The document discusses several film techniques that the author likes, including: 1) Framing characters through foreground objects, which creates an intimate feel and draws attention to the character. 2) Match cuts, which seamlessly transition between two shots that are matched by a shared action or movement to connect different settings or characters. 3) Using dark silhouettes against backlight to create mystery around a character's identity while still establishing them through position or action. 4) Manipulation of focus, such as a focus pull, to provide insight into what is behind or in front of something and emphasize hidden elements or introduce characters.

1. TECHNIQUES I LIKE
Michelle Grace

2. Framing characters through foreground
objects
This technique is highly conventional to
Steven Spielberg’s style of filmmaking.
This technique is more visually intricate
than that of a ‘cleanly’ framed character,
with no foreground objects. Despite often
being used as a POV shot from the
perspective of a character who is in hiding;
it further makes the audience feel as
though they are physically hidden. This
creates an incredibly intimate and
secretive feel to the scene, whilst
additionally drawing the audiences
attention to the character. This can also be
used to emphasise certain connotations –
for example, in the image on the right, the
characters are framed through police
equipment. This connotes to the genre on
themes of the movie, presenting the
audience with an inevitably clear and
intimate view of this.
(Source: http://www.lavideofilmmaker.com/filmmaking/steven-spielberg-
film-techniques.html)

3. Match Cuts
A match cut is defined as ‘a cut from one shot to
another where the two shots are matched by the action
or subject and subject matter.’ This is commonly used
to show two characters/actions in different settings,
joined together by a shared action or movement. The
editing can be fluid (i.e move seamlessly from one
subject to another, as though the movement was
continuous) or abrupt – as seen within the Disney
adverts on the right. In these, the camera cuts from a
princess to a young girl in the same position, thus
making it a ‘graphic match’ rather than continuity
technqiue. This acts to show young girls that they too
can be like their favourite princess, hence persuading
them to visit Disneyland or buy Disney products. The
other example I selected is from the 2001 movie ‘A
Space Odyssey’, wherein the image of a bone being
thrown into the air seamlessly transforms into that of an
orbital platform – this being a continuity editing
technique. As a result, a sense of similarity is
established between the two items and settings, which
– in this instance – serves as a reminder of
technological advancement.
(sources:
https://en.wikipedia.org/wiki/Match_cu
t
http://princess.disney.com.au/#)

4. Dark silhouettes against backlight
The following technique can be used to
establish character and action. The use of
lighting means the characters are only able to
be seen in silhouette form, this being both
visually pleasing whilst also creating a sense of
mystery. As a result, the technique complies
with Barthes’ enigma code, creating a sense of
enigma surrounding the identity of the
characters. Character is, however, established
through position. For example, the upper
image is a two shot displays the pair of
characters in a seemingly intimate situation,
perhaps shielding them from the audience in
order to create a sense of privacy. The second
image displays a character seemingly in
anguish, surrounded by fire. The use of fire to
create a silhouette connotes to the action
genre, whilst also emphasising the severity of
the situation – the character is shown as a
pitch-black figure, connoting the idea of ashes
or burning. Furthermore, the enigma
surrounding his identity establishes a sense of
mystery surrounding the cause of the fire.
(source: http://www.lavideofilmmaker.com/filmmaking/steven-
spielberg-film-techniques.html)

5. Manipulation of focus
Another cinematic technique which can be
used for impact is that of focus manipulation.
The example I have selected displays a
focus pull from the outside of a fence, to
looking through the fence. This is effective,
as the audience are given a clear insight into
what is both behind and in front of the fence,
emphasising the hidden nature of what is
behind. The technique is also commonly
used in order to introduce characters – for
example, if shallow focus is used on a single
character, and this switched to a second
character upon their entry into the shot. This
is not only visually appealing, however
places emphasis on both characters or
actions individually, inevitably drawing the
audiences attention towards both.