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We are still trying to understand how a movie c reates an absorbing experience for the v iewer. Chapter 2 showed that the concept of form offers a way to grasp the film as a whole. Chapter 3 examined how narrative form can shape a film and our response to it. Later we’ll see that filmmakers have employed other types of form in documentaries and experimental films. When we see a film, though, we don’t engage only with its overall form. We experience a film—not a painting or a novel. A painter knows how to manipulate color, shape, and composition. A novelist lives intimately with language. Likewise, filmmakers work with a distinct medium. You’re already somewhat aware of the creative choices available in the film medium. As a viewer you probably notice performance and color design. If you’ve made videos, you’ve become more aware of framing and composition, editing and sound. If you’ve tried your hand at mak- ing a fictional piece, you’ve already faced problems of staging and acting. Part Three of this book gives you a chance to learn about film techniques in a systematic way. We look at two techniques govern- ing the shot, mise-en-scene and cinematography. Then we consider the technique that relates shot to shot, editing. Then we consider the role that sound plays in relation to film images. A wrapup chapter returns to Citizen Kane and examines how it coordinates all these techniques with its narrative form. Each chapter introduces a single technique, surveying the choices it offers to the film- maker. We survey how various filmmakers have used the techniques. Several key questions will guide us: How can a techniqu e shape the viewer’s expectations? How may it furnish motifs for the film? How may a technique support the film’s overall f orm—its stor y/plot relations or its narrational patterning? How may it direct our attention, clarify or emphasize meanings, and shape our emotional response? The chapters that follow also explore how a film can organize its chosen techniques in consistent ways. This pattern of technical choic es we call style. Style is w hat creates a movie’s “look and feel.” Late in each chapter, we focus on one or two particular films to show how the technique we’re studying helps establish a distinctive style. 111 3 PART Film Style

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