Movement is undeniably one of the most important parts of cinema without it we wouldn 't be calling them “movies”. An often overlooked part of the art of cinema, if done well it can make a scene even more impactful and convey as much information as dialogue can about how the character is thinking and feeling. On of the elements of movement that makes it so important to the art is its ability to completely change the meaning of a scene just by changing the position of the camera. “A director can photograph the same subject—a running man, for example—in two different setups and produce opposite meanings. If the man is photographed in an extreme long shot from a high angle, he will seem ineffectual and impotent. If he’s photographed from a low angle in a medium shot, he will seem a dynamo of energy. A lthough the subject matter in each setup is absolutely identical, the true content of each shot is its form” (understanding movies 99).
This example from our books shows how by changing the angle of the shot it can mean two completely different things. The filmmaker can also use movement to distort the image speeding it up and slowing it down. Adding to the tension or suspense of the scene or for comedic purposes. Speeding up the movements of a character in a comedy makes his movements seem unnatural machine like and unnatural.(understanding movies 129). There are so many ways that movement can be used to add to
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Of course it can, movement just like any other technique in cinema can add or subtract from the impact a film can have on audiences. Just like good cinematography or editing movement is just as good for adding something more to a film. While not as noticeable and often overlooked by the audience, movement is great for adding subtle touches to a scene. Just the type of shot can add to the tone. If the shot is taken from a handheld the shakiness can suggest something big or epic is about to
consider to be more modern film techniques. Montage plays a key role in this film, as
...haracter's movement through the scene should look totally natural. As a scene shows us the basic setting and characters, it generally moves from a wide shot to a medium shot, and then to close-ups of the characters. This use of the space is then conserved by using a set of rules. The first rule is the 180-degree rule, or "not crossing the line." Meaning that the viewer is presented to a shot in which one person is on the right and a second person is on the left, the camera should not rotate beyond 180 degrees, because that would invert the relative positions of each person. The continuity style gave classical Hollywood films their rhythmic power. The spell that style enables the audience the wonder of being able to lose yourself in the world of the film depends on a how the director shows and gives you this new world, most notably done during Hollywood's Golden Age.
Dynamic characters are built by dynamic movement in film. Whether the character is sitting down giving a lecture, or is a ballerina dancing on stage, character are born through movement. Movement in emotion, or physical, a characters action and re-actions are what draw audiences into their story. The characters in the movie Take the Lead gain power through their character transformations through dance, their movement on the dance floor directly impacts the way they carry themselves through life. In this paper I will explore three scenes, each scene will show different levels of progression in each character’s life, and I will show how the characters gain more power in their own lives the more successful they become with the movement of dance.
In this essay I will be looking at the topic of the countercultural movement of the 1960’s through counterculture film. The 1960’s were an extremely interesting time in history not only in the United States but all over the western world, as we saw the rise of the counterculture generation. The counter was a group of movements focused on achieving personal and cultural liberation and was embraced in many different ways by the decade’s young people. I have chosen this topic as the 60’s stand out for me as a revolutionary and often misrepresented period in history. The films I have chosen to look at are The Baader Meinhof Complex from director Uli Edel, Woodstock from Michael Wadleigh, Pirate Radio from Richard Curtis, and Fear and Loathing in Las Vegas from director Terry Gilliam. I chose to analyse these films as I believe they clearly demonstrate the social and political issues of the 1960’s and societies response to them.
Stop motion animation is basically just a series of still photographs taken one after another. Objects are moved and filmed picture by picture to emphasise small movements that they make. Some examples of stop motion films are the original King Kong film and Star Wars. These were made using many small objects and puppets. In this time this was the only way that that could bring immovable objects to life on screen.
The action-figures are now able to reach out beyond its "contained" space and into the immediate surrounding environment. The figures now seem to impose themselves forcefully upon the spectator, provoking the viewer's response to the dramatic situations.
The first element is Camera distance; it is used in every scene and in every shot. It refers to how far away the camera is to the characters in the scene. Camera distance was developed in order to provide more to the mise-en-scene of a certain scene. “Mise-en-scene encompasses of variety of categories related to the staging of an action”(Belton 47). Camera distance is one of these important factors in making the scene and giving a sense of what you are supposed to be experiencing during the film. Without using camera distance to its fullest the scene or shot may not come across to the viewer as what the director or writer intended. An example of camera distance being used to its potential is in the opening sequence at ricks café. The first shot that we see at ricks is of ricks sign on the ca...
This is best seen within one of the film’s more complex filmed scenes, “The Car Scene”. Following Cuaron’s exemplary interaction between characters and their backgrounds, as the audience we come to form a synesthetic relationship with the way the film moves. Moving much like the characters might and swaying to the smooth movements of the camera. This isn’t only due to Cuaron’s use of a documentary like shooting through his use of steadicam or handheld but also through the interaction of the characters and the world around them, ultimately creating a 3-D like reaction from the audience. Initially within the scene we see ourselves like the characters compacted in a small car, creating an uncomfortable and awkward setting inside the realm of the film and outside in our realm as the receivers. It isn’t until Julian’s playful interaction with Theo that the tension in the car lessens. This is also seen though the change in lighting, while initially they are in the same gray scale as their environment their eased tension can be seen through the beautiful sun shining through the trees into the car as they interact with one another. For a moment we feel a sense of comfort and community before we are dragged back along with the characters to reality, as a storm of people descend on the
Most of the film was shot with 50mm lenses on 35 mm cameras. This technique carefully lets the audience see the film as though watching a ‘live scene’. This has the effect of drawing the audience closer into the action.
...successful collaboration of sound, colour, camera positioning and lighting are instrumental in portraying these themes. The techniques used heighten the suspense, drama and mood of each scene and enhance the film in order to convey to the spectator the intended messages.
Theatre is restricted to geographical span, whereas motion the opposite is true. In film the director has freedom to shoot each scene at different locations and at different times, later putting them together for the final product. The result for the movie is that the audience is easily able to recognize the time of day and place. Stage performances are less clear, and unless one is familiar with the play they must often simply wait for actors to deduce where and when the scene is t...
The “Weapon of Choice” video begins with a normal middle-aged man, Walken, sitting in a hotel lobby. Once the music fades in, the scene comes to life with motion. From then on all rules of expectation are broken. As Michael Abernethy notes, “It is a fantasy many of us have had, to dance abandon in an environment that screams for civilized behavior”(1). This scene, although not impossible in our everyday lives, is very rare. Once Walken takes his hoofing steps right on out to the balcony and into mid-air this is when the camera begins to works its magic. The camera enables the character to bound across the screen and back again, which gives Walken an unexpected power. The simple concept of fantastically and unexpectedly losing control in a civilized environment is shown in a complex and artistic manner.
techniques such as Camera angles, Lighting and sound. This movie users all of this elements
Cinematography, if used properly, adds immensely to the action and effects of a film. Thelma and Louise greatly benefited from panning shots, reactions shots, and dissolve. To the untrained eye these effects go completely unnoticed and unappreciated but to those who do appreciate them know that because of cinematography Thelma and Louise is a masterpiece.
The Great Proletarian Cultural Revolution or simply the Cultural Revolution was launched by Mao Zedong in May 1966 and lasted until his death in September 1976. The first two years of the Revolution, which was the most violent phase of the struggle, was led by militia units comprised of students called the Red Guards. Their goal was to destroy anything in relation to the “four olds”: Old ideas, old culture, old customs, and old habits. They also engaged in the purpose of the Cultural Revolution according to the “Sixteen Points” by beating, humiliating, and even killing the “capitalist-roaders”. By mid-1968, Mao realized the young Red Guards were overly annihilative, so he abolished them. Although according to the “Sixteen Points”, the purpose of the Cultural Revolution was to eliminate those who are “capitalist-roaders” and to transform China into an equal, socialist society, Mao’s true, unrevealed goal of the CR was to eliminate his biggest enemy, who was the Chairman of China and Vice Chairman of the Chinese Communist Party, Liu Shaoqi, in order to further consolidate his own power in the People’s Republic of China.