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Camera techniques in film
German Expressionism roots
German Expressionism roots
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A style of film making that developed as part of the German expressionism movement during the 1920’s, which produced numerous movies now considered to be classics could be seen to have done so only through the stylings of mise-en-scène. Such films as The Cabinet of Dr. Caligari could be seen to convey the benefits in this style of film making; as described by (Phaidon, p.483, 1999) There is no conventional scenery: the sets are painted on canvas, creating an eerie world of distorted perspectives entirely fitting a film who's title character rules over a lunatic asylum.’ This style of film making is still used to this day. One film in particular that features strong aspects of mise-en-scène is The Others, a 2001 feature written and directed …show more content…
The mother, Grace Stewart, demanding that the door’s throughout the house always be shut due to her children's aliment at one point becomes infuriated for a door being left slightly ajar. So as well as both doors and curtains being shut for a large segment of the film the lighting also draws from aspects of this film style. Artificial lighting such as oil lamps are seen doubling as props throughout the film which allow the charters themselves to have complete control over the illumination of the shots. As Lathrop and Sutton state “Lighting like the other aspects of mise-en-scene, is a tool used by the director to convey special meaning about a character or the narrative to the viewer. Lighting can help define the setting of a scene or accentuate the behaviour of the figures in the film”(Lathrop G. Sutton D. 2014). Thus the usage of the lantern gave the actors the ability to portray one of the key ideologies of this style of film making. As stated by Wael Khairy “Most of the film takes place within dark rooms and dim hallways with flames of candles in lanterns as the only source of light. The audience is kept in the dark throughout the movie and it is not until we reach the explanatory twist that sunlight symbolising knowledge pours into the house and our mind.”(Khairy W.
Billy Wilder’s film Double Indemnity uses a considerable amount of German Expressionism techniques. A crystal clear example of this is at the end of the film when Walter goes to meet Phyllis at her house, when he opens the door a long and sharp shadow appears across the wall. This is a technique used in one of the most famous german expressionism films Cabinet of Dr. Caligari. In order to get this effect, Wilder is using low-key lighting so the shadow is obvious to the audience. In this film, long and sharp shadows as well as inky blackness often appear on the screen, this is a major characteristic of german expressionist films. The mise en scene reinforces the darkness in the style and tone. These films emphasize
The scene in which Margot gets attacked, clever lighting effects are effectively employed by Alfred Hitchcock, to build up the anticipation of the audience and add-on greatly to the element of suspense and thrill present in the scene. It is noticeable how the entire set is dark and only some parts are selectively lit in order to capture audience focus. For example, the scene in which the doorknob turns slowly and the ...
Mise-en-scene is a French phrase that means “putting into the scene”. Mise-en-scene includes elements such as setting, lighting, costume, and figure movement and expressionism. Every movie has mise-en-scene. In the film “Wizard of Oz” the first part of the movie is entirely in black and white. The opening and closing credits, as well as the Kansas sequences, were designed to distinguish the extreme differences between Kansas and Oz. Every scene which takes place in Kansas was filmed in black and white. The grass in the farmhouses garden was dry from the burning heat of the sun, the coat of paint on the house had turned to a fading gray and Aunt Em and Uncle Henry were graying with age. The drab setting in Kansas implied how dull life was at
Films of the Hollywood genres express elements of ‘order’ and ‘chaos’ using different filmic elements in the movies. The films that will be analyzed are a pair of film noirs, The Big Sleep(1946) and Polanski’s Chinatown(1974).
The use of the camera as well as the overall direction in the film The Cabinet of Dr. Caligari, released in 1919, is unrefined to say the least, but yet it is considered to be a stellar example of German fantasy filmmaking. The reason for this is due to the fact that the film leaves an eerie impression on the viewer, due to the disturbing scenery and plot. The set was constructed in an upsetting manner; that is, the doors and windows and even walls of houses are crooked and skewed from all others, nothing stands quite straight up, the actors wore excessive makeup, and shadows filled the streets with ominous presence. The audience may notice this oddity, but it does not fully sink in as to why the scenes were arranged this way until it is realized that an insane man has told the entire story, and that it is all a fabrication of his mind that has been shown through his eyes by the camera.
Sir Alfred Hitchcock is recognised as one of the most pioneering and renowned directors in the history of cinema (Hockensmith A, 2012). His cinematic style that favours the use of suspense over surprise has become iconic and influential in modern film. Hitchcock’s early days as an assistant director at the UFA Babelsberg Studios in Berlin (German Expressionism, 2007), had a lasting impact on some of his later works produced in Hollywood. During Hitchcock’s time in Germany he became fascinated with German Expressionism. The film style, prevalent in the 1920s, arose from Germany’s post World War I experiences and largely reflects the dismal reality of life during the era and often invokes distorted and abstract images, as opposed to naturalism
Films are able to draw spectators towards the film as they are able to engage with certain elements featured in the film. Such elements include relating to the character and their lives and relating to props and settings presented in the mise en scene. If a spectator was to see a movie that contains elements he or she is able to relate to, that same person would engage with the film even more thus enhancing the experience of such viewers. Personally, my experience of films elevates when I can relate to some of the elements that emulate reality. There are several versions of art that emulate reality in their pieces (examples include paintings, theatre, literature,
The link between expressionism and horror quickly became a dominant feature in many films and continues to be prominent in contemporary films mainly due to the German expressionist masterpiece Das Kabinett des Doctor Caligari. Wiene’s 1920 Das Kabinett des Doctor Caligari utilized a distinctive creepiness and the uncanny throughout the film that became one the most distinctive features of externalising inner mental and emotional states of protagonists through various expressionist methods. Its revolutionary and innovative new art was heavily influenced by the German state and its populace in conjunction with their experience of war; Caligari took a clear cue from what was happening in Germany at the time. It was this film that set cinematic conventions that still apply today, heavily influencing the later Hollywood film noir genre as well as the psychological thrillers that has led several film audiences to engage with a film, its character, its plot and anticipate its outcome, only to question whether the entire movie was a dream, a story of a crazy man, or an elaborate role play. This concept of the familiar and the strange, the reality, the illusion and the dream developed in Das Kabinett des Doctor Caligari, is once again present in Scorsese’s 2010 film Shutter Island.
To illustrate, in Alice in Wonderland, through the scene when Alice has found herself trapped in the small room trying to fit through the small door that leads to wonderland, low key lighting is used. Here, Alice seems nervous, and is struggling to get through the small door by eating cakes and drinking liquids that make her bigger or smaller. The low key lighting, or the flooded shadows and darkness used in this scene creates an overall gloomy atmosphere. (Alice) Use of lighting here plays an extremely important role in creating the grim mood Burton endeavored to portray. Therefore, this distinctive mood conveyed through low key lighting is efficiently juxtaposed to the scenes that follow, which are more wondrous and dazzling. Subsequently, succeeding the scenes where Alice was on the dark room, when Alice finally is able to open the door to Wonderland, the scene shifts into high key lighting--creating a stunning and sensational aura, differing from the grim and gloomy atmosphere created before. Here, Alice finally enters Wonderland after struggling to open the tiny door, and is amazed and dazed by the magnificence of the place she found herself in. The bright and open looking scene flooded with light helps add to the wondrous environment. (Alice) Aside from shots or the use of sounds, the high key lighting strengthens the overall focal mood for this particular scene; as a result, the two different back to back scenes are able to be juxtaposed because of its two contradistinctive moods--gloomy to wondrous. All in all, Burton’s effective use of different lightings play another major role in juxtaposing two scenes together by creating two contrasting moods; in the meantime enhancing the plot and appealing to the audience's emotions and knowledge of the
Mise en scene is a French term, which refers to the visual and design elements of a film. Literally, it is what we actually see on the screen – locations, sets, background details, costumes, even the use of colour and lighting. Mise en scene is used to describe every scene, including framing, composition, costuming, setting, objects, lighting, sound and camera angles. Everything is done purposely and intentionally.
Throughout the film fire acts as a symbol of both destruction and regeneration. The burning down of the house destroys painful memories, but at the same time regenerates the image of their mother. The technique of lighting is used in the scene where the girls burn down the house. The brightness of this scene coincides with an illumination of truth. The music used at this time of the film is very loud to give the effect of a dramatic scene.
During the early 20th Century, around the 1920’s, Germany were no doubtedly a country in turmoil and embarrassment, struggling to cope with the aftermath of the first world war. Because this was happening, and with German’s feeling the shame and guilt, wanted a change to how things worked in Germany. The historical context that relates to Germany and when German cinema started, had an impact on the film style that films were made in. The culture of Germany grew though in the 1920’s, and cinemas were seen as a place to escape to and help restore the German’s national pride after the war. There are two films that will be in discussion throughout this essay, one is ‘The Cabinet of Dr. Caligari’ (Wiene, 1920) and the other is ‘Nosferatu’ (Murnau, 1922) both being made and directed within the times of many historical events happening within Germany.
Suspense is a crucial ingredient in the making of horror and thriller films. The significance of suspense in horror films is to bring out the “twist or unexpected moment of realization that makes someone scream and one's heart race. In the film industry, there are various types of genre, but as different as films may seem, they all have one element that links them all together. That element is known as Mise-en-scene. Mise-en-scene is a French phrase that means “putting into the scene.” Mise-en-scene includes elements such as setting, lighting, costume, and figure movement and expression (acting).
We often over look small particular visual and artistic choices made by directors in contemporary films today, but when analysing these decisions we can see that there is a definitive influence of style. For example the French New Wave or commonly known as La Nouvelle Vague, was created post world war II and although the main movement died out before the 70s, it still has an important place in the industry to this day. Its characteristics and techniques are unlike many seen before its time. The style motivated numerous directors throughout its wake as well as other cinema movements following its time in the spotlight. The originality of the wave could be considered as one of the most captivating changes in cinema history.
The shadow has also played an important part in the history of cinema brought forth by the German Expressionist movement. In the movies The cabinet of Doctor Caligari, and Nosferatu one can see giant projections of the characters shadow. It is the externalization of the person’s inner self, a distortion and projection onto the inner screen of the psyche. Through out Nosferatu the shadow releases its fist to present long shrivelled fingers. The focus on the hands as an instrument of action thematizes the idea that the shadow in this instance is an active instrument of evil. The shadow acts as a metaphor or hyperbole of the key medium of Expressionist cinema, the Close up. The very nature of cinematic production and the mechanics of its appeal are challenged.