Chapter 4 - Mise en scene
FRAME
The dividing line between the edges of the screen image and the enclosing darkness of the theatre. Can also refer to a single photograph from the filmstrip.
COMPOSITION
Where the audience's eyes are drawn to.
CLOSED FORM
emphasizes a more stylized design. Although such images can suggest a superficial realism, seldom do they have that accidental, discovered look that typifies open forms. Objects and figures are more precisely placed within the frame, and the balance of weights is elaborately worked out.
MISE EN SCENE
originally a French theatrical term, meaning "placing on stage." The phrase refers to the arrangement of all the visual elements of a theatrical production within a given playing area—the stage frame
ASPECT RATIO
the ratio of the frame's horizontal and vertical dimensions
PROXEMIC PATTERNS
the relationships of organisms within a given space—can be influenced by external considerations. Noise, danger, and lack of light tend to make people move closer together.
IRIS
a circular or oval mask that can open up or close in on a subject
ZOOM
A lens of variable focal length that permits the cinematographer to change from wide-angle to telephoto shots (and vice versa) in one continuous movement, often plunging the viewer in or out of a scene rapidly.
TWO SHOT
A medium shot featuring two actors.
DOLLY SHOT
A shot taken from a moving vehicle. Originally tracks were laid on the set to permit a smoother movement of the camera. (Know how to distinguish from a pan shot)
TILT
A vertical panning shot in which the camera moves on its axis up or down.
MOTIF
An element in a film that is repeated in a significant way.
INTRINSIC INTEREST
An unobtrusive area of the film image that nonetheless compels our most immediate attention because of its dramatic or contextual importance.
ZOOM
False camera movements. It's not that the camera is moving is the change of lense. Zoom flattens the perspective. In the slide picture, the sand and water appear to be one thus causing a 2 dimensional perspective.
DOMINANT CONTRAST
also known as the dominant. The dominant is that area of an image that immediately attracts our attention because of a conspicuous and compelling contrast.
INTRINSIC INTEREST
Regardless of the size of the object. An item shows significant more intrinsic value than other items or portings. Example: small gun in a scene in the corner. In the slides it was the rear view mirror.
ALEATORY TECHNIQUES
Techniques of film making that depend on the element of chance. Images are not planned out in advance, but must be composed on the spot by the camera operator. Usually used in documentary situations.
MOTIVATION (FOR CAMERA MOVEMENT)
1) Follows character 2) Convey narrative information
CAMERA MOVEMENT
How the camera is moved to focus on different things in a scene
MASKING
In his 1916 epic, Intolerance, D.W. Griffith blocked out portions of his images by using black masks, which in effect connected the darkened portions of the screen with the darkness of the auditorium. To emphasize the steep fall of a soldier from a wall
OPEN FORM
In terms of visual design, it emphasizes informal, unobtrusive compositions. Often such images seem to have no discernible structure and suggest a random form of organization. Objects and figures seem to have been found rather than delib- erately arranged
ANTICIPATORY SETUPS
In the films of Fritz Lang, for example, the camera often seems to be waiting in an empty room: The door opens, the characters enter, and the action then begins.
PAN
Short for panorama, this is a revolving horizontal movement of the camera from left to right or vice versa. Remember the camera does not move location but rotates. (Know how to distinguish from a dolly shot)
PROXEMIC PATTERNS
The spatial relationships among characters within the mise en scène and the apparent distance of the camera from the subject photographed.