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lecture notes

by: Max Geschwind

lecture notes CTCS 190

Max Geschwind


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CTCS 190 week 5 lecture notes. Info will be on exam.
Introduction to Cinema
Dr. Drew Casper
Class Notes
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This 3 page Class Notes was uploaded by Max Geschwind on Tuesday September 27, 2016. The Class Notes belongs to CTCS 190 at University of Southern California taught by Dr. Drew Casper in Fall 2016. Since its upload, it has received 7 views. For similar materials see Introduction to Cinema in Cinematic Arts at University of Southern California.

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Date Created: 09/27/16
CTCS 190 9-21 Prof. Casper Lecture notes COMPOSITION Composition – taking an image that is flat and making it full of depth. 2D to 3D. You want to make it more life-like. THREE ASPECTS OF COMPOSITION 1. Framing – sets up boundaries of the picture. Art is boundaried, life is unboundaried. As artist, you select what to put in. After selecting, you order. Creates visual structure through a frame because you can’t include all things from life. 2 shapes Frames come in: 1. Classical Frame such as Meet me in St. Louis, Singin in the Rain. 4 units of width to every 3 units of height. 2. Widescreen such as Blue Jasmine and Mr. Ripley such 5.33 units of width 3 units of height Anamorphic (panvision) such as Unforgiven. o Framing gives the action a structural unity. For a picture, you get a frame to differentiate it from real life. Main interest is to center the main character or main action in frame. When frame is splintered, you would think the world they live in is a disordered, fragmented world. Whenever a frame changes its frame, it is being conveyed that way. You can put the essential out of frame. SIX ZONES OF OFFSCREEN SPACE  Above  Below  Right  Left  In front of Camera  Behind the Set Example: actor coming in from right-side. World from beyond what we see. You can hear side from a certain zone that we don’t see. When you see an actor in a close- up, that doesn’t mean he has no close-up. In A Place in the Sun, the people in background are dancing off camera. There is off-screen sound with the music from orchestra. Director is putting world of other dancers, orchestra out of the world. All he keeps in onscreen space is the face and eyes of two players. He puts everything else in room in off-screen space. Shows that the two players love each other so much that they don’t hear or see the world. Shows us the importance of love. When people are in love, the whole world vanishes (go off-screen). 2. Staging – arrangement of a player with another player in relationship to the four walls, the set dressing and the décor and the lighting schemes to create meaning. o Proxemics Patterns – placing actors in terms of another actor creates meaning. o Shapes – small shapes get less attention rather than larger shapes o If you create a composition that stresses different type of line. Look at lines formed by players. Horizontal line – flat. Represents peace, tranquility. Vertical line – together, commanding, deserves respect, very strong line. Diagonal line – instability, in motion. Jagged line – confusion, chaos, danger, line starts and stops. o Planes – more planes, more depth and space. One plane is flat. More planes, more depth. A right to left plane is stronger because it creates tension. A plane movement toward the camera is stronger than away the camera because it grabs attention. Example: A Place in the Sun: Proxemic Patterns – strong motion when Taylor moves right to left. Lose relationship with other dancers, orchestra. Two players get closer. Shapes – the two heads of players get bigger and bigger, showcasing importance. Lines: Diagonal, Jagged lines used: suggests things might get uneasy, awful for them. It will bring death. Full on tension and unknowing. Planes: A couple planes with the two players and the other dancers in the background, then becomes one plane and less depth when they move outside and it’s just the two. 3. Photographing – Six proxemics patterns o Extreme Long Shot – you’re pretty distant from player, see the whole background. o Long shot – some of buildings, trees, park shown and still see character head to toe o Medium long shot – little to no background. You see most of character’s body o Medium shot – shoulders up o Close up – just face o Extreme Close Up -most of face, not all Anything you do with space you do with time. Time and space are correlative. If you manipulate space, you manipulate time. The extreme long shot because theres more to see so time goes by faster plays faster than Close Up. Director can give you a Normal Angle. Placed 5 feet, 5 inches off the ground because its average height. Effect on audience from low angle – feel less powerful. High/low angle is more interesting which is why it plays faster. Moving the camera outside the frame. Move the camera or if it will be still. Example from A Place In The Sun: Camera moves closer and closer to just the eyes and face, becoming more initiate. The angling also changes where it becomes low angle to idolize them, as well as creating tension. Only one camera movement – when she rushes to the balcony. Camera runs with her. Creates perspective. Situates you physically in a space. Makes you feel what the director is feeling and what the players are feeling. Camera can also be objective, subjective. When camera becomes physical eye of camera, it is subjective. Objective – you see everything, including character Subjective – physical eye of character Mind screen(scream?) Example: semi-subjective when it is a close up from Taylor’s eyes looking at Clift Composition creates space. Sometimes you can make the space go by fast, and so you affect time. Can have fast motion which would have space and time go by fast. You can freeze time, space, stop and repeat it.


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