Difference between revisions of "MTD1Notes10 24 06"

Latest revision as of 19:10, 4 August 2008

October 24, 2006

Film Language

Compositional Ideas: -Aspect ratio -Establishing shot -MS (medium shot), CU (close up shot) -Stable/unstable (tilt/cant) -Pull of frame edge -Direction of gaze -Direction of motion

Aspect Ratio: the size and shape of the screen - Different ratios include 16:9, which gives a feature film feel to a more amateur video, wide screen, and motion picture. - Each aspect carries a specific potential for movement and framing within the screen. - You can choose an aspect ratio to fit the needs of the content of your video or film.

Establishing Shot: This shot is always wide and helps to establish where something is taking place. - For example in sitcoms, one of the opening shots is usually the outside of a house in a certain neighborhood and then the next shot is inside the house.

MS (medium shot), CU (close up shot): different types of shots used in a film - These shots can vary depending on the subject matter. - A close up shot has more detail than a medium shot. - A common sequence of shots: establishing shot to medium shot to close up shot. This sequence provides nice transitions between images.

Stable/Unstable: - Stable: the important content of the image does not exceed the frame and is securely positioned within the frame. This does not necessarily mean that the image is symmetrical. - Unstable: certain details may be outside of the frame and the image may be tilted. The tension of formal elements in the image helps to give the feeling and movement of instability.

Pull of Frame Edges - If an object in an image is close to the edge of the frame, we view it as though it is being pulled towards the frame.

Direction of Gaze: the direction a person is looking in an image. - When framing a gaze leave more room in the direction of the gaze because it gives the gaze a sense of energy and more implied movement. It makes the gaze more believable.

Direction of Motion: the movement of images. - The placement of different objects moving in specific directions in a particular sequence can change how we interpret something. - For example if you see a woman running and then a dog running, you might think that the dog is chasing the woman. If you see the dog first and then the woman, you might thing that the woman is chasing her runaway dog.

An example of using film language to interpret a television ad: The Apple 1984 ad (http://apple-history.com/movies/1984.mov) - Look at things such as color schemes, camera angles, clothing, settings, and sounds. These are just some observations about the ad using concepts of film language: - Grey and blue are the predominate colors. This represents lifelessness and also the color of IBM, Apple’s competition, who they want you to associate with Big Brother. - The woman in the ad represents Apple and she is full of color just like the Apple logo to represent something full of life. - In the beginning the camera angles and the establishing shot make the men seem small and insignificant. - When framing the woman in shots she is in the center showing her importance.

Following the lecture/discussion was a screening of the film “Run, Lola, Run”. These questions, as well as consideration of how form relates to content in the film (through an analysis of formal characteristics), were proposed for discussion for the next class. The film is in the Columbia College library, and if the subtitles went by a bit quickly for you, you can find them on line here, translated from the German: http://www.script-o-rama.com/movie_scripts/r/run-lola-run-script-transcript.html

Run Lola Run

1. Is it important for the viewer to know what the "true" plot of a movie is, or is the ambiguity of a film like "Run Lola Run" more effective in conveying a message?

2. In the movie "Run Lola Run" are the multiple views of the plot driven by a fatalistic concept of life or one driven more by chance? Does the message of the movies change given each situation? Is it even important to know?

3. In regards to the stylistic methods of showing two simultaneous scenes: two scenes simultaneously on the same screen(i.e. Manni on the right, Lola on the left of the screen), vs. showing alternating scenes sequentially. How does that effect the viewers' sense of time and urgency?

4. Why is there a contrast between the treatment of the main characters’ lives and that of the supporting casts' (played out in snapshots)? How does this fact question our views towards ourselves versus our views towards others?

5. What relationship is this film trying to establish between inevitability and chance? What is their balance in the world of this film? Consider these symbols: the domino chain-reaction on TV at the beginning, Lola's mother the astrologer, the blind woman outside the phone booth, and the car crashes between Meyer and Ronni?