Week 2 and 3: Identification, Cognition, Mise-en-scene
Week 2 and 3: Identification, Cognition, Mise-en-scene ETS 154 - M001
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ETS 154 - M001
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This 3 page Bundle was uploaded by Mitchell Jones on Friday September 11, 2015. The Bundle belongs to ETS 154 - M001 at Syracuse University taught by R. Hallas in Fall 2015. Since its upload, it has received 37 views. For similar materials see Interpretation of Film in Foreign Language at Syracuse University.
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Date Created: 09/11/15
Identification emotionalintellectual connection the audience feels for a character or camera ex POV shot feeling Cognition rational thought process of working through a narrative that keeps the audience engaged and interested makes audience think about purpose thinking Time and space are fundamentally relative in film Can alter time and space with cuts Medium specificity the ways communication are defined by the qualities that are unique to its style a novel is different from a movie Psychodrama film that portrays the mental difficulties within a character s mind Interpreting Film Interpretation integration of analyzing the form and theme of the film Not a personal opinion Not a topical claim Also not about form as a standalone function of the film Must integrate thought about understanding the meaning Meaning in film Relative the meaning is not fixed or absolute various interpretations possible Contextual depends on the films purpose Contradictory what is contradicted within the film or how does it contradict real life Dynamic the meaning of an element prop character etc changes throughout film Multilayered what is the historical psychological etc meaning Complex never straight forward Film reviews advertisement to persuade people to go or not for entertainment very opinonated Scholarly film artcles incorporate evidence to support claims assume movie has already been seen analyzes Elements of Analytical Element Argument not opinion Interpretation not evaluation Thesis nucleus of argument Evidence close reading of element contextualization and citation Golden key the author s interpretation of the film usually director not the only possible interpretation Miseenscene Derives form mettreenscene to stage Elements Setting and props can be used to enhance the realism of a film onlocation setting of film is realworld setting not a stage Costume is used to explain the character and adds to realism Makeup is used to define the actor s face so it is not lost in lighting Lighting is used to illuminate the film and to express mood and tone Performance is how the actors use their bodies to convey meaning Character blocking is how the actors are placed in relationship to one another explained by the scene from Citizen Kane All the physical elements that are in front of the camera Articulates connection between individuals and the world Lighting Key light main light creates shadows Fill light weaker softens shadows Backlight weaker still illuminates space behind creating a 3D illusion or depth These three kinds of light combine to form what is called threepoint lighting High key lighting little contrast full illumination of scene grey tone All about Eve Low key lighting high contrast between light and shadow little grey tone creates pools of lights and dark shadows Naturalistic Miseenscene Scenic realism The fictional world created is rational plausible and realistic Doesn t surprise the audience Presents realworld materials historical references etc Tends to recede to the background rarely notice the surroundings compared to the events occurring Theatrical Miseenscene Deviation from scenic realism Fictional world created unrealistic surprising Independent expressive form in a film Provides expressionism Embodies the set of forces in con ict with the characters More noticeable as a meaningmaking element Neorealism First established in Italy post WWII Films were made to be truly real and relevant Not showy like Hollywood Used real people no actors
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