![]() Camera angles and movements combine to create a sequence of images, just as words, word order and punctuation combine to make the meaning of a. Fantasy Films: Unlike science fiction films that base their content upon some degree of scientific truth, take the. A mask is an object normally worn on the face, typically for protection, disguise, performance, or entertainment. Masks have been used since antiquity for both. A B movie is a low-budget commercial movie, but one that is not an arthouse film. In its original usage, during the Golden Age of Hollywood, the term more precisely. Short Films: Media Resources Center UCB, UC Berkeley. The following videography includes fictional shorts and short documentary compilations and anthologies primarily.
In cinema, placing on the stage really means placing on the screen, and the director is in charge of deciding what goes where, when, and how. David A. Cook, in his book A History of Narrative Film, points out how a mise- en- sc. Directors don’t walk around saying “Let’s change the mise- en- sc. Thus in the production environment, the director is more specific with his requests and orders. Is he talking to the prop master, the set designer, the actors, the make- up artists? All of them are part of different departments. But all of them, in the end, have influence in the mise- en- sc. Students taking Film Analysis courses should be quite familiar with the term. Even though many professionals are involved in its creation, the director is the one who oversees the entire mise- en- sc. Not just that, but during the early stages of pre- production, the director or his AD sits down with set designers, prop masters, location managers, costume designers, and scenic artists to determine the look and feel intended. In some instances, the mise- en- sc. For example in the German expressionist film The Cabinet of Dr. Caligari (1. 92. 0), distorted shapes and claustrophobic scenery are implemented to disturb the audience and enhance the horror. Mike Nichols’ The Graduate (1. For this reason, the following segments will shed light on many scenes from The Graduate but also from other pictures. Set Design. The set design refers to the decor of the the set, or how it’s dressed, comprising mainly of the furniture, props, and the set itself. Instead of just placing objects here and there, the director must be savvy to fathom how these elements may bear significance in a deeper level, while also emphasizing themes, creating meanings, and provoking thoughts. To illustrate: an early scene from The Graduate (1. Benjamin Braddock (Dustin Hoffman) alone on his bed. Behind him is a fish tank, which symbolically represents Ben’s entrapment in a life that he doesn’t want. Later in the movie, Ben finds himself at the bottom of a swimming pool, thus further elaborating on that concept. The Production Designer is the professional responsible for building and dressing the set. She works with the Art Director, the Set Designer, and the Prop Master to create and add these physical elements to the filmic space. The Production Designer reports to the Director, and together they conceptualize the look of the film well before cameras start rolling. In Rear Window (1. L. B. Jeffries (James Stewart) handicap: Lighting. Unarguably one of the film elements that has the greatest power to evoke emotions, lighting must be manipulated by the director to accommodate his or her desires for the movie. In broad terms, the two types of lighting approaches are: low- key lighting and high- key lighting. High- key lighting is often seen in romantic comedies and musicals, encompassing an even lighting pattern and avoiding dark areas in the frame. Everything looks bright with little to no shadow at all. High- key lighting has little dramatic effect itself. Low- key lighting is often seen in horror movies and thrillers, comprising of a lighting pattern that has both bright and dark areas in the frame. The chiaroscuro (Italian: bright- dark) technique, long used by painters, is characterized by strong contrast, often employed to unnerve the audience. Note that this terminology is counter- intuitive as low- key lighting is high contrast and high- key lighting is low contrast. Costume. The obvious purpose of costuming is to dress an actor according to his character. Lawyers wear suits, nurses wear scrubs, and a drifter could wear worn out shoes, ragged shirt, and baggy pants. But, more than that, costuming can also be used to establish someone’s hierarchic level. Regimentals, for instance, bear the status of the person who wears it. And even the color may distinguish an enemy from a friend. In The Good, the Bad and the Ugly (1. Blondie (Clint Eastwood) heads toward the enemy cavalry that was covered in dust. When the enemy general dusts off his sleeve, his apparently gray uniform turns blue, making it obvious that our beloved protagonist was going into the shark’s mouth. Costuming may also be used to emphasize a theme. In the first scene at the Taft Hotel in The Graduate, Mrs. Robinson wears a fur coat that makes her look like a predator hunting for her prey. Her coat bears a pattern that resembles the fur of a cheetah. Or could it be a cougar? Location. In Witness (1. Rachel’s (Kelly Mc. Gillis) seduction, John Book (Harrison Ford) explains to her why nothing could have happened between them the night before. Quite conveniently, the confrontation takes place in a barn, while Rachel is collecting eggs. The location emphasizes Rachel’s responsibilities as a woman. If they had made love and Rachel gotten pregnant, she would have to carry the baby and eventually give birth. Also, during the conversation, John stands outside the barn, thus being physically separated from Rachel by the barn’s door. In this case, the door functions as a metaphor of the social and cultural barriers that keeps them a part. The final confrontation in The Graduate takes place in a church. Ben tries to prevent Elaine (Katherine Ross) from getting married, but he arrives too late. Nonetheless, when Elaine sees him, she sprints to him, and they run away. When the couple is cornered by infuriated parents and relatives, Ben starts swinging a cross to avoid them. As they exit, Ben uses the cross to hold the church’s doors shut. The prop (cross) and location (church) offer a comment on religious institutions, perhaps implying that Elaine’s parents are trapped by traditional believes and practices. For the Future Directors, With Love. As you know, the director on a set has final word on all the creative elements, which means many of your crew members will stop you and ask for approval on this or that: Is the blond wig okay? Can we shoot on top of the building? Can we place the sofa under the window? Where’s is the restroom? Some of these questions may or may not be the questions you are willing to answer at the time, but remember: everyone is just doing their job. The important thing is to not get overwhelmed and snap at your crew. They are all there for you, working on your film. If you are on an well- oiled set, your Assistant Director (AD) will be the last barrier before people get to you. He or she will try to answer as many questions for you as they can. And if your AD doesn’t know the answer, at least he or she will be able to prioritize and let you know what needs immediate attention.
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