Formalist film theory presentation
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Formalist film theory views film as an art form rather than a reproduction of reality. It emphasizes that filmmakers can manipulate and mold images to create story and emotion through techniques like editing, lighting, and camerawork. There are different approaches under formalism like neo-realism and avant-garde. Formalism also focuses on how socio-economic pressures influence film style and the communication of ideas. Two examples are Classical Hollywood cinema, which created a closed, pleasant world for audiences, and film noir of the 1940s-50s, known for urban settings and flawed main characters. Formalist theory also promoted the auteur theory to argue that films have authors and should be considered works of art like paintings and
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The dominant contrast is Enid, dressed in bright blue. After taking her in, the eye is drawn to:
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- The kitchen backdrop and appliances, which provide context for the setting of the scene.
So in summary, after Enid, the eye moves between Seymour as the other character, and the kitchen setting around them, which provides information about where this interaction is taking place.
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The dominant contrast is Enid, dressed in bright blue. After taking her in, the eye is drawn to:
- Seymour, who is also a large object in focus. As the other person in the conversation, he is an important secondary focus.
- The kitchen backdrop and appliances, which provide context for the setting of the scene.
So in summary, after Enid, the eye moves between Seymour as the other character, and the kitchen setting around them, which provides information about where this interaction is taking place.
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Mise-en-scene refers to all the visual elements that a director can control within a scene, such as setting, costumes, lighting, staging of actors, and props. These elements are used to convey meaning and direct the audience's attention. Key aspects of mise-en-scene include setting, which establishes time and place; costumes and makeup, which provide clues about characters; lighting, which sets mood and guides vision; and staging of actors and their movements. Directors manipulate these various visual elements of mise-en-scene to achieve different artistic goals for their films.
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Language. Each section contains a range of examples (many of which are gifs and videos which obviously won't play on here) and some activities for students to engage with.
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The document discusses the key elements of mise-en-scene - a French term meaning "what is put into the scene" - that filmmakers can use to influence the audience and provide context. It describes the five main elements of mise-en-scene as setting and props, costuming/makeup, facial expressions and body language, lighting and color, and cinematography including camera shots and angles. The document provides examples of how these elements can be analyzed and what inferences can be made about characters and the narrative from them.
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Learn, Cinematography in Film production
Playlist: https://www.youtube.com/watch?v=tVlHQ...
---------------------------------
Book your one to one session with Mr. Rawaha to know more about film production.
--------------
Follow us on Social Media:
https://www.youtube.com/echaarstudio
https://echaarstudio.blogspot.com/
https://www.facebook.com/echaarstudio
https://www.instagram.com/echaarstudio/
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Presentation: https://www.slideshare.net/RawahaShah
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#filmproduction #cinematography #filmacademy
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Formalist film theory views film as an art form rather than a reproduction of reality. It emphasizes that filmmakers can manipulate and mold images to create story and emotion through techniques like editing, lighting, and camerawork. There are different approaches under formalism like neo-realism and avant-garde. Formalism also focuses on how socio-economic pressures influence film style and the communication of ideas. Two examples are Classical Hollywood cinema, which created a closed, pleasant world for audiences, and film noir, known for urban settings and flawed main characters. Formalist theory also helped establish the auteur theory by arguing that films have authors like other artistic works.
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A long PDF that has been used to introduce GCSE Film Students to the complicated process of identifying and explaining the use of camera movement. This is a fairly detailed series of slides which I have used in school for a couple of classes now. As it is a PDF the clips do not play but where possible I've used SlideShare and YouTube to embed the relevant videos which is why some images or slides may appear repeated. Included on the slide are a list of the videos referred to and used. . Similarly, as it was designed to be used in lessons the overall 'structure' is somewhat disjointed and is missing slides that includes answers or ideas that were discussed in lessons. In order to help where possible, I've included large versions of worksheets so that these can be clipped and printed out if necessary. Many thanks for taking a look and please feel free to take a look at my other uploads as you will find plenty there on other aspects of Film Studies
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The document describes different types of shot sizes and angles used in filmmaking. It explains that extreme close-ups focus on intense detail like the eye or mouth to show emotion, while close-ups are still personal but show less detail. Medium shots can display both facial expressions and body language. Mid and long shots provide more context of the subject and surroundings. Establishing shots introduce the setting. Two shots frame two conversing people from the waist up. Low angles make the subject appear powerful while high angles create sympathy.
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The document discusses the film technique of mise-en-scene, which refers to everything within the frame of a shot that has been deliberately arranged by the director. It outlines several key elements of mise-en-scene including settings and props, costume/makeup, lighting, positioning of characters, and facial expressions/body language. The document provides examples of how these elements are used to convey meaning, establish time period/setting, develop characters, and influence the audience's emotional response. Directors manipulate elements of mise-en-scene to intentionally create specific atmospheres and thematic messages through their films.
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Mise en-scene presentation
The document discusses the key elements of mise-en-scene - a French term meaning "what is put into the scene" - that filmmakers can use to influence the audience and provide context. It describes the five main elements of mise-en-scene as setting and props, costuming/makeup, facial expressions and body language, lighting and color, and cinematography including camera shots and angles. The document provides examples of how these elements can be analyzed and what inferences can be made about characters and the narrative from them.
Cinematography & Mise-en-scene
The document provides guidance on analyzing cinematography techniques and their effects. It defines micro-features like editing, cinematography, sound, and mise-en-scene that communicate meaning. It then details various camera shots and angles, explaining how they focus attention and influence perception of characters. Movement techniques like pans, zooms, and tracking shots are also outlined. The document instructs analyzing sequences using these techniques and their effects on conveying meaning and atmosphere.
Cinematography | Film Production
Learn, Cinematography in Film production
Playlist: https://www.youtube.com/watch?v=tVlHQ...
---------------------------------
Book your one to one session with Mr. Rawaha to know more about film production.
--------------
Follow us on Social Media:
https://www.youtube.com/echaarstudio
https://echaarstudio.blogspot.com/
https://www.facebook.com/echaarstudio
https://www.instagram.com/echaarstudio/
--------------------
Presentation: https://www.slideshare.net/RawahaShah
--------------------
#filmproduction #cinematography #filmacademy
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Mise en scene
Mise-en-scene refers to everything visible within the frame of a shot including settings, costumes, lighting, and character positioning. It is a key tool filmmakers use to communicate meaning and influence audience perception. The five elements of mise-en-scene are settings and props, costumes, facial and body expressions, lighting and color, and character positioning within the frame. Each element conveys meaning and together they provide crucial context for understanding characters and the story.
Mise-en-Scene: Design and Composition
Mise-en-scène refers to the overall look and feel of a movie, including the setting, costumes, props, decor, lighting, and acting. It has two aspects: 1) design, which is the look and feel of all visual elements, and 2) composition, which is the arrangement of objects and actors within the frame. Mise-en-scène works to advance the narrative and create motifs, while the setting can relate to the action, other settings, and settings in other films. Composition arranges elements within the frame to present the action and develop themes visually.
Media Studies Revison
The document provides an overview of key concepts in media studies, including genre, representation, audience, narrative, ideology, institution, technology, audio codes, technical codes, editing, camera shots, camera angles, and camera movement. It defines these concepts and provides examples to illustrate them. The concepts are interlinked, with some concepts like representation and narrative linking to other concepts in the explanations.
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The document discusses analyzing film shots through mise-en-scene and visual signifiers. It defines mise-en-scene as everything visible in a scene and explains that it provides context about characters, genre, time and location. Visual signifiers are specific mise-en-scene elements that convey meaning. Analyzing shots involves identifying how costume, props, lighting, location and body language are used and what they reveal about the film, characters and story.
Film Language: Camera Movements in Cinema and Film Studies.
A long PDF that has been used to introduce GCSE Film Students to the complicated process of identifying and explaining the use of camera movement. This is a fairly detailed series of slides which I have used in school for a couple of classes now. As it is a PDF the clips do not play but where possible I've used SlideShare and YouTube to embed the relevant videos which is why some images or slides may appear repeated. Included on the slide are a list of the videos referred to and used. . Similarly, as it was designed to be used in lessons the overall 'structure' is somewhat disjointed and is missing slides that includes answers or ideas that were discussed in lessons. In order to help where possible, I've included large versions of worksheets so that these can be clipped and printed out if necessary. Many thanks for taking a look and please feel free to take a look at my other uploads as you will find plenty there on other aspects of Film Studies
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The document discusses the film technique of mise-en-scene and focuses on settings and props. It explains that settings can provide context for where and when a scene takes place and can suggest things about characters. Films use real locations, studio sets, or computer-generated backgrounds. Real locations immerse viewers but are costly, while studios offer control but lack authenticity. Props provide details about characters. Overall, settings are chosen deliberately by filmmakers to inform the story and audience.
Film transition
The document discusses various types of film transitions including cuts, contrast cuts, L-cuts, graphic matches, match cuts, parallel cutting, dissolves, jump cuts, fades, and morphs. A cut is the simplest transition that instantly replaces one image with another. A contrast cut juxtaposes two contrasting subjects to intensify emotions. An L-cut results in audio playing a few seconds before corresponding video. Graphic and match cuts hide transitions by matching frames. Parallel cutting shows alternating shots of a chase. Dissolves and morphs gradually transition between shots or objects. Fades transition to or from black. Jump cuts reveal continuity errors.
Shot sizes/ Camera angles/ Camera movement
The document describes different types of shot sizes and angles used in filmmaking. It explains that extreme close-ups focus on intense detail like the eye or mouth to show emotion, while close-ups are still personal but show less detail. Medium shots can display both facial expressions and body language. Mid and long shots provide more context of the subject and surroundings. Establishing shots introduce the setting. Two shots frame two conversing people from the waist up. Low angles make the subject appear powerful while high angles create sympathy.
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Graphic Relations
Rhythmic Relations
Temporal Relations
Spatial Relations
Thematic Relations
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for teachers attending the summer 2009
Teacher's Institute at Jacob Burns Film
Center, Pleasantville, NY.
Types of Camera and Lighting in Media
There are several types of camera shots and lighting effects commonly used in films. Long shots establish the scene and provide context, while angled shots convey hierarchy and power dynamics between characters. Conversational shots like over-the-shoulder and close-ups are used to focus on dialogue and emotions. Different lighting techniques like chiaroscuro create contrast, while three-point fill lighting provides a normal look and high key lighting reduces shadows. Natural lighting resembles sunlight while artificial lighting comes from man-made sources.
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The document discusses various elements of film editing that can be analyzed, including: order of shots, continuity, transitions, shot duration/pace and rhythm, and special effects. It explains how these technical elements help create meaning and influence what information is revealed or hidden from the characters and audience. Order of shots can reveal character perspectives and importance. Continuity editing implies spatial relationships to tell a story smoothly. Transitions can imply passage of time or location changes. Shot duration impacts pace, while special effects further manipulate scenes.
Mise en scene presentation
The document discusses the film technique of mise-en-scene, which refers to everything within the frame of a shot that has been deliberately arranged by the director. It outlines several key elements of mise-en-scene including settings and props, costume/makeup, lighting, positioning of characters, and facial expressions/body language. The document provides examples of how these elements are used to convey meaning, establish time period/setting, develop characters, and influence the audience's emotional response. Directors manipulate elements of mise-en-scene to intentionally create specific atmospheres and thematic messages through their films.
Codes and Conventions of British Social Realism
British Social Realism films employ several codes and conventions including location shooting instead of studios, wide shots, non-professional actors, semi-improvised scripts, balancing humor and seriousness, exploring wider social issues through individual stories, and portraying the erosion of regional identities. These techniques aim to portray realistic stories that examine social problems through the lens of personal struggles and triumphs over adversity.
Film Studies- Paper 1(Session A: Vertigo & Blade Runner)
Hitchcock directed Vertigo in 1958 using techniques consistent with his auteur style. It featured his regular collaborators and themes of obsession, illusion, and voyeurism seen through the story of Scottie's obsession with Madeleine. Though a box office flop, it is now considered one of Hitchcock's masterpieces and exemplifies his innovative use of camerawork, theme, and mise-en-scene to immerse viewers in the psychological experience. The document provides technological, social, and artistic contexts for understanding Vertigo and Hitchcock's body of work.
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Film Language: Camera Movements in Cinema and Film Studies.
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This document provides an overview of different styles and types of films including realism, classicism, and formalism. It discusses the key characteristics of each style such as realism attempting to reproduce reality with minimal distortion, classicism deriving from live theater with an entertaining story, and formalism expressing subjective experiences through stylistic techniques. The document also covers genres, narrative structures, roles of the director, producer and screenwriter, and figurative techniques used in films.
Belton (16) film school generation
This document discusses the rise of film schools and their influence on Hollywood in the late 20th century. It describes how French film critics-turned-directors launched the New Wave movement in the 1950s-60s without formal training. American film schools then grew in the 1960s-70s, training a new generation of directors like Spielberg, Lucas, and Coppola. Hollywood recognized this generation's appeal to younger audiences and began hiring them to direct big-budget genre films that were profitable. These directors paid homage to earlier films through references and allusions in their works.
Documentary research
This document discusses the six main types of documentaries:
1) Poetic documentaries use fragmented, impressionistic images and disrupt chronological timelines.
2) Expository documentaries directly address the viewer through voiceovers and titles to make an argument.
3) Observational documentaries simply observe real life with minimal intervention.
4) Participatory documentaries acknowledge the filmmaker's influence and include their interactions with subjects.
5) Reflexive documentaries draw attention to their own construction as representations of reality.
6) Performative documentaries emphasize subjective experiences and emotions through unconventional, poetic, or experimental styles.
Experimental Film
Experimental films reject conventions of mainstream movies by exploring possibilities of the film medium itself. They have no set rules and can manipulate audiovisual elements in unconventional ways. Some key experimental filmmakers include Luis Bunuel, Maya Deren, and Stan Brakhage. There are various forms of experimental films, including abstract films that organize around visual elements, and associational films that juxtapose images to suggest concepts. When viewing experimental films, it is important to consider one's own expectations and how the film challenges conventions.
Cult figure lynch-2 uws a.jarvis
1. Cult directors like John Waters and Harmony Korine create transgressive films that push boundaries of taste and challenge conventions.
2. Korine's Spring Breakers, with its casting of Disney stars, mixes genres and styles in a "post-cinematic" way that mirrors the sensory overload of modern experience.
3. The film's lack of coherent narrative and mixing of themes like gender, class and race in a confusing way contributes to its cult status and ongoing discussion.
Week 6 subjectivity and identity(nx power lite)
Postmodernism questions notions of identity, subjectivity and the self. It rejects the idea of a fixed or essential self, viewing identity as socially constructed. Issues explored include how identity is formed, the influence of images and media on identity construction, and the idea that identities are multiple and mutable rather than fixed. Postmodern art reflects these ideas by depicting shallow or fragmented identities influenced by consumerism and popular culture. Artists like Sherman, Kruger and McCarthy critique consumerism and the constructed nature of modern identities.
Understanding genre
Genre theory seeks to recognize film as both an artistic and commercial medium. It developed as an alternative to auteur theory, which viewed directors as the sole authors of films. Genres are both defined by critics and exist independently, as studios try to replicate successful film types. However, defining genres is complicated, as films can fit multiple categories and subgenres exist. The meaning and conventions of genres also depend on historical and cultural context. Overall, genre theory examines patterns of similarity and difference between films.
01film Studies
This slideshow is being used by Film Studies 3030 at the University of Lethbridge, Calgary campus. The slide information is largely derived as commentary for the Giannetti and Leach textbook, Understanding Movies, and Richard Barsam's Looking at Movies.
Media evaluation question 1
This document discusses how the media product challenges and utilizes conventions of real media. It summarizes how the music video uses generic conventions such as locations contrasting nature and urban areas to represent freedom and reflection. It also draws from absurdist conventions like the idea that true art must be incomprehensible. The video references Victorian poetry and the impressionist movement through the use of montaged water clips. It aims to provide personal identity and diversion for the audience in line with uses and gratifications theory. The video challenges conventions like the voyeuristic representation of women in music videos.
Genre theory
Genre theory provides a framework for categorizing different types of media texts based on common elements and conventions. Genres help producers develop recognizable texts, help audiences decide what to consume, and help scholars analyze texts. While genres provide stability, they are also dynamic and evolve over time reflecting social and cultural changes. Different theorists examine how genres provide audiences with pleasures through emotional, visceral, and intellectual engagement, and how genres are shaped by industries and audiences. Examples show how genres are communicated through visual cues and how genres have changed over time while still retaining core conventions.
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The Moment of Capture
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Formalist film theory presentation
- 1. FORMALIST FILM THEORY By Thomas McWatters, Melissa Lim, Dan Wargo, Gus Camaraza, Rocco Rygiel
- 2. ORIGIN This theory says that Film is indeed art and not reproduction of reality. Unlike realist theorists, formalist film theorists believe that the art of cinema is possible precisely because a movie is unlike everyday life…
- 3. ORIGIN CONT. Formalist film makers shape and mold the images we see on the screen the way a sculptor shapes and molds clay. Their approach to film emphasizes their ability to create story and emotion through manipulation.
- 5. IDEOLOGICAL FORMALISM •Focus on how socio-economic pressures create particular style •How it communicates ideas, emotions, themes Two Examples related to Formalism: •Classical Hollywood cinema •Film Noir
- 6. CLASSICAL HOLLYWOOD CINEMA •Distinct style – create closed world on screen •Make experience as pleasant as possible; Audience gets involved
- 7. INSTITUTIONAL MODE OF REPRESENTATION •Dominant mode of film construction •Production, production, production! •Audience imaginatively involved in film – identify with what’s on camera •3D space created; Presented with clear pieces of info •Characters psychologically developed and distinguished – close-ups, acting •Narrative driven by character psychology •Continuity editing, three-point lighting, “mood” music
- 9. FILM NOIR Founded by Nino Frank in 1946 Categorized as “Melodramas” Moved toward “Crime” genre Shot in Urban Environments The main character is “flawed” or “morally questionable”
- 10. POPULAR MOVIES 1941- The Maltese Falcon 1944- Double Indemnity 1946- The Big Sleep 2000- Memento 2005- Sin City
- 11. FORMALIST THEORY/AUTEUR Created to redeem the art of film. By arguing that films had authors, films could be considered works of art like Paintings Literature Music
- 12. FORMALIST THEORY CONTINUED This theory would give the Director the bulk of the credit and not the screenwriter. Directors are now at the same level of importance as novelist, composers & painters. They get recognition for their craft. Film is said to lye somewhere between theatre and literature.