Cinematography & Mise-en-scene


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  • Watched sapphire
  • 5
  • 10min
  • Feedback 10mins
  • Up to here in 1 lesson!
  • 20 – 31 5mins
  • Discuss and feedback – 20mins
  • When they have had a chance to write down notesGo through a stop seeing if they know what the shots are and the effects
  • Cinematography & Mise-en-scene

    1. 1. REVISION OF MICROFEATURESThursday 11th OctoberAim: To revise how to analysecinematography and use the correctterminology
    2. 2. WHAT ARE MICROFEATURES?• The micro features work together to form thelanguage of film and communicate meaning toan audienceMICROFEATURESEDITINGCINEMATOGRAPHYSOUNDMISE-EN-SCENE
    3. 3. CINEMATOGRAPHYThe way in which thecamera is used to createmeaning
    4. 4. CINEMATOGRAPHY• YOU NEED TO BE ABLE TO USE THE RIGHTTERMINOLOGY,• I need to be able to recognise shots, anglesand movement and explain the effect theyhave• Write down all the terms you know and saywhy they might be used
    6. 6. CLOSE UP• Head and shoulders are in the frame. Used ifthe director wants to focus our attention onone particular thing. This is often character’sfacial expression
    7. 7. CLOSE UP• Write down what the director wants us tounderstand when we see these two close upsIMAGE 1IMAGE 2
    8. 8. CLOSE UP• Write down what the director wants us tounderstand or feel when we see these twoclose upsIMAGE 1IMAGE 2
    9. 9. EXTREME CLOSE UP• Focuses the audience’s attention on smalldetails and these shots are often used morefor artistic effect, can give the audience asense of discomfort
    10. 10. LONG SHOT• Shows us the whole character, drawingattention to costume and body language. Canbe used to offer perspective
    11. 11. EXTREME WIDE SHOT• The view is so far from the subject that heisnt even visible. Often used as anestablishing shot.
    12. 12. POINT OF VIEW• When we the audience see exactly what hecharacter is seeing. This puts the audience in asubjective position
    13. 13. MID SHOT• When we see the character from the waist upwith partial view of the setting in thebackground. Used so we can focus on thedialogue between two characters
    14. 14. MEDIUM LONG SHOT• When we see the character from the knees upwith partial view of the setting in thebackground
    15. 15. BIRDS EYE VIEW• When the camera looks down on settings of characters from high above.This shot does, however, put the audience in a godlike position, lookingdown on the action. People can be made to look insignificant, ant-like,part of a wider scheme of things.
    16. 16. LOW ANGLE SHOT• The camera is placed below a subject lookingup, it look larger and more powerful
    17. 17. HIGH ANGLE SHOT• When the camera looks down on a person orobject, it can look vulnerable. Not so extremeas a birds eye view.
    18. 18. HIGH & LOW ANGLES• Discuss how you thinkthe director expects youto feel when you look atthese two shots• What do you think youare expected to thinkabout the strength ofthe characters in thesesituationsIMAGE 1IMAGE 2
    19. 19. OVER THE SHOULDER SHOT• Looking from behind a person at the subject.What effect doesthis create?
    20. 20. TWO SHOT• A shot with two people, can be used to showthe relationship they have with each other
    21. 21. CANTED ANGLE• Sometimes the camera is tilted, to suggestimbalance, transition and instability (verypopular in horror movies).
    23. 23. STEADI-CAM• A camera mounted on a harness attached to acameraman so the movement is smooth
    24. 24. HANDHELD• The camera shots move in a disjointed way –the shots are unclear as the camera is heldwithout support
    25. 25. PAN• A movement which scans a scene horizontally(left to right/ right to left). The camera isplaced on a tripod, which operates as astationary axis point as the camera is turned,often to follow a moving object which is keptin the middle of the frame.•
    26. 26. CRANE SHOT• Basically, dolly-shots-in-the-air. A crane (orjib), is a large, heavy piece of equipment, butis a useful way of moving a camera - it canmove up, down, left, right, swooping in onaction or moving diagonally out of it. It can beused to draw the audience right into thecentre of the action.•
    27. 27. ZOOM• the camera is fixed and a zoom lens is used tomove in closer (at variable speed), or out,further away, from the subject(s). This is usedto involve the audience or to focus on theexpres-sion of a character, by zooming Into aclose-up to heighten suspense.
    28. 28. TRACKING/DOLLY SHOT• The camera is placed on a moving vehicle and movesalongside the action, generally following a movingfigure or object A dolly shot may be a good way ofportraying movement, the journey of a character forinstance, or for moving from a long shot to a close-up, gradually focusing the audience on a particularobject or character.•
    29. 29. TILT• A movement which scans a scene vertically(up and down/ down and up), otherwisesimilar to a pan.•
    30. 30. PEDESTAL SHOT• A camera movement in which the camera islowered or lifted; for example to follow anactor when he stands up•
    31. 31. LET’S TRY AGAIN• Watch the sequence fromSpiderman• List all the cinematographythat you can and explainwhy they have been used –use the worksheet• You may need to take intoaccount other microfeaturesSHOTS ANGLES MOVEMENT
    32. 32. PUT IT TO THE TEST• Watch the trailer for Thor• List all the cinematography thatyou can and explain why they havebeen used - use the worksheet• You may need to take into accountother micro features• Write an analysis on howcinematography has been used tocreate meaning in the trailerSHOTS ANGLES MOVEMENT
    33. 33. Homework• Choose a sequence film 2-5min long and writeabout how cinematography has been used tocreate meaning - 500words
    34. 34. Mise-en-sceneThe look of a filmcreated through VISUALelements within theframe
    35. 35. Who am i?• who are these people and how do you know?
    36. 36. Where on earth?• Where were these pictures taken and how canyou tell?
    37. 37. Scary OR NICE?• What is creating an atmosphere in thesepictures?
    38. 38. FRAME IT RIGHT• What can you say about the way charactersare positioned within the frame?
    39. 39. ELEMENTs OF MISE-EN-SCENE• I need to able to comment on how the elements ofmise-en-scene communicate something to theaudienceObjects/PropsSetting/LocationLightingShadowColourCharacters position within the frameFacial expressions and body languageCostume, hair and make-up
    40. 40. • What can you say about mise-en-scene?
    41. 41. • What can you say about mise-en-scene?
    42. 42. • What can you say about mise-en-scene?
    43. 43. • What can you say about mise-en-scene?
    44. 44. MISE-EN-SCENE andcinematography• How is mise-en-scene andcinematographyused tocommunicatemeaning to theaudience
    45. 45. • The sequence begins with a close up of MaryJane she isn’t in focus which connotes herdisorientation and lack of awareness of whereshe is. A crane shot is used to zoom out fromwhere she is lying to reveal the height of thestructure where she is positioned this can makethe audience feel uncomfortable and fear for hersafety. The camera zoomed out even further to abirds eye view so the audience could see how farshe could potentially fall.
    46. 46. • Low angles and high angles were frequentlyused in this sequence. The low angles signifiedthe power that the Green Goblin had overSpiderman and the situation. The high anglesmade Spiderman look insignificant andhelpless.
    47. 47. • A pan is used to move to the right and thenthe left. The distance the camera moves to theleft is far greater this signifies the choice thatSpiderman has to make but also the distancebetween Mary Jane and the people in thecart. This along with the wide shot makes theaudience aware that it will be difficult forSpiderman to save the people and Mary Jane.