This document defines and provides examples of key cinematic techniques related to mise-en-scene. It discusses lighting techniques including key lighting, fill lighting, and high key and low key lighting. It also covers setting, color, facial expressions, body language, gestures, costumes, makeup, props, and how these elements are used to represent characters. The document is intended as a study guide to help understand and identify important mise-en-scene elements in film.
This document provides an introduction to cinematography techniques and how they are used to communicate meaning in films. It defines cinematography and discusses various shot types like close-ups, two shots, and point of view shots. It also covers different angles like high angles and low angles. The document aims to help readers understand cinematography and how framing, shot types, and angles are used to influence audience experience and emphasize important people or objects. It includes example screenshots and describes how various techniques can be used to elicit emotions from viewers.
The document discusses analyzing film shots through mise-en-scene and visual signifiers. It defines mise-en-scene as everything visible in a scene and explains that it provides context about characters, genre, time and location. Visual signifiers are specific mise-en-scene elements that convey meaning. Analyzing shots involves identifying how costume, props, lighting, location and body language are used and what they reveal about the film, characters and story.
Mise-en-scene refers to all the visual elements that a director can control within a scene, such as setting, costumes, lighting, staging of actors, and props. These elements are used to convey meaning and direct the audience's attention. Key aspects of mise-en-scene include setting, which establishes time and place; costumes and makeup, which provide clues about characters; lighting, which sets mood and guides vision; and staging of actors and their movements. Directors manipulate these various visual elements of mise-en-scene to achieve different artistic goals for their films.
The document defines and describes various cinematography techniques used in film including shots (establishing shot, long shot, medium shot, close-up), camera angles (eye-level, high angle, low angle), camera movements (pan, zoom, tilt, dolly/tracking, boom/crane), lighting (high key, low key, bottom lighting/low lighting, front/rear lighting) and how they can influence messages and impact production elements like font, color and layout. Students will analyze the film To Kill a Mockingbird using these techniques.
Narrative structure in film refers to how films tell stories through a sequence of events. Films use narrative form to structure stories, with a beginning, middle, and end. Key elements of narrative structure include an exposition, rising action, climax, falling action, and resolution. Character development and conflicts between characters, nature, society, or other forces drive the narrative forward. Filmmakers select and order events to craft a plot that tells a version of the complete story in a concise time frame.
The document discusses several codes and conventions commonly used in comedy films. Camera shots like close-ups and point-of-view shots are used to highlight comedic moments and position the audience. Lighting is often bright and colorful to reflect the upbeat tone, while sound effects enhance jokes and slapstick. Mise-en-scene and editing are also manipulated to exaggerate characters and situations for comedy, through techniques like costuming, reaction shots, and building dramatic irony. Common themes in comedies include action, romance, and satire, and genres like parody and black comedy aim to make audiences laugh.
Codes and conventions in the horror genreamberloo20
Horror films use various codes and conventions to frighten audiences, including narrative structures involving disruption and attempts to repair equilibrium, stereotypical characters like protagonists and antagonists, and mise-en-scene elements like isolated settings, dark lighting, costumes signifying hope or evil, and props representing violence. Additionally, the document discusses how colors like red, black, and white are used to convey danger and mystery, and how non-diegetic and synchronous sounds create suspense, scare audiences, and change the mood.
Mise-en-scene in horror films establishes isolation and ominous settings through techniques like pathetic fallacy, sinister props, and dark colors like red and black. Lighting is used to create mood, cast shadows, and suggest split personalities. Costumes distinguish stereotypical character types like the "blonde" and "athlete". Sound design with exaggerated diegetic sound and loud non-diegetic music builds tension and makes audiences feel scared. Common props symbolizing religion or the devil include bibles, crucifixes, and candles. Horror films typically feature stock character archetypes like "the blonde [who] usually dies first".
This document provides an introduction to cinematography techniques and how they are used to communicate meaning in films. It defines cinematography and discusses various shot types like close-ups, two shots, and point of view shots. It also covers different angles like high angles and low angles. The document aims to help readers understand cinematography and how framing, shot types, and angles are used to influence audience experience and emphasize important people or objects. It includes example screenshots and describes how various techniques can be used to elicit emotions from viewers.
The document discusses analyzing film shots through mise-en-scene and visual signifiers. It defines mise-en-scene as everything visible in a scene and explains that it provides context about characters, genre, time and location. Visual signifiers are specific mise-en-scene elements that convey meaning. Analyzing shots involves identifying how costume, props, lighting, location and body language are used and what they reveal about the film, characters and story.
Mise-en-scene refers to all the visual elements that a director can control within a scene, such as setting, costumes, lighting, staging of actors, and props. These elements are used to convey meaning and direct the audience's attention. Key aspects of mise-en-scene include setting, which establishes time and place; costumes and makeup, which provide clues about characters; lighting, which sets mood and guides vision; and staging of actors and their movements. Directors manipulate these various visual elements of mise-en-scene to achieve different artistic goals for their films.
The document defines and describes various cinematography techniques used in film including shots (establishing shot, long shot, medium shot, close-up), camera angles (eye-level, high angle, low angle), camera movements (pan, zoom, tilt, dolly/tracking, boom/crane), lighting (high key, low key, bottom lighting/low lighting, front/rear lighting) and how they can influence messages and impact production elements like font, color and layout. Students will analyze the film To Kill a Mockingbird using these techniques.
Narrative structure in film refers to how films tell stories through a sequence of events. Films use narrative form to structure stories, with a beginning, middle, and end. Key elements of narrative structure include an exposition, rising action, climax, falling action, and resolution. Character development and conflicts between characters, nature, society, or other forces drive the narrative forward. Filmmakers select and order events to craft a plot that tells a version of the complete story in a concise time frame.
The document discusses several codes and conventions commonly used in comedy films. Camera shots like close-ups and point-of-view shots are used to highlight comedic moments and position the audience. Lighting is often bright and colorful to reflect the upbeat tone, while sound effects enhance jokes and slapstick. Mise-en-scene and editing are also manipulated to exaggerate characters and situations for comedy, through techniques like costuming, reaction shots, and building dramatic irony. Common themes in comedies include action, romance, and satire, and genres like parody and black comedy aim to make audiences laugh.
Codes and conventions in the horror genreamberloo20
Horror films use various codes and conventions to frighten audiences, including narrative structures involving disruption and attempts to repair equilibrium, stereotypical characters like protagonists and antagonists, and mise-en-scene elements like isolated settings, dark lighting, costumes signifying hope or evil, and props representing violence. Additionally, the document discusses how colors like red, black, and white are used to convey danger and mystery, and how non-diegetic and synchronous sounds create suspense, scare audiences, and change the mood.
Mise-en-scene in horror films establishes isolation and ominous settings through techniques like pathetic fallacy, sinister props, and dark colors like red and black. Lighting is used to create mood, cast shadows, and suggest split personalities. Costumes distinguish stereotypical character types like the "blonde" and "athlete". Sound design with exaggerated diegetic sound and loud non-diegetic music builds tension and makes audiences feel scared. Common props symbolizing religion or the devil include bibles, crucifixes, and candles. Horror films typically feature stock character archetypes like "the blonde [who] usually dies first".
This document provides an overview of approaches to teaching film language. It introduces various macro and micro elements of film language like genre, cinematography, editing, mise-en-scene, sound, and special effects. For each element, it describes techniques like camera shots, camera movements, editing techniques, uses of sound, and types of special effects. It emphasizes having students practice identifying and analyzing these techniques by watching and discussing film clips in order to develop their understanding of how film language is used and its impact on narrative.
The document discusses several techniques of mise-en-scène used in horror movies to create atmosphere and fear. It describes how settings like forests used in films like Friday the 13th isolate and endanger characters. Props symbolize religious elements in possession films and identify villains by their weapons. Dark lighting and colors like black and red are employed to conceal threats and represent good and evil. Costumes and makeup are also important for defining characters and showing their deterioration. Facial expressions and body language display characters' fear through tension and shock. Practical effects are often used in place of visual effects to portray graphic violence realistically.
Codes and conventions of a psychological thrillerpaigewebbx
Shadows, low lighting, mirrors, and urban settings are commonly used in psychological thrillers through mise-en-scene and location to add tension. Eerie music, quick camera movements, and obtrusive editing are employed to build suspense through sound, camerawork, and editing. Flashbacks are also typically used to provide insight into a character's past.
Film Language: Mise-En-Scene explanation and examples.Ian Moreno-Melgar
A long and detailed look at what mise-en-scene is and how it can be looked at in different aspects of film language. The presentation is split into the areas of Setting & Props; Costume, Hair and Make-up; Lighting and Colour; Positioning of Objects and People; Facial expression and Body
Language. Each section contains a range of examples (many of which are gifs and videos which obviously won't play on here) and some activities for students to engage with.
Drama portrays realistic characters and situations to move audiences emotionally through conflict. It depicts inner and outer struggles and uses climaxes and resolutions to keep audiences engaged. While drama often shows hardships, it can combine with other genres and some films break conventions by having unpredictable endings, like comedy-drama Larry Crowne or the tragic conclusion of Titanic.
An introduction to mise en scene, cinematography, editing and sound
for teachers attending the summer 2009
Teacher's Institute at Jacob Burns Film
Center, Pleasantville, NY.
The document discusses lighting techniques used in filmmaking. It covers the responsibilities of the lighting director and how lighting is used to create illumination, mood, and guide attention. It then describes the four major features of filmic lighting: quality, direction, source, and color. Finally, it explains the components and setup of the basic three-point lighting technique, including the key light, fill light, and back light.
This document provides an overview of key cinematography techniques used to convey meaning and emotion in film, including lighting, color, camera work, and composition. It discusses two main approaches to lighting - realistic lighting using three-point lighting for a natural look, and expressive low-key lighting to create shadow and mood. It also covers camera angles, movement, position/framing, composition using rules of thirds, and depth of field. Examples are given from famous films to illustrate different techniques.
Codes and Conventions of Horror/Thriller FilmsWelling School
Technical conventions like canted angles, long tracking shots, and POV shots are used to create confusion, tension, and show what characters see. Symbolic conventions employ colors like black and red or props like weapons to represent death, evil, danger, and violence. Characters typically include a main protagonist hero or victim, an antagonist villain like a monster or killer, careless teenagers often killed first, and creepy children or authority figures. Common themes involve good versus evil, revenge, the supernatural, religion, living dead, experiments gone wrong, insanity, nightmares, and lust.
This document discusses common elements of horror films including typical synopses involving revenge, hauntings, demons, and serial killers. It notes that horror films often take place in abandoned buildings at night and feature props like weapons and masks. Common characters include victims, villains like serial killers, "stupid" teenagers, and possessed children. The camera work aims to induce fear through techniques like high and low angles, point-of-view shots, handheld footage, and disturbing sounds.
Comedy sketches typically take place in bright, social settings filmed with naturalistic camerawork. Sound and lighting aim to create a realistic environment, with clear dialogue and bright colors used. Props are important, especially those that can cause harm in slapstick scenes. Characters usually include idiotic people contrasted with normals, or very intelligent people who are socially awkward around normals. Sarcasm is also a common trait.
Camera shots and angles for a horror and thriller filmbilliewilson_
This document discusses various camera shot techniques used in horror and thriller films to build suspense and tension. It describes how high angle shots make characters seem powerless, while close-ups show emotion and detail. Tracking shots establish movement and build suspense as the audience doesn't know what will be shown next. Tilt shots can simplify supernatural elements or portray the camera as a victim. Low angle shots emphasize how intimidating villains are, while point-of-view shots make the audience feel emotionally invested. Zooming and shots involving mirrors and reflections also heighten tension.
Film Language: Editing explanation examples and worksheets. Ian Moreno-Melgar
A long and detailed look at what editing is in Film and how it helps to not only present a story to the audience but how it functions on a technical level. The presentation is broadly split into two areas: Pace and Transitions. Each section contains a definition, a range of examples (many of which are gifs and videos which obviously won't play on here) and some activities for students to engage with.
Comedy films often use bright settings like cities and social gatherings. The camera work is not meant to draw attention and aims to show equality among characters. Sound effects and dialogue are important for comedy, with slapstick using exaggerated sounds and conversations driving humor. Characters are typically normal people paired with stupid ones to highlight their foolishness through contrast, or highly intelligent people lacking social skills who provide laughs through unawareness of normal behavior.
The document discusses various elements of movies including photography, mise-en-scène, editing, story, and genres. It covers topics such as camera shots, angles, lighting, composition, cutting techniques, narrative structures, and the conventions of different styles of films like realistic, formalistic, and documentary. Key filmmaking concepts and theories are explained through examples from famous movies.
This document discusses common cinematography, editing, and sound techniques used in crime films. Low angle and high angle shots are used to convey power and weakness. Low key lighting adds to the mood. Dissolve transitions and jump scares are common editing techniques used to manipulate the audience. Montage is used to summarize crimes. Diegetic sound comes from within the scene while non-diegetic sound effects are added in post-production to build suspense.
This document provides an overview of basic film terminology related to shot sizes, camera angles, camera movements, and lighting. It defines common shot sizes like wide shot, long shot, mid shot, close up, and extreme close up. It also explains basic camera movements like pan, tilt, track, crane, and roll. Additionally, it covers camera angles like low angle, high angle, and Dutch angle. Finally, it discusses lighting techniques such as backlighting, sidelighting, and highlighting.
This document provides instructions for students to analyze elements of mise-en-scene in a photo by answering questions about dominant subjects, camera placement, lighting, color, composition, framing, character placement, and proxemics. Analyzing these technical elements will help students better understand how mise-en-scene shapes a film's narrative. The assignment should be completed with detailed, evidenced responses and submitted by the due date for up to 5 points.
This document provides information on film and video editing techniques. It defines film editing and describes concepts like montage and juxtaposition. It lists different types of cuts and edits that can be used, including examples, and discusses relationships between shots. It also defines continuity editing and the Hollywood method. The document analyzes a scene from Inglorious Bastards to demonstrate spatial relationships and the use of cross-cutting/parallel editing.
This document discusses different types of sound that can be used in films, including diegetic sound that comes from within the world of the film and non-diegetic sound that is added in post-production. It notes that diegetic sound helps create a sense of place and events, while scripted dialogue moves the story forward and develops characters. Non-diegetic music and voiceovers can interpret emotions and enhance understanding of characters. Sound can also be used to link sequences, reflect themes, position the audience, and match or contrast events on screen through parallel or contrapuntal use.
The scene analyzes Norman Bates and Marion Craine in Alfred Hitchcock's film Psycho through micro-elements like camera shots, lighting, sound, and character behaviors. Norman is initially shot from a low angle, making him seem powerful yet inviting, though his smile seems ambiguous. Marion seems uncomfortable due to the isolated setting and Norman's staring. As the scene continues, Norman seems nervous and excited by Marion's presence, while Marion tries to hide her discomfort by smiling. The shots become tighter on the characters as the atmosphere becomes more ominous and Norman's behavior more threatening.
The document provides an analysis of the opening sequences of four films: Psycho, Se7en, Gattaca, and Lord of War. For each film, aspects like title design, camera work, editing, sound, and how they set expectations for the film's genre are discussed. Common conventions like creating unease, mystery, and entertaining the target audience through tension and drama are addressed.
This document provides an overview of approaches to teaching film language. It introduces various macro and micro elements of film language like genre, cinematography, editing, mise-en-scene, sound, and special effects. For each element, it describes techniques like camera shots, camera movements, editing techniques, uses of sound, and types of special effects. It emphasizes having students practice identifying and analyzing these techniques by watching and discussing film clips in order to develop their understanding of how film language is used and its impact on narrative.
The document discusses several techniques of mise-en-scène used in horror movies to create atmosphere and fear. It describes how settings like forests used in films like Friday the 13th isolate and endanger characters. Props symbolize religious elements in possession films and identify villains by their weapons. Dark lighting and colors like black and red are employed to conceal threats and represent good and evil. Costumes and makeup are also important for defining characters and showing their deterioration. Facial expressions and body language display characters' fear through tension and shock. Practical effects are often used in place of visual effects to portray graphic violence realistically.
Codes and conventions of a psychological thrillerpaigewebbx
Shadows, low lighting, mirrors, and urban settings are commonly used in psychological thrillers through mise-en-scene and location to add tension. Eerie music, quick camera movements, and obtrusive editing are employed to build suspense through sound, camerawork, and editing. Flashbacks are also typically used to provide insight into a character's past.
Film Language: Mise-En-Scene explanation and examples.Ian Moreno-Melgar
A long and detailed look at what mise-en-scene is and how it can be looked at in different aspects of film language. The presentation is split into the areas of Setting & Props; Costume, Hair and Make-up; Lighting and Colour; Positioning of Objects and People; Facial expression and Body
Language. Each section contains a range of examples (many of which are gifs and videos which obviously won't play on here) and some activities for students to engage with.
Drama portrays realistic characters and situations to move audiences emotionally through conflict. It depicts inner and outer struggles and uses climaxes and resolutions to keep audiences engaged. While drama often shows hardships, it can combine with other genres and some films break conventions by having unpredictable endings, like comedy-drama Larry Crowne or the tragic conclusion of Titanic.
An introduction to mise en scene, cinematography, editing and sound
for teachers attending the summer 2009
Teacher's Institute at Jacob Burns Film
Center, Pleasantville, NY.
The document discusses lighting techniques used in filmmaking. It covers the responsibilities of the lighting director and how lighting is used to create illumination, mood, and guide attention. It then describes the four major features of filmic lighting: quality, direction, source, and color. Finally, it explains the components and setup of the basic three-point lighting technique, including the key light, fill light, and back light.
This document provides an overview of key cinematography techniques used to convey meaning and emotion in film, including lighting, color, camera work, and composition. It discusses two main approaches to lighting - realistic lighting using three-point lighting for a natural look, and expressive low-key lighting to create shadow and mood. It also covers camera angles, movement, position/framing, composition using rules of thirds, and depth of field. Examples are given from famous films to illustrate different techniques.
Codes and Conventions of Horror/Thriller FilmsWelling School
Technical conventions like canted angles, long tracking shots, and POV shots are used to create confusion, tension, and show what characters see. Symbolic conventions employ colors like black and red or props like weapons to represent death, evil, danger, and violence. Characters typically include a main protagonist hero or victim, an antagonist villain like a monster or killer, careless teenagers often killed first, and creepy children or authority figures. Common themes involve good versus evil, revenge, the supernatural, religion, living dead, experiments gone wrong, insanity, nightmares, and lust.
This document discusses common elements of horror films including typical synopses involving revenge, hauntings, demons, and serial killers. It notes that horror films often take place in abandoned buildings at night and feature props like weapons and masks. Common characters include victims, villains like serial killers, "stupid" teenagers, and possessed children. The camera work aims to induce fear through techniques like high and low angles, point-of-view shots, handheld footage, and disturbing sounds.
Comedy sketches typically take place in bright, social settings filmed with naturalistic camerawork. Sound and lighting aim to create a realistic environment, with clear dialogue and bright colors used. Props are important, especially those that can cause harm in slapstick scenes. Characters usually include idiotic people contrasted with normals, or very intelligent people who are socially awkward around normals. Sarcasm is also a common trait.
Camera shots and angles for a horror and thriller filmbilliewilson_
This document discusses various camera shot techniques used in horror and thriller films to build suspense and tension. It describes how high angle shots make characters seem powerless, while close-ups show emotion and detail. Tracking shots establish movement and build suspense as the audience doesn't know what will be shown next. Tilt shots can simplify supernatural elements or portray the camera as a victim. Low angle shots emphasize how intimidating villains are, while point-of-view shots make the audience feel emotionally invested. Zooming and shots involving mirrors and reflections also heighten tension.
Film Language: Editing explanation examples and worksheets. Ian Moreno-Melgar
A long and detailed look at what editing is in Film and how it helps to not only present a story to the audience but how it functions on a technical level. The presentation is broadly split into two areas: Pace and Transitions. Each section contains a definition, a range of examples (many of which are gifs and videos which obviously won't play on here) and some activities for students to engage with.
Comedy films often use bright settings like cities and social gatherings. The camera work is not meant to draw attention and aims to show equality among characters. Sound effects and dialogue are important for comedy, with slapstick using exaggerated sounds and conversations driving humor. Characters are typically normal people paired with stupid ones to highlight their foolishness through contrast, or highly intelligent people lacking social skills who provide laughs through unawareness of normal behavior.
The document discusses various elements of movies including photography, mise-en-scène, editing, story, and genres. It covers topics such as camera shots, angles, lighting, composition, cutting techniques, narrative structures, and the conventions of different styles of films like realistic, formalistic, and documentary. Key filmmaking concepts and theories are explained through examples from famous movies.
This document discusses common cinematography, editing, and sound techniques used in crime films. Low angle and high angle shots are used to convey power and weakness. Low key lighting adds to the mood. Dissolve transitions and jump scares are common editing techniques used to manipulate the audience. Montage is used to summarize crimes. Diegetic sound comes from within the scene while non-diegetic sound effects are added in post-production to build suspense.
This document provides an overview of basic film terminology related to shot sizes, camera angles, camera movements, and lighting. It defines common shot sizes like wide shot, long shot, mid shot, close up, and extreme close up. It also explains basic camera movements like pan, tilt, track, crane, and roll. Additionally, it covers camera angles like low angle, high angle, and Dutch angle. Finally, it discusses lighting techniques such as backlighting, sidelighting, and highlighting.
This document provides instructions for students to analyze elements of mise-en-scene in a photo by answering questions about dominant subjects, camera placement, lighting, color, composition, framing, character placement, and proxemics. Analyzing these technical elements will help students better understand how mise-en-scene shapes a film's narrative. The assignment should be completed with detailed, evidenced responses and submitted by the due date for up to 5 points.
This document provides information on film and video editing techniques. It defines film editing and describes concepts like montage and juxtaposition. It lists different types of cuts and edits that can be used, including examples, and discusses relationships between shots. It also defines continuity editing and the Hollywood method. The document analyzes a scene from Inglorious Bastards to demonstrate spatial relationships and the use of cross-cutting/parallel editing.
This document discusses different types of sound that can be used in films, including diegetic sound that comes from within the world of the film and non-diegetic sound that is added in post-production. It notes that diegetic sound helps create a sense of place and events, while scripted dialogue moves the story forward and develops characters. Non-diegetic music and voiceovers can interpret emotions and enhance understanding of characters. Sound can also be used to link sequences, reflect themes, position the audience, and match or contrast events on screen through parallel or contrapuntal use.
The scene analyzes Norman Bates and Marion Craine in Alfred Hitchcock's film Psycho through micro-elements like camera shots, lighting, sound, and character behaviors. Norman is initially shot from a low angle, making him seem powerful yet inviting, though his smile seems ambiguous. Marion seems uncomfortable due to the isolated setting and Norman's staring. As the scene continues, Norman seems nervous and excited by Marion's presence, while Marion tries to hide her discomfort by smiling. The shots become tighter on the characters as the atmosphere becomes more ominous and Norman's behavior more threatening.
The document provides an analysis of the opening sequences of four films: Psycho, Se7en, Gattaca, and Lord of War. For each film, aspects like title design, camera work, editing, sound, and how they set expectations for the film's genre are discussed. Common conventions like creating unease, mystery, and entertaining the target audience through tension and drama are addressed.
The document discusses how the film Psycho uses various camera shots and techniques like music to build suspense and tension. It provides examples of close-ups of Marion being stalked that leave the audience wondering what will happen. It also describes a medium shot of someone creeping into the bathroom while Marion showers, increasing tension over who it is and what they may do. Finally, it mentions a two-shot of the detective and Norman Bates that establishes the detective as a smart character and a long shot of the spooky house with unsettling music.
This document provides an analysis of the conventions and techniques used in the 1960 film Psycho. It summarizes that Psycho set the classic conventions of the thriller genre by taking place in a remote isolated location away from the city. It introduces a pretty blonde woman as the likely first victim and features murders at night during rainy miserable weather. The opening music establishes an unsettling tone. Titles use the date without a year to make the events feel like they could happen at any time. Camera techniques like panning and close-up shots create unease and a sense of voyeurism. Costuming is used to signify the main character Marion Crane's shifting innocence and doomed fate.
The title sequence of Alfred Hitchcock's Psycho uses a black screen with white text to make the writing more prominent and easier to read. It employs wipe and dissolve transitions to introduce the cast members and establish the setting. No camera angles or lighting effects are used, keeping the sequence straightforward and allowing the text and shots to set the scene for the thriller that follows.
Mise-en-scene refers to everything visible within the frame of a shot including settings, costumes, lighting, and character positioning. It is a key tool filmmakers use to communicate meaning and influence audience perception. The five elements of mise-en-scene are settings and props, costumes, facial and body expressions, lighting and color, and character positioning within the frame. Each element conveys meaning and together they provide crucial context for understanding characters and the story.
The dominant contrast is Enid, dressed in bright blue. After taking her in, the eye is drawn to:
- Seymour, who is also a large object in focus. As the other person in the conversation, he is an important secondary focus.
- The kitchen backdrop and appliances, which provide context for the setting of the scene.
So in summary, after Enid, the eye moves between Seymour as the other character, and the kitchen setting around them, which provides information about where this interaction is taking place.
This document defines and provides examples of key cinematography and mise-en-scene terms. It discusses mise-en-scene as referring to everything that appears before the camera, including lighting, setting, color, characters' body language, facial expressions, gestures, costumes, props, and representations. It also covers the different types of lighting like key lighting, fill lighting, and high/low key lighting. Color symbolism and how lighting determines mood are also addressed. The document provides homework to review and learn these important media terms.
Mise-en-scene refers to everything that appears before the camera, including lighting, setting, color, characters and their costumes, makeup, props, facial expressions, body language and gestures. Lighting can establish mood and includes key, fill and available lighting. Setting details the location, time period and architecture. Color carries symbolic meanings. Characters are represented through their appearance, physical communication and props. Together, these elements comprise the visual storytelling of a film.
Mise-en-scene refers to everything that appears before the camera, including lighting, setting, color, characters and their costumes, makeup, props, facial expressions, body language, and gestures. Lighting can establish mood and includes natural, available, and artificial light sources like key, fill, and rim lights. Setting details the location, time period, and architecture. Color conveys meaning and emotion. Characters are represented through these visual elements to fit or challenge stereotypes.
Mise-en-scene refers to everything that appears before the camera, including lighting, setting, color, characters and their representation through facial expressions, gestures, and body language. Key lighting is the main light source used to illuminate a subject, while fill lighting softens shadows. Artificial lighting must be tested to ensure proper exposure. Character representation is achieved through costumes, props, makeup and how actors employ body language, gestures and facial expressions.
The document provides definitions and explanations of key cinematic techniques related to mise-en-scene. It discusses lighting, including natural, available, and artificial lighting. It also covers color symbolism, facial expressions, body language, gestures, costumes, makeup, hair, props, and setting. The purpose is to define these terms for students to identify them in film extracts and discuss their meanings.
This document defines key terms related to mise-en-scene and provides examples and descriptions for each term. Mise-en-scene refers to everything visible to the camera, including lighting, costumes, makeup, props, setting, and more. It discusses the different types of lighting used in films including key lighting, fill lighting, and available versus artificial light. Color symbolism and how lighting establishes mood are also covered. The document also defines costume, props, facial expressions, body language, gestures and other elements that contribute to character representation in film.
This document defines key terms related to mise-en-scene and provides examples of how they contribute to character representation in film. It discusses lighting, setting, color, facial expressions, body language, gestures, costumes, makeup, props, and how these elements work together to portray characters as fitting or challenging stereotypes. Mise-en-scene refers to everything visible within the frame and how it is arranged or presented. Elements of mise-en-scene help reveal details about characters, mood, time, location, and themes in a movie.
This document defines key terms related to mise-en-scene and provides examples of how they contribute to character representation in film. It discusses mise-en-scene as including everything visible to the camera including costume, lighting, acting, makeup, props, and setting. It then defines types of lighting like key lights and fill lights. It also discusses how lighting can set mood through high key and low key techniques. Finally, it describes how other mise-en-scene elements like facial expression, body language, gesture, costume, makeup, and props work together to represent a character as a certain stereotype.
Mise-en-scene refers to everything visible within a single shot or frame that helps tell the story. This includes color, costumes, props, sets or locations, blocking/performances of actors, and lighting. All of these elements are purposefully arranged by the director to influence mood, express character traits, and provide cultural clues about people and situations through the use of semiotics, the study of signs in communication.
Mise en scene refers to everything presented within the frame of a film, including settings, costumes, lighting, and positioning of characters and objects. These elements are deliberately chosen by filmmakers to convey meaning and influence audience perception. For example, a tree can be made to look threatening through lighting, weather, and added elements, or non-threatening by showing children playing beneath it on a sunny day. Filmmakers also use mise en scene elements like settings, costumes, lighting, and character positioning to establish genre expectations and mood, provide clues about characters, and guide audience attention within a scene.
This document discusses key concepts related to how meaning is created in media through symbolic codes. It explains that meaning can be created through settings, props, costumes, makeup, lighting, movement, camera shots, and editing. It then discusses Stuart Hall's reception theory and the three ways meaning can be interpreted: preferred reading, negotiated reading, and oppositional reading. Finally, it provides examples of various symbolic codes like color symbolism, mise-en-scene elements, lighting techniques, facial expressions and body language, and how props and costumes can influence mood.
This document discusses the concept of mise-en-scene in media analysis. Mise-en-scene refers to everything visible within a single shot, including color, costume, props, set/location, blocking/performance, and lighting. It examines how these elements are used symbolically and to provide meaning. Specific examples are provided from films like The Village to demonstrate how directors use elements of mise-en-scene purposefully to convey themes and character traits. The document also briefly discusses related concepts like semiotics, the study of signs and codes, and how audience understanding is based on our ability to decode the signs present in a work.
The document provides an overview of mise-en-scene and lighting techniques in film production. It defines mise-en-scene as the arrangement of scenery, props, lighting and actors on a film set. Key elements of mise-en-scene include production design, costumes, acting, and cinematography. Cinematography techniques discussed include types of lighting schemes, use of space and depth of field. The document also notes how mise-en-scene and lighting can be used to convey mood, tone, themes and point of view in a film.
The document provides an overview of mise-en-scene and lighting techniques in film production. It defines mise-en-scene as the arrangement of scenery, props, lighting and actors on a film set. Key elements of mise-en-scene include production design, costumes, acting, and cinematography. Cinematography techniques discussed include types of lighting schemes, use of space and depth of field. The document also notes how mise-en-scene and lighting can be used to convey style, tone, themes and characters in a film.
This document provides information about mise-en-scene and other film techniques. It defines mise-en-scene as the staging and composition within a film frame, including setting, costumes, props, acting, and camera work. It encourages analyzing these "micro-features" and how they construct meaning for audiences. Various film techniques are explained, such as shallow focus, deep focus, lighting styles, and transitions between shots. Examples from films are provided to illustrate these concepts. The document aims to develop skills in both analyzing and creating films through an understanding of mise-en-scene and other technical elements.
The document discusses the film techniques of mise-en-scene and lighting, which are important visual and technical codes that filmmakers use to convey meaning. It defines mise-en-scene as everything within the frame, including setting, costumes, color palette, characters and their movements. Lighting techniques like three-point lighting, high-key lighting and low-key lighting are also discussed, and how they impact the visual style and mood of a film. Examples are provided of how these techniques are used in specific films to provide information about characters and further the narrative.
Mise-en-scène refers to everything visible within a film frame and how it is arranged and organized. It includes six key areas: color, costume, props, set/location, blocking/performance, and lighting. These elements are purposefully manipulated to provide meaning and clues about characters and situations. For example, costume can indicate social class or personality traits while lighting is used to set mood through techniques like high-key and low-key lighting. Together, an effective use of mise-en-scène aims to create verisimilitude, giving the audience a sense of realism or authenticity.
The document discusses various elements of mise-en-scène that contribute to the meaning and message of filmed media. It defines mise-en-scène as the arrangement of everything visible in a film frame, including actors, lighting, décor, props, and costumes. It then examines specific mise-en-scène elements like décor, lighting styles, costumes, props, color, location, body language, and character placement within the frame and how they can be used to characterize figures or set a mood. Students are instructed to closely analyze the mise-en-scène of short film clips and consider how these elements contribute to meanings around characters.
This document discusses various elements of mise-en-scène that are used in film and television to create meaning and evoke emotions. It defines mise-en-scène as the arrangement of everything visible in the frame, including actors, lighting, décor, props, and costumes. It then examines specific mise-en-scène elements like lighting, costume, location, body language, and décor and how they are used symbolically and to characterize figures or set a mood. Students are instructed to analyze how these elements create meaning in scenes from the TV show Broadchurch trailer.
The document discusses the concept of mise-en-scène in filmmaking, which refers to everything that appears before the camera including characters, setting, costumes, lighting, staging, and more. It explains that mise-en-scène can be used to create effects like realism or exaggeration and works in relation to other film techniques. Key elements of mise-en-scène discussed include setting, costumes, lighting, staging, space, time, special effects, and sound.
This document appears to be notes from a media studies class. It includes statistics on student performance in the subject across various years, descriptions of class projects analyzing films and creating documentaries, information on guest speakers from the film industry, and notes planning a short horror film exercise for students to complete in groups. The document provides an overview of the media studies curriculum, projects assigned, guest involvement, and resources available to students.
The document outlines the five key stages of film production: development, pre-production, production, post-production, and distribution. It describes the main activities that take place at each stage, from securing initial financing during development, to distributing the completed film. The stages involve writing scripts, hiring crews, filming, editing, marketing the film for theatrical release, and generating ongoing revenue through different distribution channels.
The document discusses gender stereotypes and representation in media. It asks how different genders are portrayed in terms of their appearance, behavior, speech, dress, jobs, relationships, and other attributes. It notes that these portrayals may differ by age, region, sexuality, race, personality, and other factors. The document then categorizes people by gender and provides a template for analyzing clips in terms of stereotypes and how characters are represented. Students will be asked to compare portrayals of males, females, and trans individuals both within and across gender categories.
This document outlines an activity to teach students about postmodernism. It introduces some key terms related to postmodernism like pastiche, parody, hybridity, and intertextuality. Students are split into groups and given media texts to analyze in terms of these concepts, explaining how each text demonstrates postmodern qualities. The goal is for students to identify these postmodern elements in both existing and original media examples. They compete for points by accurately categorizing texts and developing their own case studies. At the end, a winner is announced based on the group with the most points.
The document provides information to help study for an exam on the film industry. It discusses the key stages in the life cycle of a film from funding through production, marketing, distribution, consumption including exhibition and exchange. It also outlines the main topics to be covered: media ownership, synergy/convergence, audiences, digital technology, hardware, and technological convergence. Examples of case studies and recent films are mentioned to illustrate the concepts. Constant revision of the material is emphasized in order to remember all the necessary information for the exam.
The document provides guidance on how to take effective notes and write paragraphs for the AS media exam. It recommends two note-taking options - structuring notes by the beginning, middle and end of a clip, or noting each key term and the related evidence. For paragraphs, it outlines the PEAL structure - having a Point, Evidence, Analysis, and Link for each paragraph. It emphasizes using analytical verbs for analysis and comparing representations where possible to achieve higher marks.
This document provides guidance on improving a blog by reviewing comments, completing missing tasks, and maintaining the blog independently. It highlights areas the blog will be marked on, such as titles, completion, order, time management, presentation, and communication. Good practices are noted but not described, while poor practices are listed but also not explained. Students are instructed to upload assessment records and missing content, as well as fix text presentation issues.
The document discusses applying Michel Foucault's theories on surveillance and the panopticon to various media texts. Foucault argued that constant surveillance changes how people present themselves and act, as viewers have power over those being watched. Reality television and social media allow audiences to observe and control how others present themselves. Students analyzed how shows like Big Brother and profiles on Facebook reflect concepts of voyeurism and panoptical control from Foucault's perspective. They were assigned to write an essay comparing selected media texts using Foucault's surveillance theories.
This document defines and provides examples of key terms related to sound in media. It discusses concepts like diegetic and non-diegetic sound, the soundscape, score, dialogue, ambient sound, sound bridges, sound effects, Foley, synchronous and asynchronous sound, incidental music, and sound motifs. Examples are provided for many terms, typically linking to YouTube videos that illustrate the term. The document concludes by asking the reader to categorize their understanding of the terms into green, amber, and red for focused revision in preparation for a test on the topics.
This document provides an overview of key concepts related to modernism and postmodernism. It discusses how modernism emerged from the late 19th century with industrialization, capitalism, and secularization. Technologies like the automobile and telephone altered perceptions of time and space. Theories like Taylorism and Fordism aimed to increase efficiency and productivity through specialization and assembly lines. However, events like the World Wars and economic crashes eroded trust in rationalism and science, contributing to postmodernism's emphasis on style over substance and skepticism of grand narratives. Students are assigned to complete a chart comparing modern and postmodern traits, and create mind maps analyzing specific modernist and postmodernist works in their historical contexts.
This document defines key terms related to editing in media. It discusses various continuity editing techniques like the 180 degree rule, match cuts, shot reverse shot, eye line matches, and cross cutting. It also covers other editing concepts like pace, time manipulation, transitions, and special effects. The goal of continuity editing is to make scenes look continuous and smooth for the audience.
Assignment 3 planning of sweded trailerMissConnell
The document provides guidance for students planning their Sweded trailer assignment. It outlines the key elements they must include in their planning: a storyboard, script, props, costumes, actors, and locations. Students must choose whether to collaborate together on all aspects or divide tasks among group members. Templates and examples are provided for the storyboard and script. Criteria for assessing the quality of each element at different levels are also included.
This document lists past paper questions about postmodern media from January 2010 to June 2014. The questions cover defining postmodern media, discussing why it may be considered controversial, analyzing how postmodern media differ from other media and blur reality/representation, and assessing theories of and arguments for/against postmodernism in relation to various media examples and texts.
This document provides information about an exam on Critical Perspectives in Media, including details about the postmodernism section. It covers the title, length, requirements and marking of the exam. For the postmodernism part, it lists various media platforms and theories that must be studied, such as video games, cinema and audience theories. It also provides sample exam questions focusing on definitions of postmodernism, how postmodern media challenges traditional concepts, and debates around whether postmodernism is a useful theory. Students are instructed to prepare for an exam question relating to prompts about their chosen contemporary media issue.
This document provides instructions for an assignment on key camera techniques for students in a media class. It includes a quiz on camera shots, angles, movement, and composition. For homework, students must work in groups to take photos that demonstrate these techniques and create a PowerPoint presentation with annotations explaining each technique. Examples of layout for the presentation are provided. Students will be assessed on their understanding, photo quality, presentation skills, and group contribution.
The document discusses film genres, subgenres, and hybrids. It defines genres as categories that films can be grouped into, and provides examples of common genres like drama, comedy, and horror. Subgenres are more specific categories that combine two main genres, such as romantic comedies. Hybrids combine three or more genres. The document emphasizes identifying conventions for each genre and subgenre. Students will complete a genre exploration assignment demonstrating their understanding of genres, subgenres, conventions, and providing film examples.
This document appears to be about a sample presentation. While no other details are provided in the document itself, it seems to be providing an example of what a presentation might look like or include. Further context would be needed to understand the purpose or content of the sample presentation described.
This document provides information about Section A of the G322 exam, which focuses on analyzing techniques used in television dramas. It defines key terms like text, analysis, and representation. It describes the objectives of Section A as understanding how technical elements like camera work, mise-en-scene, editing, and sound are used to create meaning and represent social groups. Candidates will analyze an unseen TV drama clip using these techniques and terms. The document also lists different types of TV dramas and resources for further studying them.
This document contains assessment results for AS and A2 media students from 2011-2014. It shows that for AS level, the percentage of students receiving A-E, A-C and A-B grades fluctuated over the years but remained high overall, with 100% receiving A-E in 2013-2014. Similarly for A2 level, the percentage of top grades varied year-to-year yet stayed high, with 100% of students receiving A-E in 2012-2013. The document also outlines the assessment structure for the course, which includes exam sections on TV drama and the film industry, a coursework film opening sequence, and research, construction and evaluation components.
Postmodernism lesson 1 introduces some of the basic ideas and concepts of postmodernism. It discusses the origins and key themes of postmodernism, including its skepticism of grand narratives and emphasis on individual experimentation. The document outlines some previous artistic and cultural movements like modernism to provide context. It also examines some key postmodern features such as pastiche, parody, intertextuality, and self-reflexivity. Students are assigned a task to create a presentation on a postmodern text that demonstrates at least two of these concepts.
2. PART G: MISE-EN-SCENE
• Mise-en-scene definition
When applied to the cinema, mise-en-scène refers to everything that appears before the camera and its
arrangement—
1. lighting
2. setting
3. colour
4. characters = a) body language e) props
b) facial expression f) make up
c) gesture g) representation
d) costume
3. PART G: MISE-EN-SCENE
• Lighting
Lighting or illumination is the deliberate application of light to achieve some practical or aesthetic (visual)
effect.*
The art of lighting for cinematography goes far beyond basic exposure, however, into the essence of visual storytelling. Lighting
contributes considerably to the emotional response an audience has watching a motion picture.*
The intensity, direction, and quality of lighting have a profound effect on the way an image is perceived. Light (and shade) can
emphasise texture, shape, distance, mood, time of day or night, season, glamour; it affects the way colours are perceived, both in
terms of shade and depth, and can focus attention on particular elements of the composition.*
*From Wikipedia
Unlike the human eye, video and film cameras need specific lighting to produce an image that looks realistic and believable to the
viewer. In order to make movies, lighting has to be considered constantly in every shot. There are essentially two types of lighting
and several positional techniques used to light a scene in a movie. While there are many variables involved, the basic concepts of
movie lighting remain the same throughout the industry.
4. Lighting and mood
• Think of the mood for each of these scenes, how does the lighting
determine the mood?
5. PART G: MISE-EN-SCENE
• Natural lighting
Natural lighting is from a natural source such as the sun or fire.
6. PART G: MISE-EN-SCENE
• Available Lighting
One of the two types of light available to film crews is commonly called "available light." This simply
means that the naturally occurring light on the set will be used to completely or partially light the scene.
This is usually sunlight (natural light), but the term is also used to refer to any lighting not set up by the
crew; streetlights, for example, may be considered available light.
Remember available lighting must be tested to determine if it is sufficient for filming.
7. PART G: MISE-EN-SCENE
• Artificial Lighting
Artificial light is lighting that is not provided by a natural or available source such as the sun or fire and
that is man made.
Artificial light includes any set lighting brought in by a movie production crew.
There are many varieties of artificial lighting used on movie sets.
8. PART G: MISE-EN-SCENE
• Key
Types of movie lighting may refer to the position of the light source and its purpose as well. The key light is the main light source
used to light a subject in a scene. This light is often placed on the front and side of the key subject, such as the speaking actor in
the scene, and is slightly elevated to mimic sunlight, moonlight or indoor lighting. This is typically the most intense light used on
the set.
By placing the key light above and to the left we can see the volume of the oranges (i.e. that they're spherical). We can also see
that they are on the floor by the shadows cast and that they are stacked on top of each other. However the image is lacking detail
in the shadow regions and is a bit brutal. In order to fix this we need to add another light to the right of the oranges to add some
illumination to those darkened areas. This light is called the FILL LIGHT. Let's look at what this light contributes to the scene.
Key Lighting Fill lighting Key, fill, rim lighting
9. High and low key lighting
• Low Key
The term "low key" is to refer to any scene with a high lighting ratio, especially if
there is a predominance (majority) of shadowy areas. It tends to heighten the
sense of alienation felt by the viewer, hence is commonly used in film noir and horror genres.
• High Key
The scene is flooded with light. This in turn leaves very few shadows and can create
a washed out look. In order to create a high key lighting, many extremely bright lights
must be used in order to flood the scene with light. It tends to be used to reveal settings,
characters, objects to reveal the information to the audience, often used in happy and
energetic and bright/warm situations often in action, drama and comedy genres.
10. PART G: MISE-EN-SCENE
Remember all lighting including ‘artificial lighting’ must be tested/measured to determine if it is sufficient for
filming.
Example:
the sunlight can often be too much light (overexposure) where it will be too light/white/faded
the sunlight can often be too little light (underexposure)
where it will be too dark/black
11. PART G: MISE-EN-SCENE
• Setting
In fiction, setting includes the time, location, and everything in which a story takes place, and initiates the main
backdrop and mood for a story. Elements of setting may include culture, historical period, geography, and hour.
Basically, where is a scene set/located in a film.
Setting checklist:
1. INTERIOR/EXTERIOR ?
2. DOMESTIC/PROFESSIONAL etc. ?
3. TYPE OF BUILDING (architecture) and
TYPE OF FURNITURE (style)
4. LOCATION – where is it set? City? Country?
Posh? (geography)
5. TIME
a) historical period (considering above)
b) Hour/time of day (morning, afternoon, dawn, night(
12. PART G: MISE-EN-SCENE
• Colour
How a scene in a film uses colour in a scene to show emotions, mood/atmosphere or themes.
Consider what colours communicated and think of how the colour communicates the mood/atmosphere.
WHITE …………
BLACK ……….
BLUE ……………
RED ………….
PURPLE …………….
GREEN …………….
YELLOW …………….
ORANGE ……………..
13. PART G: MISE-EN-SCENE
WHITE -warm: innonce, purity,………. cold: clinical/hygience/sterility
BLACK -dark, mysterious, formal, eerie, professional, modern
BLUE -cold/cool, futuristic, sterile, fresh, clean, masculine
RED -dangerous, anger………..love, passionate,seductive
PURPLE -royalty/wealth…….. feminine, mysterious
GREEN -nature/earth/fresh…………….mysterious, wealthy………poisonous/revolting/hazardous
YELLOW -warm yellow: warming, bright, cheery, calming ……….. cool yellow: hazardous, alarming
ORANGE -warm, cosy, energetic, hunger
14. PART G: MISE-EN-SCENE
• Facial expression
A facial expression is a form of non-verbal communication; one or more motions or positions of the muscles of
the face and eye (and eye movement). These movements convey the emotional state of the individual to
observers.
Basically, the way a person’s face is to show an emotion.
*eyes and eyebrows and shape of mouth determine a lot!
15. PART G: MISE-EN-SCENE
CHARACTER
• Body Language
Body language is a form of non-verbal communication, which is determined by body posture and placement of body/head/limbs.
Body language may provide clues as to the attitude or state of mind of a person. For example, it may indicate aggression,
attentiveness, boredom, relaxed state, pleasure, amusement, and intoxication, among many other cues.
Basically, how a character uses their body to communicate their thoughts or emotions to contribute to how they are represented.
Example: affectionate = body is willing to allow physical touching and open arms to welcome
fearful = body will be stiff, tense, arms near face to hide emotions, eyes wide open to be alert
16. PART G: MISE-EN-SCENE
• Gesture
A gesture is a form of non-verbal communication in which visible bodily actions communicate particular
messages, either in place of speech or together and in parallel with spoken words. Gestures include movement
of the hands, face, or other parts of the body. Gestures differ from physical non-verbal communication that
does not communicate specific messages, such as purely expressive displays such as ____________. Gestures
allow individuals to communicate a variety of feelings and thoughts, from contempt and hostility to approval
and affection, often together with body language in addition to words when they speak.
Basically, gesture is a sign or symbol of an emotion.
Example: angry/rebellious = giving someone the finger/2 fingers up
welcome = handshake or kiss on the cheek
courteous = opening door for someone
17. PART G: MISE-EN-SCENE
• Costume (Character)
The term costume can refer to wardrobe/clothing/accessories which is assigned to an actor which can be
representative of:
-social groups (gang, school children, goths, etc)
-professional/role (doctor, dentist, teacher, carer, employee of a business etc)
-social class (lower/middle/upper)
-time period (20’s, 50’s, 80’s etc……old fashioned vs modern vs contemporary)
-occasion (wedding, prom, any ritual/ceremony)
It is relevant to circumstances represented or described, or to a particular style of clothing worn to portray the
wearer as a character or type of character other than their regular persona.
Basically, what a person wears to represent their character.
Example: Hat, doctors white lab coat, vest top, hoodie, dress etc
18. PART G: MISE-EN-SCENE
• Make-up & hair (Character)
Cosmetics/make-up are substances used to enhance the appearance of the human body. They can be used in
film to assist in the representation of a character to appear a certain way or fit a certain stereotype.
19. PART G: MISE-EN-SCENE
• Props (Character)
Props are items or objects that are used in addition or in combination with a character’s (or subject) costume
to contribute to their representation. They could also be other objects or items in the scene in connection with
the setting.
Example: baseball bat, cigarette, gun, pen, wine glass, clipboard etc.
20. PART G: MISE-EN-SCENE
• Character representation
How a character is represented to fit or challenge a stereotype to emphasise the role of their character.
Consider how their costume, props, body language, gesture, use of speech/language and facial expression: how
they all work together to make them appear as a certain stereotype.
Examples: -rebellious, wild child teenager
-evil and manipulative child
-responsible and loving parent
-masculine, caring and generous hero
-dominant and powerful, authoritative boss
-the nerdy student
-the innocent and helpless victim
-the frail, weak and loving grandparent
21. Homework
• Set: Tues Nov 13
• Due: Thur Nov 15
1. Revise section A marks & mark scheme
2. Revise all mise-en-scene key terms, do this by:
1. reading the powerpoint at least 3 times
2. Write down the key terms and their meanings on paper
3. Test yourself – write down all the key terms by memory
4. Extension – write down the definitions by memory –
revise on the ones you aren’t familiar with
22. Next lesson
• Next lesson, you will write a response to a 5
minute clip.
• You will have 1 minute to set up your notes
the way I taught you.