Cinema: History and Criticism, Week 6
Cinema: History and Criticism, Week 6 ENGL 212
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This 3 page Class Notes was uploaded by annazeberlein on Sunday February 21, 2016. The Class Notes belongs to ENGL 212 at College of Charleston taught by Dr. Colleen Glenn in Spring 2016. Since its upload, it has received 29 views. For similar materials see Cinema: History and Criticism in Foreign Language at College of Charleston.
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Date Created: 02/21/16
Cinema History and Criticism Week 6 Miseenscene continued Lighting 0 Directional lighting defines or shapes the object that s being illuminated I Frontal lighting side lighting under lighting spooky when it s people top lighting back lighting silhouette Genre 0 Genre films are linked by their narrative and stylistic conventions including miseenscene 0 Ex film noir westerns horror If you paused a film the image that would be left should be like a painting where all of the components are important and essential 15 aspects of miseenscene Cinematography Definition motion picture photography writing and movement the visual experience of the film 0 A series of still photographs played at a speed so that the eye perceives it as moving images The shot 0 Basic unit of cinematography o Represents a continuous point of view and moves in any direction but it doesn t change or cut to another point of view Point of view 0 Definition position from with a person event or object is seen and filmed o Subjective point of view perspective of specific character POV shot 0 Objective point of view not just one character 0 Focus specific object highlighted in that POV it s the most clearly defined 4 attributes of the shit 0 Framing I Contains limits and directs POV within frame of the shot I Ex canted frame which is skewed and unbalanced I Aspect ratio ratio of width to height of the frame the shape of the film composition I Masks Attachments to the camera that cuts off part of the film so part of the image is black 0 Iris shot I Masks the frame so it focuses on something like the eye s round iris I Iris in focus in I Iris out focus out I On and Offscreen Space Offscreen implied space that exists so the audience suspends their disbelief for the duration of the film Onscreen what s in the frame I Framing determines the image size by determining the object proximity determined by the subject by the scale of the shot POV and how the audience feels I Kinds of shots Close up shows the details of a person or object invites us to figure out what he she it is doing Extreme close up moves the camera even closer to single out a feature ex eye Long shot considerable distance between the camera and the object or person having the object or person be defined by the space around them Extreme long shot even more distance between camera and subject so that the larger image dwarfs the subject Medium shot frames a character waist up Medium close up closely frames a character to emphasize personal relationships around midchest Medium long shot shows more body approximately knees up I Camera height can affect film style high and low angles crane shot or overhead shot Low angle POV upwards High angle POV downwards Crane Overhead shot 0 Depth of field I How much of the field is in focus Are multiple planes in focus Multiple planes in focus deep focus One plane in focus shallow focus Rack focus lens changes to allow another object or character to be seen dramatic change 0 Movement I Mobile frame if there is movement in the shot this frame will follow it whether it s action an object or an individual I Pan camera horizontally scanning space like a city scape I Tilt camera moving vertically as if saying yes I Tracking shot dolly shot the position of the camera is changed by moving forwards or backwards usually on a track that has been pre built in order to follow the action I Following shot pan tilt or tracking shot that follows the subject Shane 1953 George Stevens The Western taps into an American national identity They become more socially aware in the 1960 s and debunked Native American stereotypes Frederick Iackson Turner wrote Frontier Thesisquot in 1893 which discussed the ever moving line that defined the westquot Shane is synonymous with his gun Important relationships Shane and Ioey Shane and Ioe Shane and Marian Ioe and Ryker Shane and Wilson etc Man with a mysterious past makes Shane a Western 0 He anticipates danger in a place where there shouldn t be any danger means he s experienced a lot of violence Ryker is the typical villain appears as a greedy capitalist in this society Shane and Joe are foils ultimately Shane has more in common with Ryker and Wilson than Joe 0 Shane has no roots not coming from anywhere not going anywhere 0 Joe has strong roots he s very connected to his claim We see Shane through Ioey who serves as a witness for many things other people don t see Despite the fact that Shane might want to leave his violent past behind him he relishes a good fight he even picks a few instead of just walking out Outside the store saloon the much is upbeat and creates a sense of community but inside it s almost silent except for breaking glass and punching Shane constantly rolls up his gun to put it away but it keeps coming back until the end when he reassumes it and leaves Once you kill someone you re not the same so Shane tries to reject who he once was but he can t escape it and has to leave the people who aren t killers like him Ioe references the government a lot which is out of place in the west where lots of people went to escape the law and Joe wants to bring it in
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