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Film Aesthetics Week 3 Notes

by: JeanEricson96

Film Aesthetics Week 3 Notes FLME 1010

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About this Document

These notes cover more Cinematography and Editing.
Film Aesthetics
Dr. Harper Cossar
Class Notes
cinematography, editing, Film, film editing, aesthetics
25 ?




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This 2 page Class Notes was uploaded by JeanEricson96 on Friday September 9, 2016. The Class Notes belongs to FLME 1010 at Georgia State University taught by Dr. Harper Cossar in Fall 2016. Since its upload, it has received 10 views. For similar materials see Film Aesthetics in Film at Georgia State University.


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Date Created: 09/09/16
09/06/16 Film Aesthetics Cinematography Citizen Kane – low key lighting, B&W, establishing shot panning and tilting, the lighting doesn’t focus on the speaker (because he is no important). The Brave One – only cinematography (no dialogue) in clip, Steadicam and dolly. Canted  angles. Pulling focus. Children of men – shallow depth of field, “creeping” towards main character (signature of the  cinematographer). Do the right thing – two shot (two people in shot), panning and dollying. Reverse shot for  reaction. Shallow depth of field and close up. Schindler's list – B&W in 1992, extreme close ups, Steadicam, glamour lighting, pulling/racking  focus. 09/08/16 Film Aesthetics Editing – Placing shots against each other The editor organizes and disguises. The transition helps with the continuity. Temporal = Time,  shots are one single clip. Fades and Dissolves – Fades almost always passes time, Dissolves can  mean something is happening at the same time or be a passing of time, as well. Graphic match –  showing change in time smoothly. Edits have to be invisible. Graphic match in action is more  complicated for editors. The 180­degree rule keeps causality for conversations and anything with shot/reversals. Eye line match shows what a character is looking at. Crosscutting shows two  different events happening at the same time.


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