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Role of audience in film
Thevelements of narrative film
Thevelements of narrative film
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In the early times of narrative cinema there was litter pressure on the filmmakers for the evolution of film forms before nickelodeons (Salt, 31) as cinema had not become a mass cultural product and film was still just a novelty expected to die out like rock n roll. And so the demand was low and so the supply could remain unoriginal. Mary Jane's Mishap was made in 1903 when ‘multi-scene films were becoming popular’ (Salt, 32). Mary Jane's Mishap is notable for its use of experimental and inventive shot transitions. It used a vertical wipe to instead of ‘separate successive scenes’ (Salt, 32) (as it cuts to a shot width a wider frame of the same locale) but to change the zoom level. This frame is essentially an insert and borderline emblematic shot. It doubles as an intertitle at the same time as to avoid ‘systematically anticipating the narrative content of the following shot and thus eliminating any possible suspense, were to constitute a major obstacle to the linearization of narrative for the next ten years at least.’ (Burch, 221) it which explains to the viewer clearly that it is Mary Jane’s grave as on which is important as it is a ‘self sufficient narrative’ (Burch, 221) as cinema had run out of stories that were familiar to audiences and the primitive viewer was not well versed in film (quote this). This is at a time when fades and overlaps were more popular.
In the development of the narrative close ups are used. Mary Jane's Mishap uses both types of these close shots that Salt defines (Salt, 38). Firstly the insert which only show the face but closer it furthers the narrative by highlighting the comedy and humour in the moustache she has given herself with shoe polish. Secondly, the ‘true close-up’ such as in this shot...
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...shot of Mary Jane in the first scene to join the shots and de-emphasize discontinuity as well as trying to match the character movement to bridge the cuts. (Gunning, 90) ‘The key articulation in the scene would be the cut-in (or the cut out) in which successive shots overlap spatially. This would find its beginnings in the cut-ins to medium shots in such films as Mary Jane's Mishap but becomes dominant practice around 1912.’ (Gunning, 93) According to this view, ‘the single-shot functions as a theatrical proscenium (long shot framing) and the theatrical scene’ (the lengthy uninterrupted shot)’ (Gunning, 97). Though Mary Jane's Mishap evolves from this by using these cut-ins though these are still only cut-ins filmed from the same perspective/position of the original shots/ where a audience member of a theatre show would stay. Understanding of it being primitive.
Mise-en-scène, cinematography and editing are used in all forms of cinema. Within the “Declaration of Principles” scene of Citizen Kane, lighting, blocking and panning are three of the main sub aspects that work in unison to consistently demonstrate important aspects of the film. Welles uses these attributes to portray to the audience how this younger Kane is an important newspaper owner, with an even more important document. He creates a scene that has a heavy emphasis on panning to continuously preserve a frame that centers Kane while also lighting the document so viewers can constantly see the important plot and characters of the movie.
consider to be more modern film techniques. Montage plays a key role in this film, as
"Visual Pleasure and Narrative Cinema" Laura Mulvey asserts the fact that in mainstream films, women are simultaneously looked at and displayed. That is to say, the woman is both an object of desire and a spectacle for the male voyeuristic gaze. The male's function is active; he advances the story and controls the gaze onto the women. Interestingly, the spectator identifies with the male through camera technique and style. In an effort to reproduce the so-called natural conditions of human perception, male point-of-view shots are often used along with deep focus. In addition, camera movements are usually determined by the actions of the male protagonist. Consequently, the gaze is dominated by the active male while the passive female exists to support desire within the film. In an attempt to change this structure, Mulvey stresses the importance of challenging the "look." One way this is accomplished, is in the film Reassemblage, where the look of the camera is free from male perspective and dominated more by passionate detachment. In doing this, the filmmaker, Trinh Minh-Ha attempts to destroy the satisfaction and pleasure derived from images of women in film, by highlighting the ways Hollywood depends on voyeuristic and fetishi...
Suspense is a 1913 film that portrays the story of a tramp intruding into a family’s home, where a mother takes care of her child while her husband is away. The plot is a common one that had been used previous times before the film’s release, such as in The Lonely Villa (1909). However, through taking advantage of the single frame shot, the filmmakers were able to create a masterful aesthetic of two separate stories that turn a basic plot into a complex story. The film created an inventive way of illustrating stories within cinema by allowing the audience the chance to consume more narrative in less time within just one take.
These days more and more audience like to see their beloved actors and actresses portray superhero or heroine figure in spandex suit blasting laser beam from their eyes, turn into fire then fly away to outer space, or even a scientist who turn into a huge, green, car-throwing, head-smashing monster with indestructible pants when he transforms. But not small amount audience like films with classical-antiquity geographical and timeline set such as Ben-Hur, 300, Spartacus, etc. Antiquity and modernity always be an important part in filmmaking, whether in its screenplay, set design or character design. In some movies these aspect can be shown separately or combined in sort of a new way in filmmaking.
It’s a dark and rainy night. Our hero is hiding behind a wall with a revolver in hand. A crack of light, illuminates half of his face. He’s shaking nervously because he only has one bullet left. He turns the corner, and a sudden gunshot hits our hero. Who shot him? None other than his partner, who’s secretly in love with the very same dame that our hero fell for. You can consider this an example of a classic film noir ending. Film noir is a term used in cinema to describe a visually styled crime drama. Where did it come from? What are the key elements in a film noir? Why did this kind of cinema emerge when it did? What affect did it have in the film world? And finally, where is film noir now?
Elements of mise-en-scene in Wendy and Lucy help to convey aspects of the story that are never explicitly expressed in the narrative of the film. Wendy and Lucy does not present a large amount of background story information, for instance, the scene where Wendy calls her brother may cause some viewers to wonder about their strained relationship and his role in Wendy’s current financial situation. Moreover, Wendy’s financial situation is never truly discussed in the film, only implied, yet the viewer is still aware of it. Facets of mise-en-scene helps to convey the information that fills the gaps left in the story. Kolker defines the concept of mise-en-scene as a way to “explain how images, through composition, camera movement, lighting, focus and colour, generate narrative event and guide our perception through a film” (Kolker 1998, p.17). An essential element of mise-en-scene is setting and sets. Wendy and Lucy is presented in an entirely naturalistic setting. The small town Wendy is passing through gives the fi...
The 18th century has marked the commencement of the innovation of cinematography. The invention of cinema owes its existence to a few investors and scientists who are broadly known for laying down its foundation. Among those pioneers are the Lumiere brothers who were some of the earliest contributors to cinema, inventing the first real film camera called the "cinematographe", which effectively functioned as a camera, projector and printer all in one (Barnauw, 1993:6). Thus giving rise to the art of film making. Initially, in the early years of cinema since there was no developed structure [or language] to tell cinematic stories, the early Lumiere brother?s films such as Workers leaving the Lumiere factory (1895) and The Arrival of a Train at the Station (1895), were composed of a single shot, no camera movement and only one continuous action from beginning to end (Obalil, 2007).
The Great Gatsby by F. Scott Fitzgerald is a very popular American novel and was portrayed in a 1974 film directed by Jack Clayton. Just as one would read a novel, one must also read into the mise-en-scene of a film. The scene in the film where Jay Gatsby finally meets up with Daisy Buchanan has exceptional use of this cinematic element. The textbook Looking at Movies: An Introduction to Film defines mise-en-scene as, “Staging; the overall look and feel of a movie-the sum of everything the audience sees, hears, and experiences while viewing it” (Barsam and Monahan 500). Mise-en-scene as a whole effects a film greatly, but the setting, costumes, and lighting really bring a film to life.
used to cut between a long shot of a woman, to an extreme close up of
Eisenstein was radically more experimental than his contemporaries because in order to practice “intellectual montage”, one must be a practitioner of the avant-garde. Eisenstein’s theory of “collision montage” is that cinema never speaks through a single image, and the juxtaposition of several images act like words in a sentence, or parts of a character in Chinese or Japanese Calligraphy (Pg. 17, Eisenstein). Shots of foreign objects, or inserts, are not meant to contribute to a narrative but to deliver an idea intended by Eisenstein in the sequence. He also claims that montage films are faced “with the task of presenting not only a narrative that is logically connected but one that contains a maximum of emotion and stimulating power.” (Pg. 4, Eisenstein). A scene to illustrate this from Strike would be at the ending of the film where the putting down of the strike by the army is intercut with the footage of a cattle being slaughtered.
...xt shot we observe them on the outside, for this Brown uses a straight cut rather than a jump cut to promote continuity into the next scene. All the scenes in the movie including this one take places in chronological order in a linear fashion. The editor also uses reverse angle cutting as well.
Despite the loss of “montage” as an aesthetic vision in contemporary films, we see how “montage” as an editing technique had in fact contributed greatly to filmmaking as we know it today. While the continuity style’s emphasis is on the narrative as well as clear, understandable space and time, the montage style focuses on creating impact with different images juxtaposing against one another. It is hence clear that the Soviet montage style has given filmmakers new ways to express certain ideas that might have previously been limited by the continuity style – giving filmmaking greater nuance and complexity as an art form with its own unique
With this short but very interesting and informative class I have just scratched the surface of the what it takes to make a full fleged film. It takes much more than I had presumed to make a movie in Hollywood. The number of people that it takes to make a minute of a movie let alone the entire movie was astonishing to me. There are many things that it takes to start making a movie but without an idea of some sort there is no movie to be made.
In the final scene from Thelma and Louise the cinematographic effects are astounding. Panning, reaction shot, and dissolve are all used in the last section of the movie clip extensively. These three cinematographic terms are perfect for this clip because of the intensity they add to the scene. Through the use of panning, reaction shot, and dissolve the actresses portray two extreme emotions of desperation and the tranquility of freedom.