defining and controlling the space of the frame
Download
Skip this Video
Download Presentation
Defining and controlling the space of the frame

Loading in 2 Seconds...

play fullscreen
1 / 16

Defining and controlling the space of the frame - PowerPoint PPT Presentation


  • 82 Views
  • Uploaded on

Defining and controlling the space of the frame. Aspect ratio Masking Camera placement Focus Perspective Mobile framing. André Bazin (1918-1958). An aesthetic of realism built from critical readings of the films of Orson Welles, Jean Renoir, and the Italian neorealist movement.

loader
I am the owner, or an agent authorized to act on behalf of the owner, of the copyrighted work described.
capcha
Download Presentation

PowerPoint Slideshow about ' Defining and controlling the space of the frame' - kimberley-cotton


An Image/Link below is provided (as is) to download presentation

Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author.While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server.


- - - - - - - - - - - - - - - - - - - - - - - - - - E N D - - - - - - - - - - - - - - - - - - - - - - - - - -
Presentation Transcript
defining and controlling the space of the frame
Defining and controlling the space of the frame
  • Aspect ratio
  • Masking
  • Camera placement
  • Focus
  • Perspective
  • Mobile framing
andr bazin 1918 1958
André Bazin (1918-1958)
  • An aesthetic of realism built from critical readings of the films of Orson Welles, Jean Renoir, and the Italian neorealist movement.
  • Founds ciné-clubs and begins writing on film during the German occupation of France during WW II.
  • Founder of Cahiers du cinéma, one of the most important international journals of film criticism.
andr bazin s film aesthetic
André Bazin’s film aesthetic
  • Creative uses of screen space through . . .
    • Composing action in deep space.
    • Preference for the long take and moving camera.
    • Preference for films that “interpret” the physical world
      • Bringing out social connections between characters and their environments
      • An existential link exists between the camera and pro-filmic space.
deep space composition and deep focus photography
Deep space composition and deep focus photography
  • Deep space
    • a strategy of mise-en-scene where all the planes of the image--foreground, middle ground, and background--are in sharp focus. Staging action in deep space requires large depth of field.
  • Deep focus
    • a use of camera lens and lighting that keeps both close and distant planes in the photographic image in sharp focus.
andr bazin s film aesthetic1
André Bazin’s film aesthetic
  • “The Camera and the Screen”
    • The camera may transform our perception of the world by bringing out otherwise hidden or unnoticed aspects of reality.
    • Deep focus composition as specifying “a point of view rooted within the set itself . . . . By uniting foreground, middle ground, and background, but not setting the planes off against each other, the actor is completely entwined with and works in a direct relationship to, his total setting. Every element of the reality on the screen, whether animate or inanimate, is interdependent.”
    • The camera’s creative and critical interpretation of characters’ relations to their spatial environment.
types of mobile framing
Types of mobile framing
  • PAN
    • camera swivels right or left on a stationary base.
  • TILT
    • camera swivels up or down on a stationary base.
  • TRACKING or TRAVELING SHOT
    • camera moves horizontal to the ground.
  • CRANE
    • camera mounted on a crane above ground and can move in any direction,
  • HANDHELD CAMERA
    • camera is supported by the camera person’s body;
    • Steadicam is controlled by a gyroscope.
types of mobile framing2
Types of mobile framing

Michael Snow, La région centrale

know the difference between zooms and camera movements
Know the difference between zooms and camera movements!
  • Both are types of mobile framing. However,
    • the camera does not move during a zoom; instead the frame is enlarged or reduced optically by varying the focal length of the lens.
    • Zooming--for example, changing the focal length of the lens from a telephoto to a wide angle--changes the perspective of the shot; moving the camera does not.
the appeal of the moving camera
The appeal of the moving camera
  • Organizes space according to cinema’s intrinsic qualities as an art of time and movement.
  • Camera movement mobilizes and increases perceptual information.
  • Provides multiple perspectives on dramatic action.
  • Increases depth and volume of objects in frame.
  • Produces perspectives freed from the physical constraints of the body.
andre bazin s film aesthetic
Andre Bazin’s film aesthetic
  • The use of long takes and deep space encourages greater perceptual and mental activity in the spectator.
  • Editing by its nature rules out a desired ambiguity of expression.
  • The use of long takes and deep space intensifies a perception similar to our "natural attitude" to reality.
  • The use of the long take promotes a temporal realism.
rules of the game
Rules of the Game
  • Staging of action on multiple planes of depth.
  • Movement through multiple planes of action counters “lateral” orientation of Hollywood films of same period.
  • The moving camera as attentive observer and participant.
  • Mobility of camera activates all six sides of off-screen space.
ad