Film Language and Film Language and AnalysisAnalysis

Production ElementsProduction Elements

PRODUCTION ELEMENTSPRODUCTION ELEMENTS

Camera/FilmCamera/FilmLightingLightingMis-en-sceneMis-en-scene

Visual CompositionVisual CompositionActingActingSound/ MusicSound/ MusicEditingEditing

CAMERA / FILMCAMERA / FILM

FRAMINGFRAMINGCOMPOSITIONCOMPOSITIONSHOT SELECTIONSHOT SELECTIONMOVEMENTMOVEMENTFOCUSFOCUSFILM STOCKFILM STOCK

CAMERA / FILM: FramingCAMERA / FILM: Framing

Framing refers to what is within the frame of the Framing refers to what is within the frame of the camera (and hence what the audience sees in camera (and hence what the audience sees in the onscreen frame).the onscreen frame).

The edges of the screen create a space where The edges of the screen create a space where aspects of what happens in front of the camera aspects of what happens in front of the camera can be included or excluded.can be included or excluded.

The nature of film means there is a selection The nature of film means there is a selection process; what is within the frame must be process; what is within the frame must be decided upon. This selection process also decided upon. This selection process also means some things are left out of the frame.means some things are left out of the frame.

CAMERA / FILM: CompositionCAMERA / FILM: Composition When analyzing the visual image composition refers When analyzing the visual image composition refers

to the position of objects or elements within the to the position of objects or elements within the frame. frame.

Rule of thirdsRule of thirds: the frame can be divided into thirds. : the frame can be divided into thirds. Cinematographers often use this grid to compose Cinematographers often use this grid to compose framings that are pleasing to the eye.framings that are pleasing to the eye.

The use of lines and diagonals can also be used to The use of lines and diagonals can also be used to draw the eye into the frame.draw the eye into the frame.

Using such composition techniques enables Using such composition techniques enables filmmakers the opportunity to develop imagery filmmakers the opportunity to develop imagery audiences find pleasing, as well as emphasize audiences find pleasing, as well as emphasize specific aspects of their subjects. specific aspects of their subjects.

CAMERA / FILM: CAMERA / FILM: Shot SelectionShot Selection

Filmmakers have a wide variety of shots to Filmmakers have a wide variety of shots to choose from. These shots frame the choose from. These shots frame the subject in different ways. subject in different ways.

Shot selection can help tell the story. For Shot selection can help tell the story. For example, in the opening sequence of example, in the opening sequence of American Beauty the audience is shown American Beauty the audience is shown an an establishing shotestablishing shot. A . A long shotlong shot of the of the neighbourhood where the action will take neighbourhood where the action will take place.place.

CAMERA / FILM: MovementCAMERA / FILM: Movement

When we discuss movement, we can look at the When we discuss movement, we can look at the way things move within a static frame, and we way things move within a static frame, and we can look at the way the camera moves to can look at the way the camera moves to capture its subject.capture its subject.

Some camera movements: pan, track, crane, tilt, Some camera movements: pan, track, crane, tilt, zoomzoom

When analyzing film one should consider why When analyzing film one should consider why the camera is moving or static, and what the camera is moving or static, and what relationship this camera movement has with the relationship this camera movement has with the action (or subject) on screen.action (or subject) on screen.

CAMERA / FILM: FocusCAMERA / FILM: Focus

Focus can be used to literally focus the Focus can be used to literally focus the audience on a subject or an aspect of a subject.audience on a subject or an aspect of a subject.

Deep focusDeep focus: imagine a shot where there are two : imagine a shot where there are two subject one positioned a few meters in front of subject one positioned a few meters in front of the other. When both subjects are in focus, the other. When both subjects are in focus, deep focus is being used.deep focus is being used.

Shallow focusShallow focus: when only one subject or an : when only one subject or an aspect of the subject is in focus, shallow focus is aspect of the subject is in focus, shallow focus is being used.being used.

CAMERA / FILM: Film StockCAMERA / FILM: Film Stock

Filmmakers can use different types of film stock Filmmakers can use different types of film stock to develop different visual moods or feelings to develop different visual moods or feelings within the frame. The most obvious is black and within the frame. The most obvious is black and white vs. colour. However, there are different white vs. colour. However, there are different stocks within colour.stocks within colour.

Filters can also be applied to the camera during Filters can also be applied to the camera during filming, which will cause certain colours to stand filming, which will cause certain colours to stand out or be eliminated. Filmmakers used filters to out or be eliminated. Filmmakers used filters to colour the film, creating different visual effects.colour the film, creating different visual effects.

LIGHTINGLIGHTING

When looking at lighting consider the When looking at lighting consider the following:following:Naturalistic or ExpressiveNaturalistic or ExpressiveIntensity, direction and qualityIntensity, direction and qualityColour and focusColour and focus

LIGHTING: Three point lightingLIGHTING: Three point lighting

The back light creates The back light creates depth within the frame depth within the frame and pulls the subject out and pulls the subject out from the background.from the background.

The key light lights the The key light lights the subject.subject.

The fill lights is used to The fill lights is used to minimize shadows.minimize shadows.

LIGHTINGLIGHTING

High key lightingHigh key lighting

Images from:http://classes.yale.edu/film-analysis/

How does lighting relate to the genre of the film?

LIGHTINGLIGHTING

Low key lightingLow key lighting

http://classes.yale.edu/film-analysis/

How does lighting relate to the genre of the film?

MIS-EN-SCENEMIS-EN-SCENE

Mis-en-scene: the term comes from Mis-en-scene: the term comes from French and means “putting in the scene”. French and means “putting in the scene”. In film language mis-en-scene refers to the In film language mis-en-scene refers to the visual imagery within the frame. visual imagery within the frame. Filmmakers create their own world and Filmmakers create their own world and mise-en-scene refers to the visual mise-en-scene refers to the visual components of this world. components of this world.

MIS-EN-SCENEMIS-EN-SCENE

Mis-en-scene consists of:Mis-en-scene consists of:DécorDécorLightingLightingSpaceSpaceCostume/ActingCostume/Acting

MIS-EN-SCENE: DécorMIS-EN-SCENE: Décor

Décor can set the social scene for characters; Décor can set the social scene for characters; providing visual evidence of social status.providing visual evidence of social status.

Décor can help create a mood or emotion for the Décor can help create a mood or emotion for the film.film.

When watching a film, think about:When watching a film, think about: How does the décor affect the characters and How does the décor affect the characters and

action of the film? How does the décor help action of the film? How does the décor help create a visual space for the film?create a visual space for the film?

MIS-EN-SCENE: LightingMIS-EN-SCENE: Lighting

How does the lighting help create the How does the lighting help create the visual look of the film? visual look of the film?

MIS-EN-SCENE: SpaceMIS-EN-SCENE: Space

Depth, size, proportions and placement of Depth, size, proportions and placement of objects can be manipulated through objects can be manipulated through camera placement and the use of different camera placement and the use of different lenses.lenses.

When looking at space in film, also When looking at space in film, also consider the use of off-screen space.consider the use of off-screen space.

How does the use of space help develop How does the use of space help develop the visual look of the film?the visual look of the film?

MIS-EN-SCENE: MIS-EN-SCENE: Costume/ActingCostume/Acting

How is the visual look of the film affected How is the visual look of the film affected by the costumes characters wear?by the costumes characters wear?

How is the visual look of the film affected How is the visual look of the film affected by the cast of the film? Have the by the cast of the film? Have the filmmakers type-cast any characters? filmmakers type-cast any characters?

Mis-en-scene and Visual Mis-en-scene and Visual CompositionComposition

STUDY DESIGN NOTESTUDY DESIGN NOTE

The study design lumps mis-en-scene with The study design lumps mis-en-scene with visual composition. While visual composition visual composition. While visual composition can be seen as a component of mis-en-scene, can be seen as a component of mis-en-scene, as we’ve seen in previous slides, it is more than as we’ve seen in previous slides, it is more than just visual composition.just visual composition.

We’ve discussed visual composition as an We’ve discussed visual composition as an aspect of camera, but it also relates heavily to aspect of camera, but it also relates heavily to mis-en-scene.mis-en-scene.

ACTINGACTING

Acting can be considered a production Acting can be considered a production element, since choices are made about element, since choices are made about things such as acting style and casting.things such as acting style and casting.

The use of star power can affect the way The use of star power can affect the way an audience reacts to a character, as can an audience reacts to a character, as can the use of previously unknown actors.the use of previously unknown actors.

Type-casting can often relate to genre.Type-casting can often relate to genre.How does the acting in the film affect the How does the acting in the film affect the

story elements? Genre?story elements? Genre?

SOUND / MUSICSOUND / MUSIC

DiegeticDiegeticNon-diegeticNon-diegeticSound bridgeSound bridgeVoice OverVoice OverOther considerationsOther considerations

SOUND: DiegeticSOUND: Diegetic

Diegesis: the time and space of the world of the Diegesis: the time and space of the world of the audio-visual narrative. audio-visual narrative.

Diegetic sound is sound presented as originating Diegetic sound is sound presented as originating from within the world of the film.from within the world of the film. Voice, music, and sound effects that seem to belong Voice, music, and sound effects that seem to belong

within the world of the film are considered diegetic within the world of the film are considered diegetic sound.sound.

Diegetic sound is sound the characters within the film Diegetic sound is sound the characters within the film world can hear.world can hear.

SOUND: Non-diegeticSOUND: Non-diegetic

Non-diegetic is any sound added to a film, Non-diegetic is any sound added to a film, that is not within the world of the film.that is not within the world of the film.

Non-diegetic sound can not be heard by Non-diegetic sound can not be heard by the characters within the film, and is aimed the characters within the film, and is aimed at the audience.at the audience.

At times, sound can originate as non-At times, sound can originate as non-diegetic and move to diegetic and vice diegetic and move to diegetic and vice versa. versa.

SOUND: Sound bridgeSOUND: Sound bridge

A sound bridge occurs when sound from A sound bridge occurs when sound from one scene carries over into the next one scene carries over into the next scene, or when sound from the next scene, or when sound from the next scene begins before the visual edit scene begins before the visual edit occurs. occurs.

Sound bridges connect scenes, and are Sound bridges connect scenes, and are used in continuity editing to relate scenes used in continuity editing to relate scenes to one another.to one another.

SOUND: Voice OverSOUND: Voice Over

When a voice (often a character within the film) When a voice (often a character within the film) is heard while the audience sees images in is heard while the audience sees images in which the character isn’t actually speaking.which the character isn’t actually speaking.

A voice over can be used to narrate.A voice over can be used to narrate. How does the voice over affect the action that is How does the voice over affect the action that is

being presented visually?being presented visually? Who is providing the voice over, and why has Who is providing the voice over, and why has

the filmmaker chosen this character for voice the filmmaker chosen this character for voice over narration?over narration?

SOUND: Other considerationsSOUND: Other considerations

Source: Where is the sound originating?Source: Where is the sound originating?Off screen soundOff screen soundQualityQuality

EDITINGEDITING

Editing is the joining together of shots, and Editing is the joining together of shots, and includes the visual image and sound.includes the visual image and sound.

Techniques:Techniques: TransitionsTransitions MatchMatch DurationDuration

Styles:Styles: ContinuityContinuity EllipticalElliptical MontageMontage

EDITING: TechniquesEDITING: TechniquesTransitions: how the film Transitions: how the film

moves between shotsmoves between shots Crosscutting (parallel editing)Crosscutting (parallel editing)

Editing using two or more lines of action occurring in Editing using two or more lines of action occurring in different locations, often occurring at the same different locations, often occurring at the same moment in (film) timemoment in (film) time

Shot-reverse shotShot-reverse shot This editing technique gives the effect of the camera This editing technique gives the effect of the camera

being in the centre of two (or more) characters in being in the centre of two (or more) characters in conversationconversation. Often the camera seems to shift 180˚.. Often the camera seems to shift 180˚.

Fades, dissolves, wipesFades, dissolves, wipes

EDITING: Techniques EDITING: Techniques

MatchMatch Techniques used to join as well as divide two shots by Techniques used to join as well as divide two shots by

making some sort of connection.making some sort of connection. A cut which matches two different views of the same action A cut which matches two different views of the same action A cut to match a character and their point of view (what A cut to match a character and their point of view (what

they’re looking at)they’re looking at)

DurationDuration How long are the shots, are some longer or shorter How long are the shots, are some longer or shorter

than others? How does the duration of the shot affect than others? How does the duration of the shot affect the action?the action?

EDITING: StylesEDITING: Styles

ContinuityContinuityEditing that develops narrative in a manner Editing that develops narrative in a manner

that creates the effect of continuous time and that creates the effect of continuous time and space. Time moves forward in a linear and space. Time moves forward in a linear and logical manner. The film space doesn’t seem logical manner. The film space doesn’t seem to change when the camera moves.to change when the camera moves.

The 180˚ rule is followed (see graphic on next The 180˚ rule is followed (see graphic on next slide)slide)

EDITING: StylesEDITING: StylesContinuity (Cont’d)Continuity (Cont’d)

The 180˚ rule applies when the plane between The 180˚ rule applies when the plane between two actors isn’t broken (here characters are A two actors isn’t broken (here characters are A and B)and B)

Graphic from http://classes.yale.edu/film-analysis/

EDITING: StylesEDITING: Styles

MontageMontage A method of editing where a juxtoposition of shots is A method of editing where a juxtoposition of shots is

used to create a mood or feeling. The emotional used to create a mood or feeling. The emotional response comes from the images, even though the response comes from the images, even though the images may not be directly related.images may not be directly related.

Often montage sequences develop a visual rhythm.Often montage sequences develop a visual rhythm. Montage can be applied to sound editing, too.Montage can be applied to sound editing, too.

EDITING: StylesEDITING: Styles

EllipticalEllipticalWhen editing moves through time creating an When editing moves through time creating an

ellipses in the plot and story duration. Many ellipses in the plot and story duration. Many hours, days, months or years may pass in a hours, days, months or years may pass in a short period of time, but the visual image short period of time, but the visual image leads the audience along the journey.leads the audience along the journey.Jump cuts are used to push the action along.Jump cuts are used to push the action along.Can be used to pass time, and reflect a characters Can be used to pass time, and reflect a characters

mental state.mental state.

REFERENCES / SOURCESREFERENCES / SOURCES

http://classes.yale.edu/film-analysis/Media: new ways and meaningsMedia: new ways and meanings by by

Stewart & KowaltzkeStewart & KowaltzkeReal Images; film and televisionReal Images; film and television by by

McMahon and QuinMcMahon and QuinThe Media Student’s BookThe Media Student’s Book by Branston by Branston

and Staffordand Stafford