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Mise-en-scène II

  1. Mise en scène. Aspect Ratio, Framing and Composition, Rule of Thirds. The Art of Motion. Camera Kinetics. Pre-Editing. The Long Take Mise en scène II
  2. REALISM CLASSICISM FORMALISM Documentary F I C T I O N Expressionism Hue: A Matter of Colour Boogie Doodle Bowling for Columbine 8 ½ Fellini NB. These are not airtight categories and often overlap. Styles Types (modes) Gone With the Wind Review: Styles and Modes of Cinema
  3. Review: Story Structure Based on Robert McKee’s Story: Substance, Structure, Style Protagonists’ Quest? (Hero’s Journey) What’s at Stake? Are subplots involved too? The Metaphoric Goal X Inciting Incident Primary Cause of what Happens X Crisis Decision X Event, A Cause for an Effect X Event, A Cause for an Effect X Event, A Cause for an Effect A hurdle that affects the challenge of desire X Event, A Cause for an Effect X Event, A Cause for an Effect X Climax Give audience what it wants but not the way it expects. X Escalating Actions X Resolution The climactic effects of plot and subplot(s). The Apparent Goal
  4. Systematic Mise en Scene Analysis 15 pt. Systematic Mise en scène Analysis 1. Dominant. What is our eye attracted to? 2. Lighting Key: High-key, low-key, combo? 3. Shot and Camera Proxemics: What type of shot? How far away? 4. Shot Angles. High, low, neutral. 5. Colour values. What is dominent colour? Colour symbolism? 6. Lens/filter/stock. How do these distort or comment on photography? 7. Subsidiary contrasts. What are the eye-stops after the dominant? 8. Density. How much visual information is packed into the image? Is texture stark, moderate, or highly detailed? Continued next screen “Photographic considerations” Review: Aesthetics, Photography
  5. Systematic Mise en Scene Analysis 15 pt. Systematic Mise en scène Analysis 9. Composition. How is the 2-D space segmented and organized? What is the underlying design? 10. Form. Open or closed? Does the image suggest a window that arbitrarily isolates a fragment of the scene? Or is it self contained? 11. Framing. Tight or loose? How much room do the characters have to move around? 12. Depth. On how many planes is the image composed? Does the background and foreground comment on the midground? 13. Character placement. What parts of the framed space are occupied? 14. Staging positions.Which way to they look vis-à-vis the camera 15.Character proxemics. How much space between characters? Continued …
  6. The Frame and Aspect Ratio “The frame” functions as the basis of composition in a movie image. 4:3 (1.33:1) is the standard TV aspect ratio we have been used to for the past 50 odd years. 4 is the horizontal and 3 the vertical, of course. The problem with 4:3 is that it doesn't reflect our natural vision. Humans have better lateral vision than vertical. In effect, our vision is widescreen, therefore widescreen TV and film seems naturally more appealing to us. Considerations of Mise en scène
  7. The Frame and Aspect Ratio Widescreen refers to any aspect ratio wider than 4:3 (1.33:1). 1.85:1 - The original widescreen film format developed in the 1950s to help cinema compete with TV. This is still a popular format. 2.35:1 - (also known as ... Anamorphic Scope, CinemaScope, Panovision) is not as old as 1.85:1. This aspect ratio involves filming with a special anamorphic lens fitted to the camera to squeeze the image horizontally onto the film. A similar lens fitted to a cinema projector un-squeezes them during projection to the 2.35:1 ratio. Widescreen TVs typically have a screen aspect ration of 16:9 (1.78:1) which is narrower than both cinematic widescreen standards (1.85:1, 2.35:1). Considerations of Mise en Scene
  8. Rule of Thirds Considerations of Mise en scène
  9. Rule of Thirds
  10. Movement -- KineticsThe Moving Camera There are Seven Basic Moving Camera Shots: Panning shots (swish pans) Tilts Dolly Shots (Trucking, Tracking, Pull-backs) Handheld Shots Crane Shots Zoom Shots Aerial Shots This is a good resource for Camera Angles, Proxemics, Move Camera Kinetics
  11. Sequence Shots contain no editing. Early cinema relied entirely on “long-take” shot. “Long Take” is not the same as “long shot.” A “take” is one run of the camera that records a single shot. Usually filmmakers use the long take selectively. One scene will rely heavily on editing, another will be a long take. This permits the director to associate certain aspects of narrative form with different stylistic options. Example: Diamonds are a Girl’s Best Friend -- Review of Kinetics and Moving Camera (vs Moulin Rouge) Fast Forward … in advance of studies of “EDITING” … Duration of the Image -- Sequence Shot
  12. Gentlemen Prefer Blondes (Howard Hawks, 1953) Writing credits Anita Loos (novel) Joseph Fields (play) ... (more) Genre: Comedy / Musical / Romance (more) Tagline: The Two M-M-Marvels Of Our Age In The Wonder Musical Of The World! Plot Summary: Lorelei and Dorothy are just "Two Little Girls from Little Rock", lounge singers on a transatlantic cruise... Cast overview, first billed only: Jane Russell .... Dorothy Shaw Marilyn Monroe .... Lorelei Lee Charles Coburn .... Sir Francis 'Piggy' Beekman Elliott Reid .... Ernie Malone From imdb Long-take shots
  13. Moulin Rouge! (Baz Luhrmann, 2001) Writing credits (WGA) Baz Luhrmann (written by) & Craig Pearce Genre: Drama / Musical / Romance Tagline: No Laws. No Limits. One Rule. Never Fall In Love. Plot Outline: A poet falls for a beautiful courtesan whom a jealous duke covets in this stylish musical, with music drawn from familiar 20th century sources. Cast overview: Nicole Kidman .... Satine Ewan McGregor .... Christian John Leguizamo .... Henri Toulouse-Lautrec Jim Broadbent .... Harold Zidler From imdb