film+narrative

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BELLE. March study find a way to see film studies as a nature/culture evolution. When we watch a film our heart rhythms change p 4 EMBODIED VISION. T. Grodal

pick up study guides from class schedule

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 * TASK 1: read three style elements as features of the film narrative**


 * || See the three bullet points below, You are to write about these three for a selected film by you.( We look at some films together for practice)



Narrative inclu des story line, point of view, characterization, and setting. Narrative study must refer to the ke y features of aesthetic that assist the film director's vision. From a reading of these texts( a close viewing ) we make inferences from language,( visual and audio signs)

Characteristics mean distinguishing features, but can also be interpreted within the framework of semiotic theory’s “codes and conventions”. For example, a study of film would include such characteristics as light, colour, focus, shot composition, editing, music, location, make-up, and wardrobe. (As another example, a study of print media would include language, typography, layout, use of illustrations and graphics.) Once you have thought about these primary characteristics you can expand this principle knowledge with the more detailed ideas out of the headings of three aesthetic features of the director narratives. Cinematography departments are responsible for the lighting ( after consultation with the Director's vision) as well as the image framing, supply of dolly, tracks and other rigging( Gaffers and Grips are the crew members, along with Focus puller, lighting assistant) You get up at 5.00am in the morning to commute to a film set to rig it ready for a working day.

Three key stylistic components are :



the mise-en-scene refers to everything in the film frame, the character performance, the set, the light, the props. It " functions not only in isolated moments, but also in relation to the narrative organisation of the entire film. It guides our attention, our understanding, our inferences and what we see" Did you study character at level 2? See http://newmedia-middlesenior.wikispaces.com/narrative+studies did you study mise-en-scene level 2? See http://newmedia-middlesenior.wikispaces.com/mise-en-scene

cinematography

cinematography is shots and lighting for these shots. Who is a cinematographer? the cinematographer frames the mise-en-scene The cinematographer closely consults with the director of a film. The director discusses the vision and the framing of the vision. What look is required? How shall performance be framed? What depth of field is the shot? How shall the light be designed?

Look at shot repertoire, light theory and colour theory Have you checked out the slide shot on shots?

What is the point of cinema being screened in a darkened room? Look up lighting topics http://newmedia-middlesenior.wikispaces.com/Lighting

narrative structure. read http://newmedia-senior.wikispaces.com/narrative+structure A classical narrative is a three-act structure Read the PDF A shot An Edit A scene The frame Framing Diegesis. Did you read narrative structure level 2? What is the language of editing?

http://www.psu.edu/dept/inart10_110/inart10/film.html

e.g editing

City of God[]

Psycho Shower Sequence[] Some amazing 'Long Takes' from  De Palma, to Orson Welles and of course Hitchcock

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Note. Editing is image and sound.
Look at past studies in narrative by students here

David Bordwell, "Classical Hollywood Cinema: Narrational Principles and Procedures." (from: [|Rosen 1986] : 17 - 34; [|hypertext] by CB)

Three aspects of [|narrative] can, at least provisionally, be kept distinct. A narrative can be studied as [|representation], how it   [|refers] to or [|signifies] a world or body of ideas. This we might call the " [|semantics] " of narrative, and it is exemplified in   most studies of characterization or [|realism]. A narrative can also be studied as a structure, the way its components combine to create

Read the assessment again http://newmedia-senior.wikispaces.com/AS91491media+studies

Go to TASK TWO