2. Framing characters through foreground
objects
This technique is highly conventional to
Steven Spielbergโs style of filmmaking. It
creates a more visually intricate scene
than that of a โcleanlyโ framed character,
with no foreground objects. Despite often
being used as a POV shot from the
perspective of a character who is in hiding;
it further makes the audience feel as
though they are physically hidden. This
creates an incredibly intimate and
secretive feel to the scene, whilst
additionally drawing the audiences
attention to the character. This can also be
used to emphasise certain connotations โ
for example, in the image on the right, the
characters are framed through police
equipment. This connotes to the genre on
themes of the movie, presenting the
audience with an inevitably clear and
intimate view of this.
(Source: http://www.lavideofilmmaker.com/filmmaking/steven-spielberg-
film-techniques.html)
3. As seen to the left, I practised this
technique in order to familiarise myself
with it prior to production. In both
instances, I framed the subject using
foreground objects, however kept a
deep focus on the character. This
allowed me to create the illusion that
she was hidden or being watched, as
opposed to within direct view of the
audience. I think that this is a technique
which would be highly applicable to my
own production, due to the fact that it is
conventional of thriller films to build
suspense through the suggestion of
hiding or the use of dramatic irony. If,
for example, combined with handheld
filming, I would be able to create a
scene in which the audience grow
disorientated and begin to question the
motives of the character on screen,
whose actions could be somewhat
concealed/implied to be secretive.
4. Match Cuts
A match cut is defined as โa cut from one shot to
another where the two shots are matched by the action
or subject and subject matter.โ This is commonly used
to show two characters/actions in different settings,
joined together by a shared action or movement. The
editing can be fluid (i.e move seamlessly from one
subject to another, as though the movement was
continuous) or abrupt โ as seen within the Disney
adverts on the right. In these, the camera cuts from a
princess to a young girl in the same position, thus
making it a โgraphic matchโ rather than continuity
technqiue. This acts to show young girls that they too
can be like their favourite princess, hence persuading
them to visit Disneyland or buy Disney products. The
other example I selected is from the 2001 movie โA
Space Odysseyโ, wherein the image of a bone being
thrown into the air seamlessly transforms into that of an
orbital platform โ this being a continuity editing
technique. As a result, a sense of similarity is
established between the two items and settings, which
โ in this instance โ serves as a reminder of
technological advancement.
(sources:
https://en.wikipedia.org/wiki/Match_cu
t
http://princess.disney.com.au/#)
5. Dark silhouettes against backlight
The following technique can be used to
establish character and action. The use of
lighting means the characters are only able to
be seen in silhouette form, this being both
visually pleasing whilst also creating a sense of
mystery. As a result, the technique complies
with Barthesโ enigma code, creating a sense of
enigma surrounding the identity of the
characters. Character is, however, established
through position. For example, the upper
image is a two shot displays the pair of
characters in a seemingly intimate situation,
perhaps shielding them from the audience in
order to create a sense of privacy. The second
image displays a character seemingly in
anguish, surrounded by fire. The use of fire to
create a silhouette connotes to the action
genre, whilst also emphasising the severity of
the situation โ the character is shown as a
pitch-black figure, connoting the idea of ashes
or burning. Furthermore, the enigma
surrounding his identity establishes a sense of
mystery surrounding the cause of the fire.
(source: http://www.lavideofilmmaker.com/filmmaking/steven-
spielberg-film-techniques.html)
6. Manipulation of focus
Another cinematic technique which can be
used for impact is that of focus manipulation.
The example I have selected displays a
focus pull from the outside of a fence, to
looking through the fence. This is effective,
as the audience are given a clear insight into
what is both behind and in front of the fence,
emphasising the hidden nature of what is
behind. The technique is also commonly
used in order to introduce characters โ for
example, if shallow focus is used on a single
character, and this switched to a second
character upon their entry into the shot. This
is not only visually appealing, however
places emphasis on both characters or
actions individually, inevitably drawing the
audiences attention towards both.
7. In the example seen on the left, I
attempted to use a focus pull in order to
shift the focal point from the tree and
onto the dog. I found this to be both
visually appealing as well as relatively
easy to carry out, proving that I have
the capability to use the technique
within my final production. This could be
applicable to the thriller genre through
the use of concealment and gradual
reveal (i.e in the above image, the focus
on the foreground slightly conceals and
detracts from the actions and details
surrounding the subject, which are
gradually revealed through transition
into the lower image). As a result, a
conventional tone of suspense is
established, as audiences are given
information in a more implicit, gradual
manner which allows anticipation to
build.
