FORMAL ELEMENTS of the CINEMA PRIMARY COMPONENTS Camera Composition Mise-en-Scene Editing Sound camera MOTION stationary movement: camera remains in place: tilt or pan movement: camera moves from one place to another: track, dolly, or crane ANGLE high vs low DISTANCE close up, medium, long composition “The composition of a scene through the film image is what distinguishes film from drama.” single image = shot series of shots = scene (unity of time + place) series of scenes = sequence series of sequences = film composition photographic properties of a shot (image) tone: range and texture of color (including b/w) film speed: slow motion, fast motion perspective: spatial relations established between objects and figures a. focus: deep, shallow, rack b. camera position - position (POV) from which something is seen: objective/subjective, psychological, cultural mise-en-scene literally: what is put before the camera (i.e. everything within the frame) all properties of the cinematic image that exist independent of camera position and movement, as well as editing INCLUDES: lighting, costumes, setting and sets, acting styles, arrangement of objects and figures editing the process by which two different shots are linked different ways to join shots: cut, fade in/fade out, dissolve (wipe, iris in/out) pace/rhythm: length of shots (TEMPORAL) in relation to other shots for example, long takes, quick cuts editing continuity (or invisible) editing: Classical Hollywood narrative => establishing shot, shot/reverse shot, establishing shot 2. obtrusive editing: => jarring temporal and spatial shifts: disrupts sense of time and space sound ALIGNMENT WITH IMAGE synchronous: sound and image match direct: sound recorded when image is shot dubbed: dialogue, sounds, noises, dialogue added in postproduction asynchronous: sound and image do not match RELATION TO NARRATIVE diegetic: source of sound is within the world of the film nondiegetic: source of sound is outside world of the film sound continuity: unified atmosphere montage: disjunctions and unexpected relations ambient: background noises, sounds, dialogue around main action overlapping dialogue voice off: voice of character off screen (out of frame) voice over: voice not heard or seen by characters narrative cuing: motif associated with a characters or action Sex and the Cinema Dr. Carolyn Rebecca Chalker Spring 2018 Dr. Beth Carol Roberts LONG ESSAY I: Critical Analysis of a Film Core Texts [select one]: Blow Up (1966, Michelangelo, Antonioni) Teorema (1968, Pier Paolo Pasolini) Born in Flames (1983, Lizzie Borden) She Must Be Seeing Things (Sheila McLaughlin) In the Realm of the Senses (1976, Nagisa Oshima) Crash (1996, David Cronenberg) For this critical essay, you are to analyze ONE of the core texts. In order to do so, you will need to view the film you select ...