JM Nelson: HUM1020 Cinema Terms & Notes

JM Nelson: HUM1020 Cinema Terms & Notes

CINEMA

Cinema is aesthetic communication through the design of time and three-dimensional space compressed into a two-dimensional image.

TECHNIQUES OF PRESENTATION

1.  Narrative- this technique tells a story, using the techniques of theatre. This type of film follows literary construction in that it begins with expository material, adds levels of complications, builds to a climax, and ends with a resolution of all the plot elements.

2.  Documentary- this type attempts to record actuality using either a sociological or journalistic approach. It does not use reenactment by professional actors and is often shot as the event is occurring. It may use a narrative structure; all convey a sense of reality as well as recording time and place.

3.  Absolute- this film exists for its own sake, to record movement or form. There is no story and rarely runs longer than twelve minutes (one reel) and has no commercial intent. It is simply meant as an artistic experience.

EDITING

The editing process creates or builds the film. Artists rarely record cinema in the order of its final presentation. They film it in bits and pieces and put it together; the force of the final product depends on the editing process and the manner in which the director handles the camera and lighting, and movement of the actors.

Plasticity is the quality of film that enables it to be cut, spliced, and ordered according to the needs of the film and the desires of the filmmaker.

·  Cut- the joining together of shots during the editing process

·  Jump cut- a cut that breaks the continuity of time by jumping forward from one part of the action to another that is separated by an interval of time, location, or camera position

·  Form cut- cuts from an image in a shot to a different object that has a similar shape or contour, and is used to create a smoother transition

·  Montage- the most aesthetic use of the cut in film

(1) Elongation or compression of time and

(2) Succession of images to illustrate an association of ideas

CAMERA VIEWPOINT

The camera position and viewpoint are important to the structure of film, as is the editing. How the cameral is placed and moved is an aid in explaining and elaborating on the filmmaker’s cinematic ideas.

The Shot- what the camera records over a period of time, this is the basic unit of filmmaking

·  Master shot- a single shot of an entire piece of action, taken to facilitate the assembly of the component shots of which the scene will be composed

·  Establishing shot- a long shot introduced at the beginning of a scene to establish the interrelationship of details, time, or place which will be elaborated on in subsequent shots

·  Long shot- a shot taken with the camera at a considerable distance from the subject

·  Close-up- a shot taken with the camera quite near the subject

·  Two shot- a close-up of two persons with the camera as near as possible while still keeping both subjects within the frame

·  Bridging shot- a shot inserted in the editing of a scene to cover a brief break in the continuity of the scene

Objectivity- does the camera viewpoint consist of a scene reflected in an objective or subjective viewpoint

·  Objective viewpoint- reflects an omnipotent viewer, analogous to the technique of third-person narrative in literature. In this viewpoint the filmmaker allows us to watch the action through the eyes of a universal spectator

·  Subjective viewpoint- the scene is presented as if we are actually participating in it; the action is presented from the filmmaker’s perspective. This is analogous to first-person narrative.

DISSOLVES

Transitional devices can be worked into a scene during the editing and usually indicate the end of one scene and the beginning or another.

The camera can cut or jump to the next scene, but a smoother transition occurs if the scene fades out into black and the next scene fades in. This is a dissolve.

As viewers, we need to develop an awareness of how the director articulates movement from one section to another and how that form of articulation contributes to the rhythm and style of the film.

·  Lap dissolve- occurs when the fade-out and the fade-in are done simultaneously and the scene momentarily overlaps

·  Wipe- a line moves across the screen, eliminating one shot and revealing the next

·  Iris-out or iris-in- a transition is created by the closing or opening the aperture of the lens

CAMERA MOVEMENT

This also plays a part in film construction. The movement of the camera as well as its position can add impact to a shot or scene. Lens focus can add to the meaning.

·  Depth of focus- when the lens clearly shows both near and distant objects at the same time

·  Differential focus- when the main subject appears clearly while the remainder of the scene blurs or appears out of focus. This technique is used when the filmmaker wants to focus the audience’s attention on one element within a shot.

Physical camera movements also have impact on a scene:

·  Track shot- taken as the camera moves in the same direction, at the same speed, and in the same place as the object being photographed

·  Pan- rotates the camera horizontally while keeping it fixed vertically

·  Tilt- a shot taken while moving the camera vertically or diagonally and helps add variety to a sequence

·  Zoom shot- moves the camera toward or away from the subject. Modern lenses can accomplish this movement by changing the focal length, while previously this was termed a dolly shot.

SENSORY IMPACT

The aim of film and all arts is to involve us in its product, either emotionally or intellectually. Filmmakers enhance their final product by using techniques that manipulate us toward a deeper involvement or heightened intellectual response.

·  Cross-cutting –alternates between two separate actions related by theme, mood, or plot but usually within the same time period. Its most common function is to create suspense

·  Parallel development- occurs when cross-cutting is used to create a parallel construction of an ironic comparison by juxtaposing actions. By developing the two separate actions, the filmmaker allows us to draw our own inferences and adds deeper meaning to the film

·  Tension release- if the plot of a film is believable and the director talented a feeling of tension will be built up. If this becomes too great, the viewers seek some sort of release to break the tension and destroy the atmosphere.

Filmmakers build into their film a tension release that deliberately draws laughter from the audience where they wish. After a suspenseful sequence the audience needs to relax, once the release happens, we can be drawn into another suspenseful or exciting situation.

·  Magnitude- large panoramas and full-scale action scenes do not translate effectively to TV. TV films should be built around the close-up and concentrated action and movement because the TV audience is closer to than image. On the contrary, close shots of intimate details are overly dramatic when magnified on a 60 foot screen. Filmmakers must be aware of how the film will appear if translated to home screen or enlarged in a theatre.

·  Convention- accepted practices of the medium. We do not ask where the orchestra is playing when music enhances an exciting chase scene, or a performer begins singing in a musical film- we accept the background music as part of the totality of the film

·  Structural rhythm- this reflects the manner in which the various shots join together and juxtapose with other cinematic images, both visual and aural. The filmmaker creates a rhythm and pattern based on the way they choose to tell the story and indicate deeper meanings and relationships

·  Symbolic images- are used by filmmakers to direct our attention to the ideas inherent in the philosophical approach underlying the film (hero dressed in white, villain dressed in black)

AUDIO TECHNIQUES

In addition to dialogue, the audio track is used as symbolism, as a motif that reinforces the emotional quality of a scene, or for stronger emphasis or structural rhythm

·  Abrupt cutting done to beat of a soundtrack- a pulsating rhythm is created which adds a sense of urgency to the scene

·  Sound effects- when the sound is amplified to create a greater effect of the ambient or accompanying sound

·  Audio motif- introducing visual elements or used to convey symbolic meaning. This is when a particular music or motif (short musical phrase) is associated with a character or idea

·  Create sentimentality- by accompanying dialogue with certain songs the filmmaker can heighten the emotional impact

·  Changing the tempo and timbre or rendition of songs replayed during reoccurring scenes to intensify emotion or remind us of certain ideas

CRITICAL VIEWING

·  What is the impact or mood created by the cinematic style- think of the imagery and the techniques?

·  Do the characters have complex inner lives- do we think about their motivations?

·  Are the characters treated thoughtfully- is there an avoidance of stereotypes?

·  What is the relevance to the times- is there a response to social conditions?

·  What about the gravity of the theme presented- is the subject important?

·  Does the film have integrity- do serious problems have believable solutions? There should be no violations of probability.

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