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Film making
This document provides an overview of key film analysis concepts including mise-en-scene, cinematography, editing, sound, narrative, representation, documentary, animation, and Quebec cinema. It examines these concepts through analysis and examples from films such as Citizen Kane, Run Lola Run, Do the Right Thing, Frankenweenie, and C.R.A.Z.Y. Key techniques are defined for each concept, such as the use of camera angles, movement, and distance in cinematography. Narrative elements like motifs, parallels, and turning points are also discussed.
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Film making
- 1. BY: CHELDY SYGACOELUMBA-PABLEO, MPA;LLB
- 2. 1. Mise enScene 2. Cinematography 3. Editing 4. Sound 5. Narrative and Characterization 6. Representation 7. Documentary 8. Animation 9. Quebec Cinema
- 3. Film excerpt: CitizenKane (1941), dir. Orson Welles Article: “Mise en scene” Introducing Film by Graham Roberts & Heather Wallis (2001) Elements include: 1. Setting 2. Costume & Make-Up 3. Figure, Expression & Movement 4. Lighting
- 6. Film: Run LolaRun, dir. Tom Tykwer Article: “Cinematography” Film: A Critical Introduction, by Maria Pramaggiore & Tom Wallis (2006) 1. Camera Height 2. Camera Angle 3. Camera Distance 4. Camera Movement Each can convey: information, motifs, introduce ideas, create mood
- 8. CANTED OR DUTCHANGLE vs. vs.
- 9. Film: Run LolaRun, dir. Tom Tykwer Article: “Editing” Film: A Critical Introduction, by Maria Pramaggiore & Tom Wallis (2006) 1. The Kuleshov Effect 2. Interaction between characters 3. Graphic similarities between shots 4. Adjusting the tempo 5. Shot transitions
- 10. Film excerpts: Raging Bullvs Fight Club Rear Window Psycho Requiem for a Dream Article: “Sound” Film: A Critical Introduction, by Maria Pramaggiore & Tom Wallis (2006)
- 11. Terms: 1. Foley artist:creates sound effects 2. Soundtrack: ALL the sound within the film (dialogue, effects, music) 3. Direct sound: sound recorded on location / while the film is being shot 4. Sound Effects: any noise other than dialogue and music 5. On-screen vs. Off-screen sound 6. Objective image vs. Subjective sound 7. Diegetic: what the characters CAN hear 8. Non-Diegetic sound: what the characters can NOT hear 9. Image Time vs. Sound Time 10.Image Mood vs. Sound Mood
- 12.
- 13. Diegetic vs. Non-Diegeticsound Image Time vs. Sound Time Requiem For a Dream Like a sound “dissolve” where sound from one scene “bleeds into the next scene.
- 14. Image Mood vs.Sound Mood Pulp Fiction
- 15. Film: Do theRight Thing (1989), dir. Spike Lee Articles: “Detail” & “Narrative Form” Film: A Critical Introduction, by Maria Pramaggiore & Tom Wallis (2006) What is a narrative? How do details in a film shape the narrative? 1. Motifs 2. Parallels 3. Turning Points 4. Repetition
- 16. MOTIFS •Details that repeatin a film •Can provide info about the character or reinforce a significant idea Do the Right Thing
- 17. PARALLELS •When two characters,events, or location can be compared in a film TURNING POINT • Typically a pivotal moment in the film/narrative that changes the course of things to come
- 18. WHAT IS THENARRATIVE OF “DO THE RIGHT THING”? RED How often, when, where did you see the colour RED in the film? What did the colour symbolize to you? MUSIC Where and when did you notice music being played and/or not being played within the film? Did you notice/catch what was playing on Radio Raheem’s boom-box repeatedly? LOOKING INTO CAMERA What were the characters saying when they were speaking into the camera? How did you feel as the viewer? TURNING POINT Was there a turning point in the film? If so, when did it appear?
- 19. Film: Do theRight Thing (1989), dir. Spike Lee Articles: “Film and Ideology” Film: A Critical Introduction, by Maria Pramaggiore & Tom Wallis (2006) How is the director representing the issues in their narrative? What is the ideology being transmitted to the audience?
- 20. 1. What isan ideology? 2. How would you describe the ideology/ideologies in the film Do The Right Thing? 3. How do you feel this film depicted class & cultural differences? 4. Describe the gender differences in the film. How were the men and women depicted? 5. What were the characteristics that the various cultural groups depicted have in common with each other?
- 21. DOCUMENTARY Prior to 1907:films were non-fiction/documentary 2. L'arrivée d'un Train en Gare de La Ciotat /The Arrival of a Train at La Ciotat Station (1896, RT 30sec) http://www.youtube.com/watch?v=1dgLEDdFddk Directed & produced by August and Louis Lumière/ “The Lumière Brothers” : 1. La Sortie des Usines Lumière à Lyon/ Workers Leaving the Factory (1896, RT 46sec) http://www.youtube.com/watch?v=BO0EkMKfgJI
- 22. Who coined theterm? The first Commissioner of the National Film Board of Canada!
- 23. DOCUMENTARY FORM/STRUCTURE 1. Voice-overnarration Point-of-View Balanced or Propaganda? 2. Talking Head doc’s Interview heavy 3. Director-Participant Filmmaker in the film 4. Direct Cinema/Cinema Verite/Cinema of Truth “Observational Documentary” Minimal intrusion from the filmmaker 5. Self-Reflexive Documentary Showing the filmmaking team & process
- 24. ANIMATION 3 Forms 1. Hand-drawnor Celluloid 2. Stop motion 3. Computer (2D & 3D) Rapid display of images in a sequence To create the illusion of movement
- 25. Frankenweenie (2009) dir. TimBurton • Definition of ‘THEME’: the central idea of the story • How is the mood of Frankenweenie conveyed? What production elements allow the mood to be conveyed? Discuss: Mise-en-scene, sound & cinematography. • Identify the theme(s) of Frankenweenie Discuss how these themes are established in the opening sequences.
- 26. QUEBEC CINEMA •In latethe 1930’s QC cinema consisted mostly of work by amateur filmmakers who were mostly priests. •The QC mandate for cinema at that time was to produce mostly propaganda and educational films. •Many films made for a QC audience were produced in English and dubbed in French. •Eventually, a French filmmaking team emerged at the NFB in the mid 1940’s, post WWII, and a surge of films were being made about QC identity through the mid 1950’s. •Highlights of QC cinema emerged in the 1970’s-80s when cinema verite/direct cinema was being largely used.
- 27. Form Mise-en-scene (acting,lighting, costumes & make-up, setting) Cinematography (camera height, angle, distance, movement) Editing Sound Content: The narrative, the plot… what the film is about Form + Content = Film
- 28. C.R.A.Z.Y (2005) dir. Jean-MarcVallée 1. What is the narrative of this film? 2. What motifs did you identify? 3. How was religion used in the film? Or, describe how the narrative incorporated religion. 4. Describe the relationship between Zac and his: •Father •Mother •Brothers •Religion
- 29.
Editor's Notes
- #4 SETTING Sense of place and time State of mind (i.e with camera angles etc) Can appear natural, fantastic or other-wordly (i.e star wars) Can create mood, type of story, genre of film COSTUME AND MAKE-UP Indicates period & social milieu Social class, cultural background, character traits Sense of place, time, characterization Type of story and genre Passing of time (as someone ages) FIGURE, EXPRESSION & MOVEMENT The way figures/actors stand or move (key to story telling) Foreground placement of actor = more importance Moving body against stationary background draws our attention Balanced feel=if actors and object positioned evenly Position of character indicates relationship between them Facial expression LIGHTING Use of light=who or what is key in the scene Mystery, tension, suspense… based on: Intensity (hard or soft) Source (natural or artificial) Direction (path of light; where light is coming from) (Colour)
- #7 MOVEMENTS HORIZONTAL & VERTICAL Movement SWISH PAN / quick blurred image = passage of time, suspicion TILT = ex someone as authority or inferior MOVEMENT IN THREE DIMENSIONS TRACKING Shots = on dollies ( or wheelchair, shopping kart): to trace movement *EX: I’ve used it to create suspense CRANE Shot = classic concluding/ ending shot AERIAL shot = for great distance: for sense of freedom, set the stage for where you’re going where story takes place, establishing a sense of location where story takes place HANDHELD CAM & STEADY CAM. = 50’s & 60’s created. Allowed for immediacy of capturing. to capture intimacy, subtle movement
- #8 Distance = how emotionally involved the audience becomes with the character EXL = extreme long shot LS = full figure of character in frame MLS = character from the knees up MS = character from the waste up MCU = character from the chest up CU = close section of the body (ie face) XCU = body part (ie eye)
- #10 3). Graphic Similarities between Shots Graphic Match ex Lola: Bag + Phone- show 5). Shot transition the cut the fade in/out dissolve wipe (shot b pushes shot a out of the way…until it disappears) iris
- #17 Motifs Details that repeat in a film Can provide info about the character or reinforce a significant idea Red, Music, Characters Addressing the Camera
- #21 Ideology = worldview, system of beliefs How has the film influenced you to think (about various issues… present in the film)?
- #23 A pioneering Scottish documentary maker, often considered the father of British and Canadian documentary film. In 1926, Grierson coined the term "documentary"
- #24 FILM WE WATCHED Man on a Wire (2008), Dir. James Marsh 5. Self-Reflexive Documentary Showing the filmmaking team & process http://www.nickbroomfield.com 4. Direct Cinema/Cinema Verite/Cinema of Truth “Observational Documentary” Minimal intrusion from the filmmaker http://www.youtube.com/watch?v=OT3NLw2IPPw
- #29 In a bourgeois suburb, Zac is the second-youngest son in a family of five boys overseen by an overbearing father, Gervais, and a religious mother, Laurianne. The mother believes her cherished son has magical healing powers and is destined for greatness. Zac, however, is merely trying to survive his rough-and-tumble brothers as he struggles to come to terms with his homosexuality and his disapproving father, whom he loves dearly. Zac travels as far away as Jerusalem to "find" his father's love and respect, and finds solace in the music of David Bowie, Pink Floyd and the Rolling Stones.