norton.org/fight.html
http://www.filmsite.org/ragi.html-RAGING BULL ANALYSIS
http://www.unc.edu/~slindsey/-MORE HELP ANALYZING RAGING BULL
http://evanerichards.com/2010/948-shots from Raging Bull
http://www.freshdv.com/2011/08/visual-language-of-raging-bull.html
RAGING BULL OPENING SEQUENCE ANALYSIS CLICK HERE:http://www.artofthetitle.com/2008/12/12/raging-bull/
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Moonrise Kingdom-Explain the art direction/mise en scene/visual design in Moonrise Kingdom. Use the SW3, SW4, and SW5 sheets below and as many terms as possible in your analysis. Read/watch the links/articles below. Do you own research to get info.
MOONRISE KINGDOM VISUAL DESIGN click or paste addresss http://www.davidbordwell.net/blog/2014/07/20/moonrise-kingdom-wes-in-wonderland/
FIND OTHER ARTICLES AND WEBSITES THAT DISCUSS THE VISUAL DESIGN IN MOONRISE KINGDOM
FIND OTHER ARTICLES AND WEBSITES THAT DISCUSS THE VISUAL DESIGN IN MOONRISE KINGDOM
ART DIRECTION IN MOONRISE KINGDOM: http://carpetbagger.blogs.nytimes.com/2013/01/16/below-the-line-designing-moonrise-kingdom/
https://www.youtube.com/watch?v=gfDIAZCwHQE
WATCH WES ANDERSON HORROR MOVIE PARODY HERE
http://classes.yale.edu/film-analysis/ **click here to see terms and clips for mise en scene and cinematography
Character Mise en Scene:
Create a character and show us him/her/it by using mise en scene only (see character profile worksheet and mise_en_sc_ne1 document below). You can NOT show the character. You can take a photo or make a film (1 minute max) to share in class. You must turn in a detailed profile of your character and explain your mise en scene in writing. Explain all of the elements and how each creates meaning. See terms and visual design doc. for help.
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character_profile_worksheet.doc | |
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**GOOGLE "ANATOMY OF A SCENE" TO SEE HOW CERTAIN SCENES ARE SHOT
**SEE HOW TO MAKE AN ACTION SEQUENCE from the film Death Sentence: http://www.hulu.com/watch/31855/making-a-scene-death-sentence
EXTRA CREDIT UNIT 2: SEE QUESTIONS BELOW SW 3,4,5 for another film on the list OR for an animated feature. Watch an animated film and analyze the visual design using all of terms and techniques we've used for the other films we've studied this unit. How does the animated film mimic real camera work, lighting, etc?
Use the Animation PDF and Analyze the visual design for an animated film. Answer the pdfs below for those specific films listed.
RESEARCH A FAMOUS CINEMATOGRAPHER, COSTUME DESIGNER, ART DIRECTOR and explain his or her philosophy and work.
SEE WEBSITES FOR INTERNET EXERCISES.
OTHER IDEAS?
Create video clips for terms (see me for list).
It's a Wonderful Life
Cinderella Man comparison to Fight Club and Raging Bull
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braveheart.pdf | |
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atonement.pdf | |
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empireots.pdf | |
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sw3.pdf | |
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sw4.pdf | |
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