I. Types of Film

(STYLES)

Realism -- Classicism --- Formalism

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Documentaries – Fiction -- Avant-Garde

(TYPES)

A. Objective Camera• Camera views scene as a remote

spectator.

• Viewer forgets the camera is there.

• Realistic

B. Subjective Camera

• Camera views a scene from the

visual or emotional point of view of a

character.• The camera draws attention to itself.• Manipulates meaning• Formalistic

Subjective vs. Objective Camera

Vertigo

D: Alfred Hitchcock, 1958

C. Realism in Film

• Camera is an unmanipulated,

objective mirror of the real world.• Everyday, realistic images• Basic experiences of everyday life• Loosely organized story• Emphasis on authenticity

Realism (cont.)

• Long, uninterrupted shots • Minimal editing• Natural lighting

1. “Arrival of a Train” (Realism)

• Lumieres brothers, 1896• Founders of cinematic realism.• Considered fascinating and terrifying.• A “actualités” (primitive documentary).

Arrival of a Train

2. “The Kiss” (Realism)

• Directed for Thomas Edison, 1896• A 47 second long actuality; one of the

first films made available to the public.• Considered scandalous and

“disgusting.”

The Kiss

3. Hearts and Minds (Realism)

• Davis, 1974• Primarily TV newsreel footage of Vietnam• Indictment of the US devastation of

Vietnam• Turned public opinion against the war.

Hearts and Minds (Prostitution)

D. Classicism • Story-oriented; based on entertainment

value• Avoids extremes • The images chosen for their relevancy to

the story and characters, rather than for

their authenticity (realism) or formal

beauty alone (formalism).

Classicism (cont.)

• Hollywood stars• Controlled lighting and sets• Moderate editing• Generally visually appealing and highly

romanticized

1. Gone With the Wind • Victor Fleming, 1939

• Epic Romance, Classic Hollywood Film

Gone With the Wind

2. The Royal Tenenbaums

• Wes Anderson, 2001• Manipulation of the camera to better tell a

story - cuts, reaction shots, slow motion, music, etc.

The Royal Tenenbaums

E. Expressionism/Formalism

• In-your-face; high degree of

manipulation and editing• Stylized visuals (special effects)• Emphasis on technique and expression

rather than story.• Manipulation of color and lighting

Expressionism/Formalism (cont.)• Filmmakers concerned with spiritual

and psychological truths• Characters and events often

extraordinary and symbolic

• Often artificial genres: musicals, sci-

fi, fantasy,etc.

1. A Trip to the Moon• Georges Melies, 1902• First science fiction film (silent)• Innovative use of special effects and

animation• Whimsical fantasy based on purely

imagined events.

A Trip to the Moon (3:00) Conquest of the North Pole (5:00)

2. Pi

• Darren Aronofsky, 1998• Psychological, surrealistic • Distorted imagery• High level of manipulation (editing,

sound, lighting)• Emotive, dream-like, paranoid, and

troublingPi

3. Raging Bull

• Martin Scorsese, 1980• Subjective camera• Fair level of manipulation• Plays with color, time, and camera angles to create a visual story

Raging Bull (Start 1:00)

II. Mise en Scene / Intro to Cinematography

A. Cinematography:

The making of lighting and camera choices when recording photographic images for the cinema. Closely related to the art of

still photography.

B. Mise en Scene How visual elements are staged, framed

and photographed. French for “placing on a stage.”

Involves: size, color, light, objects’ relationship to one another

1.The Dominant1.The DominantWhere is our eye attracted first? Why?

The dominant can be created by:* the size of an object, * a juxtaposition of lights and darks

(esp. in black and white films),* using a color that stands out from the

others,* placing one object in sharper focus

than the rest of the shot.

                                                                                                                    

                   The dominant in this shot is the character of Enid (Thora Birch). This is created by color, lighting and

focus.

2. Positioning of Characters & Objects within a frame Positioning within

a frame can draw our attention to an important character/object

A film-maker can use positioning to indicate relationships between people.

IMAGE 1

3. Color Carries certain

connotations which may add meaning (i.e. Red = Danger/Passion)

Can give a scene a particular look, feel or mood

Can be used for dramatic effect

Cool tones (left) are associated with sadness and strife. Warm tones (right) are romantic and happier.

How is color affecting the mise en scene of this shot?

4. LightingLighting can be used to achieve a variety

of effects: Highlight important characters or objects

within the frame Make characters look mysterious by shading

sections of the face & body To reflect a character’s mental state/hidden

emotions (i.e. bright = happy, dark = disturbed, strobe effect = confused

1. Low Key Lighting• Produces an overall darker picture.• Emphasizes diffused shadows and

atmospheric pools of light.• Often used in mysteries and thrillers.• Tends to heighten the sense of alienation

felt by the viewer, hence is commonly

used in film noir, horror, mysteries and

thrillers.

Low-Key Film Still: The Shining

Watch:

Raging Bull (Scorsese)

Barton Fink (Coens)

2. Film Noir Term used to describe stylish, Hollywood

crime dramas, popularized in the 1940-50s. French for “black film.” Lighting is low key,

very high contrast, and tends to be black and white.

Settings tend to be urban; swirling cigarette smoke adds an air of mystery.

Tone is fantastic and paranoid. Focuses on the dark side of humanity (violence, lust, greed, etc)

Film Noir Still: High Contrast

Watch:

Double Indemnity (Wilder)

Batman (Burton)

3. High Key Lighting• Bright, even

illumination, with few conspicuous shadows.

• Generally used in upbeat scenes, hence used mostly in comedies, musicals and light entertainment films.

Watch:

Some Like It Hot (Wilder)

Austin Powers (Roach)

What types of lighting are used in the following images:

A

FD

C

E

B