The document serves as an introduction to film study, highlighting the importance of analyzing film as a form of literature that reflects society and human behavior. It discusses various genres, plot structures, character development, themes, conflicts, and the roles of different crew members in the film production process. Additionally, it covers techniques such as camera angles, lighting, sound, and special effects used to create meaning and engage the audience.

1. FILM
STUDY

2. INTRODUCTION

3. INTRODUCTION TO FILM STUDY
In many ways, watching a film is like reading a book or a poem: it is a
piece of literature – a text – that must be analysed and deconstructed to
examine it fully. We study the characters and plot in a similar way that we
examine characters and plot when reading a book.
Films are a reflection of society and an excellent way to understand human
behaviour. Therefore, studying film can serve as a means to understand
our world better.1
Films evoke emotions within us and help us empathise with specific
characters. Studying film enables us to understand how moving images
make meaning and reflect the society in which we live.
For film study, the viewer needs to analyse the film techniques which have
been used to create the film.

4. GENRE

5. GENRE – CATEGORY OF FILM
ACTION
These are high-energy, big-
budget films with physical stunts
and car chases, rescues, battles,
escapes, crises (floods,
explosions, fires), non-stop
motion and adventurous heroes
or heroines battling the villain -
pure escapism.
HORROR
Horror films are designed to
frighten and invoke our hidden
fears, often in a terrifying,
shocking finale, while
captivating and entertaining us
at the same time.
COMEDY
These films have light-hearted
plots that are designed to
amuse and provoke laughter by
exaggerating the situation, the
language, the relationships,
and/or the characters. Forms of
comedy include slapstick,
parodies, romantic comedies,
black comedy (dark satirical
comedy), and more.
SCIENCE-FICTION
Sci-fi films include aliens, distant
planets, improbable settings,
villains, futuristic technology, and
extraordinary monsters either
created by mad scientists or by
nuclear havoc.
MUSICALS
Musicals have full-scale
scores or song and dance
routines (usually integrated as
part of the film narrative), or
they are films that are
centered on combinations of
music, dance, song or
choreography.
What other genres
can you think of?

6. PLOT

7. PLOT
The plot of a film refers to the main events of a story and the sequence
in which they occur.
There is a specific plot structure that most stories follow:
Source: bit.ly/PlotStructureAC

8. PLOT
It has been argued that all story ideas come from a few specific structures:
• Coming-of-age plot: The protagonist matures and learns something of the
world around them in the process.
• Redemption plot: The protagonist is saved or saves someone else.
• Punitive plot: The protagonist is punished for wrongdoings.
• Testing plot: The protagonist is tempted or challenged but stays true to
their beliefs.
• Fulfilment plot: The protagonist achieves their heart’s desire.
• Education plot: The protagonist changes their view of life, from negative to
positive.
• Moral plot: The protagonist learns a moral lesson.

9. CHARACTERS

10. CHARACTERS
Characters need to develop during the course of the story. A character arc takes
the character from a limited awareness of a problem to a deep understanding
of their journey.
There are various character types:
- Protagonist: dominates the story but can be flawed.
- Antagonist: stands in the protagonist’s way; forces the protagonist to overcome
obstacles.
- Supporting characters: not the focus of the main storyline; they usually support
the protagonist.
In film, we are able to analyse characters’ actions by observing their body
language and facial expressions, but also the choices and decisions they make.
The casting director needs to cast the characters carefully, as they have an
enormous impact on the success of the film. An actor’s suitability for a role can be
influenced by other factors, i.e., the need to enlist ‘A-List’ talent to draw
audiences.

11. THEME AND
CONFLICT

12. THEME
• The theme is the heart of the film and is
the premise or purpose of the film.
• Film-makers communicate a message
through the themes.
• The form of the film itself (structure, visual
style, etc.) may be designed to challenge
the audience, while imagery and
symbolism provide signposts to a deeper
awareness of theme and meaning.
• It is important that the director links all the
visual elements to the theme. They must
support the story and not create discord
(unless done intentionally).
CONFLICT
• Nothing moves forward in a story
except through conflict. There are
many levels of conflict. For example,
• Internal conflict: The struggle that
occurs within a character’s mind.
• Personal or person vs person conflict:
One of the characters struggles
against another. This includes
relationships that do not work due to
jealousy, love, etc.
• Extra-personal conflict: For example,
person vs nature or technology:
natural occurrences or technology
conspire against the protagonist who
must overcome a series of obstacles.
THEME AND CONFLICT

13. PRE-
PRODUCTION

14. STORYBOARDING
Storyboards are
visual
representations of
the film script and
usually include
camera angles,
shots, lighting, etc.
Most films are
mapped out carefully
before filming starts,
as directors use
storyboards to plan
each shot.

15. FILM CREW
A film crew is a group of people hired by a production company to produce a film.
The crew is separate from the cast who are the actors who appear in front of the
camera or provide voices for characters in the film.
The crew is also separate from the producers who own a portion of either the film
company or the film's intellectual property rights. A film crew is divided into
different sectors, each specialising in a specific aspect of the production. Some
examples are:
Gaffer: the chief lighting technician. They plan and coordinate the placement of lights to
achieve the level of illumination required by the cinematographer
Set designer: creates the structures or interior
spaces called for by the production designer.
Casting director:
has to choose the
right actors for a
specific film.
Director: responsible for overseeing the
creative aspects of a film, including controlling
the content of the film's plot and directing the
performances of actors.
Cinematographer:
also known as the
director of
photography; they
are responsible for
recording the
images of a film and
for the overall look
and feel of the film.

16. FILM CREW
Costume designer:
responsible for all the
clothing and costumes
worn by the actors and for
designing, planning, and
organising the
construction of the
garments down to the
fabric, colours, and sizes.
They work closely with the
director and with the
production designer to
achieve the desired
effects.
Editor: responsible for managing
and assembling the footage into
the final product. They
manipulate the plot, score,
sound, and graphics to all come
together to tell a story.
Make-up artist: works with
makeup, hair and special effects
to create the character’s look.
Their role is sometimes to
manipulate an actor's on-screen
appearance to make them look
more youthful, larger, older, or
even monstrous.
There are also body makeup
artists who concentrate their
abilities on the body rather than
the head.
Composer:
responsible for writing
the musical score for a
film.
Sound editor:
responsible for
assembling and editing
all the sound effects in
the soundtrack.
Location scout: does
the actual research,
footwork and
photography to
document location
possibilities.

17. SOUND AND
MUSIC

18. SOUND AND SCORE
MUSIC & SCORE
Music helps to drive the story forward. It
often tells an audience how to react
emotionally; directors use this to their
advantage. Imagine how music can make
you feel during an emotive scene or a scary
scene. Music enhances an atmosphere and
even background music serves an important
role. Most films have a soundtrack and a
score which is sometimes performed by a
large orchestra.
The sound in a film is crucial as it
helps create an immersive effect for
the audience.
There are three types of sound in film:
1. Dialogue
2. Score & music
3. Sound effects
SOUND EFFECTS
The sound effects are crucial as they add
realism to the scenes.
A foley artist recreates everyday sound
effects that are added to films, for example,
the sound of footsteps or a door closing.
DIALOGUE
The dialogue refers to the words spoken by the
characters; it must align with the action in the film.

19. SETTING

20. LOCATION:
The location is the place where the actors are being filmed. In many films, the
interior shots are filmed on a sound stage to save money, while exterior shots are
filmed on location.
Increasingly, films are being made almost entirely in the studio because techniques
have evolved to the extent that location shooting is almost unnecessary.
SET:
A set is an artificial location: the desired buildings are built close together to control
the environment and save money and time.
The set designer will design theatrical scenery, and props will be sourced or made.
Costume design and make-up are also important elements in making characters
appear more realistic.
SETTING

21. FILM TECHNIQUES

22. The director uses images and sound to tell a story and influence the audience.
The director and cinematographer decide how the characters and objects should be
positioned in every frame.
Every camera angle, every shot, and every sound contributes to the tone of the film.
A careful analysis will reveal the extent to which the director wishes to manipulate
the audience into feeling certain emotions.
MISE EN SCENE:
This applies to everything that is in front of the camera. The cinematographer
‘composes’ the scene by arranging the actors, scenery, props, etc. in front of the
camera and thus has control over what effects are produced.
CINEMATIC DESIGN

23. The film director arranges everything carefully in the frame and then sets it in
motion.
Within this cinematic ‘space’, there are several important elements that need to be
analysed.
SCREEN DIRECTION:
This refers to the direction our eyes move or the direction in which an object moves
within a frame. The human eye is used to moving comfortably in a certain direction
i.e., left to right (as we read). It is less comfortable in the opposite direction. It is also
easier to watch movement down the screen (due to gravity). A film director knows
this, and it will form part of the composition process.
Often the lines employed in a scene will draw our attention to the focal point.
When the lines in a frame are tilted at an angle, a disorientating or uneasy feeling is
created in the audience.
CINEMATIC SPACE

24. An object or character can be sharply in focus while others are slightly out
of focus to draw attention to it – hence the term focal point.
In three-dimensional space, movement towards or away from the camera
influences our perception.
For example, a character sitting in the distance will appear smaller
(perhaps less significant, less powerful) than someone (or something) in
the foreground.
DEPTH OF FIELD

25. FOCUS
Within a frame, there is the foreground, middle ground and
background.
If the subject is in shallow focus, it means that it is in the
foreground and appears in sharp and clear focus while the
middle ground and background are blurred or out of focus.
Shallow focus is used to draw attention to the subject.
If everything on the screen is in sharp focus and the
audience can see everything clearly, the frame is said to be
in deep focus.
Deep focus allows the audience to see key activities in the
foreground and the background.

26. By placing the subject in the centre of the frame, it implies that
things are stable.
To suggest, for example, a lack of confidence, the subject may
appear to the left or right of the frame.
When a director uses a closed frame, there are borders around
the character which imply restrictions, etc. while an open frame
indicates that the character’s movement is not impeded by
boundaries
FRAMING

27. The director makes use of various lighting techniques
(including the use of natural or ambient light) to create a
certain effect. This might be to draw our attention to something
or to evoke an emotive response from us.
The gaffer, lighting designer, and cinematographer are all
responsible for creating the light that a director needs. They
will arrange the lights in such a way that the scene will be
filmed in a way that achieves the desired effects.
LIGHTING

28. Three-point lighting is a
common lighting
technique. Three types
of lighting set-ups are
used here:
The key light shines
directly upon the subject
(can simply be the sun).
The fill light shines from
a side angle and
cancels out the
shadows created by the
key light.
The backlight shines on
the subject from behind,
separating the subject
from the background.
LIGHTING
Source: bit.ly/46xOJgw

29. • Ambient lighting is also known as available light. It refers to natural
light or any pre-existing lighting, in other words, any light that the
cinematographer did not bring to the shoot, for example, sunlight or a
streetlamp.
• Chiaroscuro lighting is the juxtaposition between light and dark
elements in a frame; it is used to create a three-dimensional quality in
images. There are 3 types:
• Rembrandt lighting: certain areas are well-lit contrasting with darker
areas of the frame, drawing our attention to something specific.
• Cameo lighting: a specific area in the foreground is lit while the rest is
dark.
• Silhouette lighting: the foreground is dark and the background is well-lit.
LIGHTING

30. • Colours have specific associations and can be used
symbolically or to create a certain atmosphere.
• Black and white allows for more focus on certain elements
of the story emphasising tension between light and dark.
• Shapes are used within a frame and can be used
symbolically.
• Size, for example, a ‘big’ object is associated with power.
• Costumes must be period-specific and reflect character.
• Make-up enhances the effect of the story.
• Visual foreshadowing is when an event (usually late in the
film) links back to a visual clue that was planted in our minds
earlier.
OTHER INFLUENTIAL FACTORS

31. CAMERA
SHOTS AND
ANGLES

32. CAMERA SHOTS
Establishing shot: Usually a wide-angle view of a location
that establishes the setting and mood for the scene.
Extreme long shot (ELS): The camera is placed extremely
far away from the object being filmed, often used for
landscape shots.
Long shot (LS): Shows the full length of the subject while
including some of the surrounding area.
Medium shot (MS): Shows the subject from the waist up to
their head.
Medium close-up (MCU): Shows the subject from just
below the chest up to their head.
Close-up (CU): Most of the frame is filled with the subject’s
face or an important object; it tells the audience that this is
important.
Extreme Close-Up (ECU): Frames the subject very closely
and emphasises a small detail, for example, the eyes. It
creates a more intense version of the CU.
Point of View (POV): The
viewers feel like they are
involved in the scene, and
they see the world from
the perspective of one of
the characters.
Over-the-shoulder POV:
Includes part of the
character from whose
perspective we are ‘taking
part’ – usually their
shoulder.
One-shot: One person in
the shot.
Two-shot: Two people in
the shot.

33. CAMERA ANGLES
• Low Angle: The camera is positioned below the subject and is looking up;
this implies that the subject is powerful.
• Eye-level angle: The camera is positioned at the subject’s eye level; it is
usually a neutral angle.
• High Angle: The camera is positioned above the subject and is looking
down at it; this implies that the subject is isolated, inferior or vulnerable.
• Overhead shot: The camera is positioned directly above the subject and
is usually further away than the high-angle shot; also called a bird’s eye
view.
• Aerial shot: A shot taken from a great height.
• Dutch tilt or angle: The camera is tilted to its side so that the scene
appears unbalanced.

34. CAMERA
MOVEMENT

35. CAMERA MOVEMENTS
• Panning: The camera moves continuously, horizontally sweeping across the
scene. The movement can be quick or slow, depending on the context, and
is often done from the subject’s POV.
• Tracking: The camera follows the subject as it moves along; it produces a
sense of movement. The camera can be either hand-held or on a dolly (a
special trolley).
• Zooming: The camera either enlarges or decreases the size of the object in
one continuous movement.
• Tilting: Vertical camera movement – as if you are looking someone up and
down.
• Hand-held camera: Produces a sense of realism and tension, for example,
The Blair Witch Project.
• Steadicam: A portable camera that produces a smooth shot.

36. SPECIAL EFFECTS

37. SPECIAL EFFECTS
• CGI: Computer-generated imagery is the application of the field of computer
graphics or 3D computer graphics to special effects in films. It is used for visual
effects because it allows the creation of images that would not otherwise be
feasible.
• Slow motion: The action slows down, drawing the viewer’s attention to
something, for example, a heightened emotion. This effect is achieved by
filming a scene at a higher rate than usual and then playing it back at the
normal rate.
• Fast motion: The opposite of the slow-motion effect.
• Split-screen; freeze frame; and bullet time are some other effects that can
be used.

38. 1. Why Study Film? IACT College. [Online], Available: bit.ly/45u2lrT [17 October 2023]
IMAGES
Slide 8
Juicy English blog. ‘Parts of the plot’. (2020) [Online], Available: bit.ly/PlotStructureAC [1 November 2023]
Slide 25
Studio Binder Blog. ‘Camera Movements and Angles’. (2020) [Online], Available: bit.ly/CameraShotsImages. [26
September 2023]
Slide 28
No Film School. [Online], Available: bit.ly/46xOJgw [17 October 2023]
SOURCES

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