A study/revision guide that introduces film students to (or reminds them of) mise-en-scene. 33 pages of activities, commentary, analysis and screenshots, all designed by an experienced film studies teacher and senior examiner.
This guide, which is perfect as a unit of work, homework booklet or as a revision guide, can be purchased for just £2.50 at: https://www.tes.com/teaching-resource/-12009989 and can then be easily printed and handed out to students.
Film Language: Mise-En-Scene explanation and examples.Ian Moreno-Melgar
A long and detailed look at what mise-en-scene is and how it can be looked at in different aspects of film language. The presentation is split into the areas of Setting & Props; Costume, Hair and Make-up; Lighting and Colour; Positioning of Objects and People; Facial expression and Body
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.
Under the Skin booklet - a guide, workbook and text book for A-Level film stu...Ian Moreno-Melgar
Thanks for taking a look at my resource. This resource is a 61 page, 16,000+ word guide to the A-Level Film studies film Under The Skin.
This guide is designed so that it can be printed out and students simply work straight onto it and therefore works brilliantly as a workbook for individual lessons, a whole half-term, for homework, revision, distance learning or for taking the material and turning into other formats such as creating your own PowerPoints.
There is so much in this guide that it’s almost impossible to list, but some key aspects include context, a detailed analysis of the film, examinations of the Production History of the film, including the adaptation process, a detailed exploration of narrative and narrative theory, a thorough exploration of ideology related to gender studies including oak on Clover, Mulvey & Creed, details on the aesthetics of the sci-fi film, plus analytical work and tasks , work on exam questions and much, much more.
This will save you not hours of work, but WEEKS worth of work and preparation and I guarantee will be worth the download. Your download includes both an editable Word version AND a high quality PDF, ready for printing or sharing immediately.
Film Language: Mise-En-Scene explanation and examples.Ian Moreno-Melgar
A long and detailed look at what mise-en-scene is and how it can be looked at in different aspects of film language. The presentation is split into the areas of Setting & Props; Costume, Hair and Make-up; Lighting and Colour; Positioning of Objects and People; Facial expression and Body
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.
Under the Skin booklet - a guide, workbook and text book for A-Level film stu...Ian Moreno-Melgar
Thanks for taking a look at my resource. This resource is a 61 page, 16,000+ word guide to the A-Level Film studies film Under The Skin.
This guide is designed so that it can be printed out and students simply work straight onto it and therefore works brilliantly as a workbook for individual lessons, a whole half-term, for homework, revision, distance learning or for taking the material and turning into other formats such as creating your own PowerPoints.
There is so much in this guide that it’s almost impossible to list, but some key aspects include context, a detailed analysis of the film, examinations of the Production History of the film, including the adaptation process, a detailed exploration of narrative and narrative theory, a thorough exploration of ideology related to gender studies including oak on Clover, Mulvey & Creed, details on the aesthetics of the sci-fi film, plus analytical work and tasks , work on exam questions and much, much more.
This will save you not hours of work, but WEEKS worth of work and preparation and I guarantee will be worth the download. Your download includes both an editable Word version AND a high quality PDF, ready for printing or sharing immediately.
MOON booklet - a guide, workbook and text book for A-Level film studies for E...Ian Moreno-Melgar
Thanks for taking a look at my resource. This resource is a 48 page, 12,000+ word guide to the A-Level Film studies film MOON.
This guide is designed so that it can be printed out and students simply work straight onto it and therefore works brilliantly as a workbook for individual lessons, a whole half-term, for homework, revision, distance learning or for taking the material and turning into other formats such as creating your own PowerPoints.
There is so much in this guide that it’s almost impossible to list, but some key aspects include context, a detailed analysis of the film, examinations of the Production History of the film, including the adaptation process, a detailed exploration of narrative and narrative theory, a thorough exploration of ideology related to gender studies including oak on Clover, Mulvey & Creed, details on the aesthetics of the sci-fi film, plus analytical work and tasks , work on exam questions and much, much more.
This will save you not hours of work, but WEEKS worth of work and preparation and I guarantee will be worth the download. Your download includes both an editable Word version AND a high quality PDF, ready for printing or sharing immediately.
Editing booklet gcse a level film studies revision homework distance lerning ...Ian Moreno-Melgar
This is a comprehensive guide to editing for film studies students and teachers alike. With over 30 pages of content and at over 13,000 words in length, you’ll not find a guidebook, resource or textbook that is as detailed, as insightful or as adaptable as this.
If you like the look of the booklet please find it available to purchase by searching online for FILM STUDIES IAN MORENO-MELGAR SELLFY
The booklet is separated into the aspects of editing that are defined in the specifications of the GCSE and A-Level Film Studies courses from Eduqas/WJEC. The guide then explores ideas relating to pace, transitions, cuts, editing with sound, how editing creates relationships as well as information about visual effects, special effects and CGI in general.
Each section includes detailed explanations, expert analysis and insight, dozens of tasks, dozens of images, links to hundreds of videos on YT, a mini-glossary for students to complete and assessments.
It’s also a great resource to copy information from and then paste into whatever work you need to set or deliver. This means that you can use this electronic text book as a guide for you as the teacher, as a resource for students to use in the classroom, to be broken up and used as individual worksheets, for revision, for homework, for remote learning or for students who are self-isolating and unable to be in lessons in person.
Written by an experienced teacher, examiner and CPD presenter with extensive experience in writing guides for film studies, I guarantee that this resource will prove to be an invaluable tool for you and your students and worth every penny.
MOON booklet - a guide, workbook and text book for A-Level film studies for E...Ian Moreno-Melgar
Thanks for taking a look at my resource. This resource is a 48 page, 12,000+ word guide to the A-Level Film studies film MOON.
This guide is designed so that it can be printed out and students simply work straight onto it and therefore works brilliantly as a workbook for individual lessons, a whole half-term, for homework, revision, distance learning or for taking the material and turning into other formats such as creating your own PowerPoints.
There is so much in this guide that it’s almost impossible to list, but some key aspects include context, a detailed analysis of the film, examinations of the Production History of the film, including the adaptation process, a detailed exploration of narrative and narrative theory, a thorough exploration of ideology related to gender studies including oak on Clover, Mulvey & Creed, details on the aesthetics of the sci-fi film, plus analytical work and tasks , work on exam questions and much, much more.
This will save you not hours of work, but WEEKS worth of work and preparation and I guarantee will be worth the download. Your download includes both an editable Word version AND a high quality PDF, ready for printing or sharing immediately.
Editing booklet gcse a level film studies revision homework distance lerning ...Ian Moreno-Melgar
This is a comprehensive guide to editing for film studies students and teachers alike. With over 30 pages of content and at over 13,000 words in length, you’ll not find a guidebook, resource or textbook that is as detailed, as insightful or as adaptable as this.
If you like the look of the booklet please find it available to purchase by searching online for FILM STUDIES IAN MORENO-MELGAR SELLFY
The booklet is separated into the aspects of editing that are defined in the specifications of the GCSE and A-Level Film Studies courses from Eduqas/WJEC. The guide then explores ideas relating to pace, transitions, cuts, editing with sound, how editing creates relationships as well as information about visual effects, special effects and CGI in general.
Each section includes detailed explanations, expert analysis and insight, dozens of tasks, dozens of images, links to hundreds of videos on YT, a mini-glossary for students to complete and assessments.
It’s also a great resource to copy information from and then paste into whatever work you need to set or deliver. This means that you can use this electronic text book as a guide for you as the teacher, as a resource for students to use in the classroom, to be broken up and used as individual worksheets, for revision, for homework, for remote learning or for students who are self-isolating and unable to be in lessons in person.
Written by an experienced teacher, examiner and CPD presenter with extensive experience in writing guides for film studies, I guarantee that this resource will prove to be an invaluable tool for you and your students and worth every penny.
Mise en scène encompasses the most recognizable attributes of a film – the setting and the actors; it includes costumes and make-up, props, and all the other natural and artificial details that characterize the spaces filmed. The term is borrowed from a French theatrical expression, meaning roughly “put into the scene”. In other words, mise-en-scène describes the stuff in the frame and the way it is shown and arranged. We have organized this page according to four general areas: setting, lighting, costume and staging. At the end we have also included some special effects that are closely related to mise-en-scène.
Mise en scène encompasses the most recognizable attributes of a film – the setting and the actors; it includes costumes and make-up, props, and all the other natural and artificial details that characterize the spaces filmed. The term is borrowed from a French theatrical expression, meaning roughly “put into the scene”. In other words, mise-en-scène describes the stuff in the frame and the way it is shown and arranged. We have organized this page according to four general areas: setting, lighting, costume and staging. At the end we have also included some special effects that are closely related to mise-en-scène.
An activity booklet and guide to to film history, mise-en-scene, cinematography, and editing, designed for GCSE Film Studies.
Featuring over 170 pages of information, analysis, tasks, assessments, insights and examples, this guide is the definitive introduction to the basics of film studies, designed to introduce students at GCSE to key concepts that they need for their whole film education.
Lady From Shanghai booklet for A-Level Film StudiesIan Moreno-Melgar
A 55 page guide to the film The Lady From Shanghai for the A-Level Film Studies course for Eduqas. This highly detailed guide to the film is available to buy as an editable Word doc and PDF from here:
This workbook and guide is designed so that it can be printed out and students simply work straight onto it and therefore works brilliantly as a workbook for individual lessons, a whole half-term, for homework, revision, distance learning or for taking the material and turning into other formats such as creating your own PowerPoints. There is so much in this guide that it’s almost impossible to list, but some key aspects include context, a detailed analysis of the film, examinations of the Production History of the film, including the adaptation process, a detailed exploration of Orson Wells, film noir, auteur cinema, Classical Hollywood, a thorough exploration of ideology, plus analytical work and tasks , work on exam questions and much, much more. This will save you not hours of work, but WEEKS worth of work and preparation and I guarantee will be worth the download.
Thanks for taking a look at my resource. This resource is a 53 page, 18,000 word guide to the A-Level Film Studies section on Silent Cinema and Buster Keaton as part of the Component 2 aspect of the course. This guide is designed so that it can be printed out and students simply work straight onto it and therefore works brilliantly as a workbook for individual lessons, a whole half-term, for homework, revision, distance learning or for taking the material and turning into other formats such as creating your own PowerPoints. There is so much in this guide that it’s almost impossible to list, but some key aspects include a variety of contextual information and tasks, from work on American silent cinema, the life of Keaton, a look at Soviet montage theory, German expressionism, a detailed analysis of the 4 short films Cops, One Week, The High Sign and The Scarecrow, plus explorations of critical debates and an introduction to expressionism, work on exam questions and much, much more. This will save you not hours of work, but WEEKS worth of work and preparation and I guarantee will be worth the download. Your download includes both an editable Word version AND a high quality PDF, ready for printing or sharing immediately.
GCSE Film History booklet updated for new spec from 2022_watermark.pdfIan Moreno-Melgar
Fully updated to take advantage of the updated 2022 GCSE Film Studies specification, this booklet is designed to cover the Technology of Film aspect of the course. Featuring nearly 25 pages, this in depth guide expands the timeline provided by the exam board by offering more detail, facts, anecdotes, information and a wide range of tasks. There is also a suggested viewing task at the end to ties things together. This version contains the Word AND PDF versions of the booklet. The PDF version can be instantly printed and distributed to students to be used as a workbook. It's also great for revision, for digital distribution or hosting for students or just for your own reference. The Word version is perfect for editing and adapting to you and your students needs.
You can buy this from here:
https://ko-fi.com/s/e7f83fdf7d or here:
https://www.tes.com/teaching-resource/resource-12414478
Thanks for taking a look at my resource. This resource is a 69 page, 24,000+ word guide to the A-Level Film studies film BLADE RUNNER.
This guide is designed so that it can be printed out and students simply work straight onto it and therefore works brilliantly as a workbook for individual lessons, a whole half-term, for homework, revision, distance learning or for taking the material and turning into other formats such as creating your own PowerPoints.
There is so much in this guide that it’s almost impossible to list, but some key aspects include context, a detailed analysis of the film, examinations of the Production History of the film, including the adaptation process, a detailed exploration of Ridley Scott, sci-fi, auteur cinema, American New Wave cinema, a thorough exploration of ideology, details on the aesthetics of the Cyber Punk movement, plus analytical work and tasks , work on exam questions and much, much more.
This will save you not hours of work, but WEEKS worth of work and preparation and I guarantee will be worth the download. Your download includes both an editable Word version AND a high-quality PDF, ready for printing or sharing immediately.
Pan's Labyrinth A-Level Film Studies student booklet e-book workbook study guideIan Moreno-Melgar
A detailed guide and workbook for Pan's Labyrinth as part of the A-Level Film Studies Specification covering context, a detailed analysis of the film, examinations of Spanish Cinema, Civil War, as well as work on representation and aesthetics as well as the aesthetic influences of Director Guillermo Del Toro.
City of God A-Level Film Studies student booklet e-book workbook study guide Ian Moreno-Melgar
A detailed guide and workbook for City of God as part of the A-Level Film Studies Specification covering context, a detailed analysis of the film, examinations of Third Cinema and Cinema Novo as well as work on representation and aesthetics.
The idea behind this booklet is essentially to cover a broad range of topics and ideas related to both GCSE Film Studies exams but in a way that is very much revision: this booklet works best when you already have studied the individual films and topics needed and just need to revise those key ideas in a practical manner.
If you'd like to buy a copy please find here: https://iandoublem.sellfy.store/p/armbcq/
or here: https://www.tes.com/teaching-resource/-12649950
Throughout you will see references to ’30 Days of Film Revision’: the original plan was to include 30 different tasks that could be completed one day at a time leading up to the day of the Component 1 exam. There are actually 31 activities in total now, in part because I added an extra day to relax, but also to include additional material that focuses on each exam in specific focus; these are the final “exam on a page’ resources you will find on pages 31 and 32.
When designing this booklet, I have done so with the methodology of recalling more generic, broad ideas at the beginning and then eventually becoming more focused and nuanced on specific films and possible exam questions. I also incorporated techniques related to spaced learning, interleaving and dual encoding and for this reason it may seem as though the tasks and ideas are being repeated or are revised once and then pop up again later on.
Finally, I find this booklet works best when printed and photocopied to A3 size allowing for more space to write, but it was designed and therefore works well, at A4 size, ideally as one complete booklet with a page completed each day.
This is a comprehensive guide to cinematography. With nearly 60 pages and over 17,000 words of content, you’ll not find a guidebook, resource or textbook that is as detailed, as insightful or as adaptable as this.
The booklet is separated into the generally regarded aspects of cinematography including shot size, camera angle, camera movement, light and colour but also includes detailed explorations of other aspects.
Each section includes detailed explanations, expert analysis and insight, dozens of tasks, dozens of images, links to hundreds of videos on YT and assessments.
This is also a great resource to copy information from and then paste into whatever work you need to set or deliver. This means that you can use this electronic text book as a guide for you as the teacher, as a resource for students to use in the classroom, to be broken up and used as individual worksheets, for revision, for homework, for remote learning or for students who are self-isolating and unable to be in lessons in person.
Written by an experienced teacher, examiner and CPD presenter with extensive experience in writing guides for film studies, I guarantee that this resource will prove to be an invaluable tool for you and your students and worth every penny.
This booklet provide an in-depth insight into key aspects of Eduqas GCSE Film Studies with a detailed overview of the history of film technology. Providing key context about the nature of film as a technology from Nicéphore Niépce's first photo the rise of CGI, this booklet covers it all. With dozens of images, photos and links to various clips, videos and bespoke examinations, this booklet will provide students with a thorough examination of how film technology has changed and developed over the last 200 years.
A core focus of this booklet is on the technology timeline which is a key aspect of component 1 in the Film GCSE and this guide is a useful way of providing not only the core details but some extra context and history that helps to provide further insight and context to the technology and the development of it.
This textbook is perfect as a printable textbook for students to work straight onto, as a guide for teachers and staff as it's fully resourced and contains a huge range of tasks and links to YouTube videos, it also works brilliantly as cover work, work for remote learning such as those isolating at home, as a homework or for revision. You could even use this as an introduction, extension or home learning task for A-Level Film Studies.
To purchase, please go to selly.com/iandoublem
A compilation of the presentations from the zoom presentation and meeting on June 24th covering a range of aspects about planning a GCSE Film Studies course.
A discussion on Facebook about the dwindling numbers of students electing to study Film at GCSE / AS/A Level. Hopefully with the beginnings of a plan to tackle the issues.
If you like the look of this document, you can purchase it from here:
https://sellfy.com/p/4ALc/
Please note: the District 9 study guides are slightly more expensive due to the sheer size and detail of them.
This is a comprehensive scheme of work with 100 pages of detailed information and activities, designed to support in teaching District 9i for WJEC/Eduqas GCSE Film Studies. This version comes with 2 PDF versions as well as editable versions in Word and Pages format.
Written by an experienced examiner and consultant, this booklet on District 9, directed by Neil Blomkamp in 2009, provides a huge range of activities. Designed to be a digital textbook as well as study and revision guide, this resource features dozens of activities and hundreds of questions as well as information to support students and teachers appreciation of District 9 in relation to Component 2 of Eduqas GCSE Film Studies.
Some of the work includes:
+the context of South Africa, including details on apartheid,
+key facts and information on the making of the film,
+systems for keeping notes during watching with templates using the Cornell notes system,
+dozens of activities on narrative in film studies,
+information and activities on narrative theorists such as Vladimir Propp, Tzetvan Todorov and Claude Levi-Strauss,
+work on narrative techniques such as Chekov's Gun, cause and effect and many more,
in-depth details on key scenes,
+dozens of screenshots from the film as well as images from other relevant areas that have influenced the film,
+dozens of activities for students including hundreds of questions,
+guidance on how to analyse scenes from the film using hexagaonal learning, summary sheets to help with revision key scene analysis which includes links to the specific scenes or extracts, hosted permanently on YouTube, so you don’t even need a copy of the film to complete some of the tasks-again, perfect for students to complete!
+many of the tasks have also been designed to be peer or self-assessed and there is a wide variety of solo work, paired work or group work catered for, with each activity described in detail at the beginning of each task.
This guide has been written so that it can be used in a variety of ways; print and use as a ready-to-go scheme of work in a booklet. Maybe give to students as a detailed homework that can be completed alongside your own classroom work. It also works great for revision, either with individual task printed or again, as a whole booklet. Try printing individual pages as starters or plenaries, or even using the tasks as engaging resources for lessons built around key ideas of your own.
Tsotsi Scheme of Work / Viewing Guide / e-book / Revision BookletIan Moreno-Melgar
If you would like to download a copy of this without the watermark, please visit here: https://sellfy.com/iandoublem
A comprehensive scheme of work with over 60+ pages of detailed information and activities, designed to support in teaching Tsotsi for WJEC/Eduqas GCSE Film Studies. This version comes with 2 PDF versions as well as editable versions in Word and Pages format.
Written by an experienced examiner and consultant, this booklet on Tsotsi, directed by Gavin Hood in 2005, provides a huge range of activities. Some of the work includes: the context of South Africa, including details on apartheid, key facts and information on the making of the film, systems for keeping notes during watching with templates using the Cornell notes system. There are also in-depth details on key scenes, dozens of screenshots from the film as well as images from other relevant areas that have influenced the film. There are also dozens of activities for students including mock exam questions, comprehension questions on location, characters and more. PLUS: guidance on how to analyse scenes from the film using hexagaonal learning and summary sheets to help with revision. Key scene analysis include links to the specific scenes or extracts, hosted permanently on YouTube, so you don’t even need a copy of the film to complete some of the tasks-again, perfect for students to complete! Many of the tasks have also been designed to be peer or self-assessed and there is a wide variety of solo work, paired work or group work catered for, with each activity described in detail at the beginning of each task.
This guide has been written so that it can be used in a variety of ways; print and use as a ready-to-go scheme of work in a booklet. Maybe give to students as a detailed homework that can be completed alongside your own classroom work. It also works great for revision, either with individual task printed or again, as a whole booklet. Try printing individual pages as starters or plenaries, or even using the tasks as engaging resources for lessons built around key ideas of your own.
This guide / ebook is designed to help in the delivery of GCSE Film Studies, focusing on Component 2 Global Film. This guide focuses on the key aspects of Representation and film language, as per the Eduqas Specification.
GCSE Film Studies Captain America First Avenger: A Scheme of Work and Case StudyIan Moreno-Melgar
A mini-scheme of work for WJEC GCSE Film Studies Paper 1 on Hollywood genre study of superhero films. This case study is designed to support the Marvel film Captain America The First Avenger (2011). There are 3 YouTube videos embedded to aid certain tasks.
Designed to accompany the animation I uploaded to YouTube here (https://youtu.be/g-WuZisCi20), these are some documents designed to help with student engagement and revision.
A booklet designed for secondary school students (broadly speaking Year 7) that provides a range of questions to help track reading and comprehension of any book or text. Includes a wide-range of questions and activities as well as a section to list unknown words, a reminder of word class and a section to print out and turn into bookmarks.
Film language micro elements toolkit and revision mats for analysing key scen...Ian Moreno-Melgar
A series of 'mats' I use for analysing different aspects of film language. Useful for film and media studies, there is a variety of 'mats' here that I've found to be very useful for students who are analysing or revising when working with whole films, key scenes, or extracts. The final page of this PDF document contains a description/explanation of how I have used these documents in my classroom.
Film Language: Editing explanation examples and worksheets. Ian Moreno-Melgar
A long and detailed look at what editing is in Film and how it helps to not only present a story to the audience but how it functions on a technical level. The presentation is broadly split into two areas: Pace and Transitions. Each section contains a definition, 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.
How to Make a Field invisible in Odoo 17Celine George
It is possible to hide or invisible some fields in odoo. Commonly using “invisible” attribute in the field definition to invisible the fields. This slide will show how to make a field invisible in odoo 17.
Palestine last event orientationfvgnh .pptxRaedMohamed3
An EFL lesson about the current events in Palestine. It is intended to be for intermediate students who wish to increase their listening skills through a short lesson in power point.
Biological screening of herbal drugs: Introduction and Need for
Phyto-Pharmacological Screening, New Strategies for evaluating
Natural Products, In vitro evaluation techniques for Antioxidants, Antimicrobial and Anticancer drugs. In vivo evaluation techniques
for Anti-inflammatory, Antiulcer, Anticancer, Wound healing, Antidiabetic, Hepatoprotective, Cardio protective, Diuretics and
Antifertility, Toxicity studies as per OECD guidelines
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
Acetabularia Information For Class 9 .docxvaibhavrinwa19
Acetabularia acetabulum is a single-celled green alga that in its vegetative state is morphologically differentiated into a basal rhizoid and an axially elongated stalk, which bears whorls of branching hairs. The single diploid nucleus resides in the rhizoid.
How libraries can support authors with open access requirements for UKRI fund...
Mise-en-scene introduction and study guide
1.
mise-en-scene
Student name ______________________________
Mise-en-scene is a French phrase that means ‘placing on
stage’. It is used to describe the design aspects of film
through cinematography and stage design, and also through
direction. We need to be able to analyse what we can see by
describing what we can see in accurate and detailed
language. We also need to explain what it means or what it
is trying to communicate to the audience.
2.
Mise-en-scene is a French phrase that means ‘placing on stage’. It is used to
describe the design aspects of film through cinematography and stage design,
and also through direction. To analyse and discuss mise-en-scene we need to
identify and analyse 5 main areas; settings and props, position of people and
objects, costume, hair and make-up, facial expression and body language and
lighting and colour.
Each aspect of mise-en-scene has two meanings to it; the explicit details and the
implicit suggestions.
For example: what is the prop he is holding?
Explicitly, we can see that the prop is a gun.
What is the meaning behind it though? What does the use of it in the film tell the
audience?
Well, implicitly, we know that this person is either going to want to kill someone or
protect himself from someone or something. The prop of a gun therefore implicitly
that there will be violence.
3.
EXPLICIT (describe what you can see) IMPLICIT (where this is set and how you worked that out)
EXPLICIT (describe what you can see) IMPLICIT (where this is set and how you worked that out)
DEFINITION:
The setting of a whole film or a key scene is vital. These, often without anything being said
verbally, tell us where the film or scene is set and who lives there. It also helps to establish
when the film is set and what country, time of day or even what planet the film is set on. This
is why you will often see a new scene begin with an extreme long shot that shows the
audience where the story is going to take place. These, called establishing shots, are a
simple and brief way of telling an audience where the film or scene is set.
TASK:
Look closely at the establishing shots below. For each, aim to explain the explicit details
first: describe what can we see. Then, consider the implicit meaning-where/when is this film
set, and in one sentence explain where/when you think this film is set, explaining why you
came to that ideas in as much detail as possible.
setting:
4. EXPLICIT (describe what you can see) IMPLICIT (where this is set and how you worked that out)
EXPLICIT (describe what you can see) IMPLICIT (where this is set and how you worked that out)
EXPLICIT (describe what you can see) IMPLICIT (where this is set and how you worked that out)
EXPLICIT (describe what you can see) IMPLICIT (where this is set and how you worked that out)
5. Setting is just as useful when we see an interior (indoor) shot. It helps an audience
to not only learn about where and when a film or scene is set but also help the
audience to learn about a character or a situation.
TASK:
When analysing setting, you need to first of all describe what you can see and then
work out what that setting suggests about the film and the characters in that scene.
EXPLICIT: How would you describe this location?
IMPLICIT: Who do you think lives there? What kind of person?
EXPLICIT: How would you describe this location?
IMPLICIT: Who do you think lives there? What kind of person? What is happening? Why?
6.
EXPLICIT: How would you describe this location?
IMPLICIT: What is the situation here? How can you tell?
EXPLICIT: How would you describe this location?
IMPLICIT: What is happening here? How can you tell? What situation may be happening?
7. DEFINITION:
Props, or to give them their full name, theatrical property, are the objects in a scene
that help to make a scene appear realistic. They can help to make somewhere look
old or new, busy or quiet or just show us what is happening. Props can be almost
any item that is included in a scene, such as food, furniture or photos but they can
also be items that people use or things that people own.
As with most aspects of film language, props can work on two levels-the explicit
description of what we can see, but also the implicit suggestion of what the props
suggest. For this reason, a setting may have been carefully created so that it
includes a specific set of props to suggest what the person in the person or people
in the scene is like, such as in these screenshots below.
TASK:
Look closely at the shot below. Paying close attention to the props, firstly explicitly
describe what props you can see and then implicitly analyse what the props
suggest about the character or scene.
The huge number of props in this screenshot from
NINE makes it clear that this is a film studio.
The props here help to show that the scene tales place
in a local corner shop in SHAUN OF THE DEAD.
In this shot from FROM RUSSIA WITH LOVE, props
not only show that this is an ornate and luxurious
setting, but also that the character is intelligent and
calm: playing competitive chess in front of a crowd but
happy to relax and smoke a cigarette as he does so.
This screen capture from TAXI DRIVER shows how props
can tell is that the scene takes place in a messy, shop, but
also that this character is violent and carries a gun.
props:
8.
Describe what props you can see in
screenshot number 1 on the left.
Describe what props you can see in
screenshot number 2 on the right.
What does screenshot number 1 tell us about Tony Stark, based on just the props you can see?
Look at his desk and the things we see on there. What does it tell us about him as a person? Be
sure to explain why you think that, using your answers form the top right hand box as evidence.
Screen shot 2 gives us a better view of the workshop. From this we can learn what kinds of
things Tony Stark likes because of the props used. What hobbies does he have and can you
describe what he is like as a person based on what props are being used in the scene? Be sure
to explain why you think that, using your answers form the top left-hand box as evidence.
9.
DEFINITION:
The position of objects and people is important as it helps to tell us about people, props
and the world in which the film takes place. Put at it’s most basic, someone, or something,
close to the front of the screen suggests importance or power. The further away they are
and the less central they are, the less important they are. Of course, every person and prop
on screen is important in some way-that’s why they’ve been included in the scene, so the
key is to first explicitly describe where someone/something is and then to analyse what
the implicit suggestion is of them being in that place is.
TASK:
Look closely at the cube below. Imagine that the front is the screen and that the ‘cube’ area
behind it is the world of the film (if it helps, imagine a stage like in a theatre. Then, use the
words below to accurately label the blank cube.
This will allow you to explain positions in film studies accurately.
Front | Middle | Back | Left | Right | Top | Bottom
SCREEN
position of objects & people
TASK
1.Below is a screenshot. There are two people in the screenshot. Firstly, describe, using the
words above, where they are.
2. Next, try to analyse why they are where they are. Consider what the reasons might be and
why we need to have two people in two very different positions in the frame.
11.
1
2
TASK:
Now that you know where and how to label where someone or something is in a scene, complete
the table below. The first column focuses on the explicit description of the scenes, using the
screenshots on the previous page. The other columns help you to analyses why the people and
objects are where they are for a reason. Finally, the last column helps you to combine these ideas
into one detailed explanation of each shot.
13. costume, make-up & hair:
DEFINITION:
These three things tend to be analysed together when looking at mise-en-scene. To
clarify- costumes are clothes, hair is obvious and make up are the products used to
help make a character look a certain way. It does not just mean things like lipstick or
eye shadow, it can be used to create scars or cuts, to make a character look pale, to
create a creepy looking character or to help someone appear to be warm and kind.
Johnny Depp for example is an actor who uses costume, hair and make up to really
help create a detailed, authentic and interesting character.
What does the use of hair, costume and make up tell the audience about
this character?
TASK:
Begin by describing what you can see and then analyse what these things tell us
about the character. Consider colour, materials and special effects in the make
up. Then, analyse what you think this implicitly suggests about the character.
Explicit:
Implicit:
14.
EXPLICIT: IMPLICIT:
TASK:
Costume doesn’t always have to be a dramatic thing. For each screen shot below,
again describe what you can see (the explicit) and then describe what the costume
tells us about that character/s:
EXPLICIT: IMPLICIT:
Costume can also signify change in a character. For this screenshot, explain what the
change in costume tells us about how the character has changed. Around the image,
describe what the character is like based on their costume and then describe how the
costume has changed and what that tells us about the person and how they have changed.
EXPLICIT: IMPLICIT:
15.
5
1
TASK:
Pay careful attention to each character below. Study how each of them looks
and first of all, use the space around the characters on these page to annotate
what you notice. Then, using the table on the next page, describe how each
looks referring to colour, shape, size and style of costume.
Finally, explain what you think that character will be like based on your ideas
and descriptions.
1
2
3
56
7
4
16.
17. facial expression & body language
DEFINITION:
Facial expressions and body language are key components of mise-en-scene that are
often overlooked. A good actor can quickly and effortlessly informs the audience about
their thoughts and feelings with a simple lift of an eyebrow, a turn on their heels or a
shrug of their shoulders. This can also establish a mood or atmosphere for a scene
and then from this, our reaction to the film. This can seem quite complicated but it
doesn’t need to be. When considering and analysing facial expression and body
language, consider two main things: 1; are the actors using their face to try and
communicate something and 2; are they using their body to try and communicate
something? The idea then, is that we are trying to learn about a person feels just by the
use of their body and face, rather than by the words that may or may not be using.
When combined with camera angles and shot sizes, these key aspects of mise-en-
scene can tell us a lot about what is happening.
The best thing to do for both facial expression and body language is to just to describe
what you can see. However, to do this we need to use some specific language.
TASK:
Using dictionaries, look up the words below and write down the definition of each.
Then, aim to use in a sentence to help describe how someone could look in a film.
dominant
Definition:
In a sentence:
proximity
Definition:
In a sentence:
subservient
Definition:
In a sentence:
exaggerated
Definition:
In a sentence:
gesture
Definition:
In a sentence:
mannerism
Definition:
In a sentence:
expression
Definition:
In a sentence:
portray
Definition:
In a sentence:
posture
Definition:
In a sentence:
18.
TASK:
Using the words from the previous page and by using as many adjectives and verbs as
you can, first of all describe each of the images in terms of just their facial expression
and body language. Be as specific as possible to explain how the character looks.
19.
TASK:
Using the words from the previous pages and by using as many adjectives and verbs as
you can, first of all describe each of the images in terms of just their facial expression and
body language. Then, identify what camera angle or shot size it is. Finally, take a guess
and try to explain what you think is happening in each of these screenshots by considering
facial expression, body language, costume, make-up and the props.
(This should be at least 4 sentences per image to really explain what is going on and how
you worked that out.)
20.
21.
22.
Notice how this
screen shot doesn’t
have lots of very dark
areas created by
shadows. This is
because of the use of
fill light.
The faces here are
clear to see and nice
and bright. This is
how a key light
works.
The back light has
also created a nice
‘glow’ around their
hair and bodies-due
to the back light.
The key light, as the name suggests, is the most important and shines directly on the
subject. It’s the light that creates the main mood or feeling. The fill light also shines on the
subject, but from a side angle. It balances the key light and removes harsh shadows. The
back light shines on the subject from behind. It gives the subject a rim of light around
them, serving to separate the subject from the background and highlighting contours.
lighting & colour
DEFINITION:
Lighting helps to create the mood and atmosphere of a scene. Having read the script and
worked with the rest of the crew, the director will decide what they want the audience to feel
when watching a scene or the whole film. One way of creating a specific mood or atmosphere
by changing the lighting and the colours used.
For example, a director might put people or objects in darkness to surprise the audience. They
might decide to use lighting to ‘shine’ on specific objects that are significant or use colour
can to emphasise someone or something.Finally, lighting can traditionally used to create
emotion, atmosphere or to ‘date’ a scene.
Traditionally, films which were shot indoors in studios, used “three-point” lighting. This style
of lighting allows the images to be carefully manipulated in 3 different ways.
23. If you do spot a screenshot or clip which features3 or 4 point lighting, try to say so and
aim to point out where and why the lights are/what they’re doing.
TASK:
Tryonthescreenshotbelowbydrawingarrowswhereyouthinkeachofthe4mainlightscouldbeshining.
Off-camera, a
background light has
really helped to light
up the scene in the
background so that
we can see where the
scene is taking place.
“Four-point” lighting is created by adding another camera called a background light.
The background light is placed behind the subject. Unlike the other three lights,
which illuminate foreground elements like actors and props, it illuminates
background elements, such as walls or outdoor scenery. This technique can be used
to make sure a background is really clear such as, to draw more attention to the
background. It also helps to make a scene look more natural allowing the audience
to see clearly into the distance.
24. Trying to describe lighting then can be difficult. If it’s not easy to pick out individual
lights, instead focus on describing the explicit lighting style and then the implicit
meaning behind why that style of lighting was used.
Use the guide below to then analyse each of the screenshots.
LIGHTING FROM DIFFERENT ANGLES
Under lighting
This is when the key light is placed below the character or object on screen.
Top lighting
Is when the key light is placed above the character or object. This will help highlight
the features of that person or object.
Back lighting
Is where the key light is placed behind the subject.
However, not all films can be shot in a studio or lit by 3 or 4 main lights. Sometimes
films have to be creative and even at night time scenes need to be lit in a certain way.
TASK:
For these 3 examples, what are the lighting directions?
EXPLICIT: Label where the key lighting is coming from.
IMPLICIT: Why you think the key light is pointed there? What affect does it achieve? How
does it make the audience feel?
25.
TIME OF DAY
Linked to the idea of brightness, the time of day in a scene can also help to create
mood or feeling in a film. A bright, sunny film shot in the day generally makes a scene
feel happy and cheery.
A scene which takes place at night is likely to be very dark and creates uncertainty.
This means that scenes that are at night time are generally miserable, sad and
uncomfortable.
Scenes which take place during sunrise and sunset look warm and inviting. This
makes them look like an enjoyable place to be and generally suggest love and
optimism.
BRIGHTNESS
One of the easiest things to identify in lighting is the brightness of the scene or film overall.
This is straight forward to identify and also analyse. If a scene is well-lit we would describe it
as bright.If a scene is dark and under-lit we would say that it looks dull. These are the explicit
references to the overall look of the scene. The implicit analysis then is that bright scenes
generally represent happiness and darker scenes suggest unhappiness. This idea also
applies to time of day.
BRIGHT
DULL
26.
SHADOWS AND SILHOUETTES
Shadows, areas covered by darkness that aren’t easy to see, are used in films in
many ways. Whilst a traditional 3 or 4 point lighting set up shadows are mostly
removed, but sometimes using shadows can instead be a powerful way to create
mood, atmosphere or suggest something about a character or location.
For example, as shadows generally obscure things, shadows create drama and if
someone has a lot of shadows on them, it can make a person look suspicious. This is
because shadows hide details and information, whether part of someone’s face, a
key part of a scene or an interesting prop - hiding something or someone can create
surprise.
Of course, the opposite is true for scenes and characters that don’t have many
shadows on them; these scenes have nothing to hide and show the audience that
everything is ok. These scenes are comfortable and want us to feel welcome in them.
As well as this, these characters have nothing to hide.
A person or object who is completely dark is said to be in silhouette. These are often
created to hide people or objects to create surprise or tension.
27.
LOW KEY LIGHTING
Low-key (or hard) lighting
This is where the lighting is more towards the greyer and darker scale, where there is a
good deal of shadow, and where the key light is less bright and does not dominate.
TASK:
1. How would you describe the mood or atmosphere here?
2. How do you think the audience is supposed to feel looking at this screenshot?
3. Looking at the colours here, what do they remind you of or make you think of?
EXPLICIT:
Describe the lighting here. Try to use key words learned over the last few pages.
IMPLICIT:
Describe why you think the lighting looks like this. What is it trying to make us think
of.
Now try to analyse the screenshot below using the space either side. Focus on
describing the explicit lighting and the implicit reasons for it.
28. HIGH KEY LIGHTING
High key (or soft) lighting
This is where the scene is lit evenly and brightly. It allows the audience to see
everything clearly and without there being any dark spots or parts in the frame.
TASK:
1. How would you describe the mood or atmosphere here?
2. How do you think the audience is supposed to feel looking at this screenshot?
3. Looking at the colours here, what do they remind you of or make you think of?
EXPLICIT:
Describe the lighting here. Try to use key words learned over the last few pages.
IMPLICIT:
Describe why you think the lighting looks like this. What is it trying to make us think of
or make us feel?
Now try to analyse the screenshot below using the space either side. Focus on
describing the explicit lighting and the implicit reasons for it.
29.
LIGHTING ANALYSIS
TASK:
For each of the screenshots below, answer the same 4 questions and aim to do so in
one complete paragraph.
1. How would you describe the lighting?
2. What is the mood of each scene? How does the lighting create mood?
3. What does the lighting tell you about the characters?
4. How is the lighting trying to make the audience react or feel?
30.
31. COLOUR
Under normal circumstances, our eyes adjust rapidly and we usually don't notice differences
– unless we look for them – but cinematographers will often adjust for colour. They’re
generally looking to do two things; either make a scene look hot or cold or to tell us how
people feel.
Consider the colour chart above. Notice how the colours on the left are ‘warmer’ and the
colours on the left are ‘cooler’. If the colour of a scene seems important, do the usual two
things: explain the EXPLICIT and refer to the main colour/s. Then, analyse the IMPLICIT and
explain why those colours are used-what are they trying to tell us or make us feel?
The screenshot on the left is much ‘warmer’ than the ‘cool’ shot on the right. Why? What is
the possible reason? What does the scene want us to feel or understand? You might want to
consider other aspects of film language, but aim to analyse colour more than anything else,
thinking about what the film wants the audience to feel or learn about the characters or the
location.
TASK:
Using the spaces below each image, analyse the EXPLICIT colour/temperature and then
analyse the IMPLICIT reason why it’s been used.
32.
33.
mise-en-scene analysis
Having now analysed each aspect of mise-en-scene individually, now take a look at
the images below and aim to analyse how they use ALL aspects of mise-en-scene to
create meaning for an audience.
TASK:
For each image, do the same two things-identify the EXPLICIT, the main, most
important aspects of mise-en-scene.
Then, analyse the IMPLICIT; try to explain what these features of mise-en-scene are
trying to tell us about the characters, the location, the mood or even the story. Try to
explain where/when the film is set or what the genre of the film could be, based just
on the mise-en-scene.
The size of the boxes gives you an indication of how much you need to write.