… ladies and silver screen….

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… ladies and silver screen… . perusing strategy: photography and mise en scene. Survey from a week ago. What sort of workmanship is film? … like music. Time bound. Aural. … like still photography. Catching "reality." The Edge. Light, shots, edges. … like painting. Components of structure and plan.
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…women & cinema… perusing system: photography and mise en scene

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Review from a week ago What sort of workmanship is film? …like music. Time bound. Aural. …like still photography. Catching “reality.” The Frame. Light, shots, points. …like painting. Components of piece and outline. …like theater. Gathering background. Dim space. Arranging of Three-Dimensional Space What separates film?

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Photography & Mise-en-scene

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Photography *Louis Gianetti and Jim Leech, Understanding Movies . “A photo is in no way, shape or form a complete and entire impression of reality: the photographic picture speaks to stand out or another choice from the aggregate of physical traits of the article photographed.” Why is this imperative to recall? What is the danger with photography and film as far as representation and reality?

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The Spectrum… (General, not total terms) Style: Realism - Classicism - Formalism Type: Documentary - FICTION - Avant-Garde Most movies fall in the in-betweens of these general classifications.

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And so… “…realists…try to protect the fantasy that their film world is unmanipulated, a target mirror of the real world. Formalists, then again, make no such misrepresentation. They purposely adapt and contort their crude materials so that just the very naã¯ve would botch a controlled picture of an object of occasion for the genuine thing” (2). “Realist silver screen spends significant time in craftsmanship that disguises art.” For realists, “beauty of structure is frequently relinquished to catch the surface of reality as it’s customarily perceived.” 4 Formalists are regularly alluded to an expressionists as they are making evident that the film is a statement of their vision. “Formalist films are elaborately flamboyant.” 4 “Expressionists are regularly worried with otherworldly and mental truths, which they feel can be passed on best by misshaping the material\'s surface world…[hence] Formalist motion pictures have a high level of control, of re-framing of reality..” 5

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Q: Does authenticity mean reality? Does formalism mean not genuine?

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Categories are constantly temporary Often, we may say something FEELS genuine in silver screen regardless of the possibility that it is exceedingly adapted Therefore, the formalist style can give the impression of authenticity/can make you feel something regardless of the fact that it doesn’t look like genuine living. So a profoundly built film content can turn things with the goal that they come closer to genuine encounters or it can deliver something exceptionally plastic and false. Realist style can likewise be very manipulative of reality. Consider how documentaries affirm to be just reporting the world, however are regularly exceedingly figured. What\'s more, some of the time, a great deal of adapting can go into making something look “real” or “natural.”

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It’s about FORM The crude materials of the world, the topic, the object(s) under perspective, or CONTENT, can be appeared in a million changed courses, contingent upon the representation\'s FORM. At the end of the day, content = structure. “The WAY a story is told IS the story.” The way an item is captured is the way that question as substance is caught on. “One method for seeing better what a film is attempting to say is to know how it is stating it” (Andr㩠Bazin 7).

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Just remember… Most of the time, we devour “content” without being aware of how it’s been shaped, without understanding that substance is structure . There are a million distinct approaches to photo something. We all comprehend the dialect of film and decipher the messages it conveys, however we don’t essential know how to talk the dialect. THE GRAMMAR OF FILM

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A rose by whatever other name… What is this? What does it speak to?

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WHO shapes the photos? Cinematographer/D.O.P A cinematographer (from \'silver screen photographic artist\') is one shooting with a film camera (the craftsmanship and exploration of which is known as cinematography). The title is by and large proportionate to executive of photography (DP or DoP), used to assign a boss over the camera and lighting teams chipping away at a film, in charge of accomplishing imaginative and specialized choices identified with the picture. The cinematographer is now and then additionally the camera administrator. We could say, for the most part, that the cinematographer manages the photography and the chief with mise en scã¨ne.

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How to shoot an article: Shots The compelling long shot (setting up shot) The long shot – separation in the middle of gathering of people and stage in live theater The full shot – scarcely incorporates the human body in full The medium shot – contains a figure from the knees to waist up (useful for conveying development and for dialog; more often than not an a few shot, or over the shoulder shot) The nearby up – face or item - lifts the significance of things under center The amazing close-up – a piece of a man or thing * Deep-center shot is typically a minor departure from the long or great long shot. Comprises of various central separations and shot inside and out; catches objects as close, medium, and long range at the same time and all in sharp core interest.

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Angles (where you put the camera) The point at which an article/scene is shot lets us know a ton about HOW we’re expected to peruse the picture\'s MEANING. The edge is said to give a “authorial analysis on the subject matter.” Bird’s eye see The High point The eye-level shot The Low edge Worm’s eye The sideways edge

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Lighting a film is pivotal to its account (how it recounts the story). High-Key: comedies/musicals Straightforward/Bright High-Contrast: tragedies/melodramas. Calm: puzzles, thrillers - Diffused shadows/spooky environmental Shots/movies can likewise incorporate these. Light/Dark imagery? Realists/Formalists?

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Lighting the Subject Four approaches to light the same subject: Lighting from Below Lighting from Above Backlighting Overexposure

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Color (1940s on…) Most movies have a shading palette/configuration/plan. A few movies that are painterly, which implies that everything inside of the film is exceptionally adapted in shading and configuration. A few movies change in hues or tints all through to help recount the story, and additionally to set the very state of mind of the film. (Eg. Activity; Aviator) “Colour has a tendency to be a subliminal component in film. It’s firmly enthusiastic in it request, expressive and air as opposed to obvious or intellectual.” Today, most prominent movies are exceptionally adapted in their shading and configuration, from the textual styles picked in the opening titles to the outline of the DVD windows. Shading is exceedingly typical: cool/warm/brilliant/dark.

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lenses/channels Standard lens: non-bended extent 1. Telephoto lens ( paparazzi lens ): close shots from far away Don’t need to be near item; don’t need an article to know you’re close. Then again, for planned obscuring. Can conform obscuring inside same shot to change center. Declines feeling of separation in the middle of viewer and article. Long lens – take into account specific centering and moving between planes of center in the same shot. 2. Wide-calculated lens: short central lengths; wide edges of perspective. For profound center shots: keep up sharpness of spotlight on all separation planes. Can misrepresent picture: individuals standing close look far separated. 3. Fish-eye lens (gem ball lens) – hyper-contortion. Channels : stifle or uplift certain hues. Ordinarily, a film that stresses shading to help recount the story joins the shading decisions of items and scenes with their expansion through hued channels. Lens and Filters can be utilized to change what on-screen characters look like, and the general tasteful of the film . Eg. Contract provisions for delicate center lens.

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Group Effort Filmmaking is a communitarian exertion. The executive can have an exceptionally exact vision and (attempt to) control all parts of the film (Hitchcock). On the other hand, s/he can work cooperatively with others. A few chiefs leave creation, points, and lenses up to the cinematographer, and concern themselves more with script and acting. Numerous don\'t. The best chiefs work nearly with the cinematographer, utilizing their skill to accomplish the sought look/shot/feel/importance. The chief may have a thought what s/he needs, however the master cinematographer knows how to get it going.

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Mise en scã¨ne Not just must we see how protests are captured, we must consider the course of action of the articles themselves. This organizing and putting is called mise en scã¨ne. In Theater : “placing on stage.” Arranging of articles inside of a given, and set, three dimensional space. The stage space is a theater\'s continuation space. In Film : bit more entangled. Three dimensional space is changed over into a two-dimensional IMAGE of the genuine article. So the style of a film is delivered through the control of genuine items and afterward a further control of these articles through the different strategies of photography.

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The Frame Films are a progression of pictures that can be perused independently, at the end of the day, to be comprehended, must be considered in the whole\'s connection film. “The delicate chief is generally as worried with what’s let alone for the casing as with what’s included. The edge chooses and delimits the subject, altering out all unimportant matt

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