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Introduction to Film Analysis
(DELC)
Dr David Sorfa (Film Studies)
The Very Basics
Image / Music / Text
Methodologies• Formal Analysis • Historical Analysis
• Film as representation of history • Film as symptom of history
• Theoretical Approaches • Economic / Political (Marxist, Industrial) • Identity
• Feminist / Sexualities and Gender • Race and Ethnicity
• Semiotic / Structuralist • Psychological
• Psychoanalysis • Cognitive Science
• Philosophy
Les Parapluies de Cherbourg (Jacques Demy, 1964)
The Elements of Film Language
• Mise-en-scène
• Cinematography
• Editing
• Sound
• Narrative and Narration
Two Elements of Film Writing
• Description of the form, content and texture of the film sequence
• Analysis of the meaning of the film as a whole
Et Dieu... créa la femme (Roger Vadim, 1956)
Three (Different) Aims• Evaluation
Is it good?
• Analysis How does it work?
• Interpretation What does it mean?
Bienvenue chez les Ch'tis (Dany Boon, 2008)
Cinematography (Distance)• Extreme Long Shot (ELS)
• Long Shot (LS) – figures discernible
• Medium Long Shot (American Shot) - (MLS)
• Medium Shot (MS) – Gesture and expression
• Medium Close-Up (MCU) – Chest and up
• Close-Up (CU) – Head, small object
• Extreme Close-Up – Lips, eye, etc.
L'Heure d’été (Olivier Essayas, 2008) / Der siebente Kontinent (Michael Haneke, 1989)
L'Heure d’été (Olivier Essayas, 2008)
• Extreme Long Shot (ELS)
Cinematography (Distance)• Extreme Long Shot (ELS)
• Long Shot (LS) – figures discernible
• Medium Long Shot (American Shot) - (MLS)
• Medium Shot (MS) – Gesture and expression
• Medium Close-Up (MCU) – Chest and up
• Close-Up (CU) – Head, small object
• Extreme Close-Up – Lips, eye, etc.
L'Heure d’été (Olivier Essayas, 2008) / Der siebente Kontinent (Michael Haneke, 1989)
L'Heure d’été (Olivier Essayas, 2008)
• Long Shot (LS) – figures discernible
Cinematography (Distance)• Extreme Long Shot (ELS)
• Long Shot (LS) – figures discernible
• Medium Long Shot (American Shot) - (MLS)
• Medium Shot (MS) – Gesture and expression
• Medium Close-Up (MCU) – Chest and up
• Close-Up (CU) – Head, small object
• Extreme Close-Up – Lips, eye, etc.
L'Heure d’été (Olivier Essayas, 2008) / Der siebente Kontinent (Michael Haneke, 1989)
• Medium Long Shot (American Shot) - (MLS)
L'Heure d’été (Olivier Essayas, 2008)
Cinematography (Distance)• Extreme Long Shot (ELS)
• Long Shot (LS) – figures discernible
• Medium Long Shot (American Shot) - (MLS)
• Medium Shot (MS) – Gesture and expression
• Medium Close-Up (MCU) – Chest and up
• Close-Up (CU) – Head, small object
• Extreme Close-Up – Lips, eye, etc.
L'Heure d’été (Olivier Essayas, 2008) / Der siebente Kontinent (Michael Haneke, 1989)
• Medium Shot (MS) – Gesture and expression
L'Heure d’été (Olivier Essayas, 2008)
Cinematography (Distance)• Extreme Long Shot (ELS)
• Long Shot (LS) – figures discernible
• Medium Long Shot (American Shot) - (MLS)
• Medium Shot (MS) – Gesture and expression
• Medium Close-Up (MCU) – Chest and up
• Close-Up (CU) – Head, small object
• Extreme Close-Up – Lips, eye, etc.
L'Heure d’été (Olivier Essayas, 2008) / Der siebente Kontinent (Michael Haneke, 1989)
• Medium Close-Up (MCU) – Chest and up
L'Heure d’été (Olivier Essayas, 2008)
Cinematography (Distance)• Extreme Long Shot (ELS)
• Long Shot (LS) – figures discernible
• Medium Long Shot (American Shot) - (MLS)
• Medium Shot (MS) – Gesture and expression
• Medium Close-Up (MCU) – Chest and up
• Close-Up (CU) – Head, small object
• Extreme Close-Up – Lips, eye, etc.
L'Heure d’été (Olivier Essayas, 2008) / Der siebente Kontinent (Michael Haneke, 1989)
• Close-Up (CU) – Head, small object
L'Heure d’été (Olivier Essayas, 2008)
Cinematography (Distance)• Extreme Long Shot (ELS)
• Long Shot (LS) – figures discernible
• Medium Long Shot (American Shot) - (MLS)
• Medium Shot (MS) – Gesture and expression
• Medium Close-Up (MCU) – Chest and up
• Close-Up (CU) – Head, small object
• Extreme Close-Up – Lips, eye, etc.
L'Heure d’été (Olivier Essayas, 2008) / Der siebente Kontinent (Michael Haneke, 1989)
• Extreme Close-Up – Lips, eye, etc.
Der siebente Kontinent (Michael Haneke, 1989)
Mobile Framing• Pan (panorama): camera pivots horizontally
• Tilt: camera pivots vertically
• Track (dolly): camera as a whole changes position
• Crane shot: camera moves above ground level (sometimes: helicopter shot)
• Overhead/Bird’s Eye-view shot
• Steadicam
• Hand-held
• Zoom in/out
• The ‘story’ of a text.
• A series of cause and effect relationships.
• Minimal narratives:
• The queen died. Then the king died.
• The queen died. Then the king died of grief.
Defining Narrative
Cause
Effect Cause
Effect Cause
Effect Cause
Effect
• The way that the narrative is presented. The way the story is told.
• Flashbacks / Flashforwards
• Ellipses
• Mise en scène, Cinematography, Sound, Editing
Defining Narration
Classical Film NarrativeStrict cause and effect narrative logic:
• Causes planted early in the film will always have an effect later.
Character motivation clearly defined:• Characters have set goals (revenge, love, etc), and often
deadlines.
Narrative goes through clear stages:• Equilibrium
• Disruption
• Restoration of equilibrium
TransformationDual focus
Damsels in Distress (Whit Stillman, 2011)
Les Parapluies de Cherbourg (Jacques Demy, 1964)