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  1. Camera point of view Fine art survey part 3

  2. Tracking of camera is another way to achieve movement. • http://www.youtube.com/watch?v=x2-MCPa_3rU Forrest Gump 1994 Motion of a picture • People move before us the way they move before the camera, but the camera can achieve visual things that the unaided eye cannot • Showing the same moving action from different points of view • Showing it from a camera angle the eye cannot achieve • Actors can move toward, away from, or across field of vision. • When something moves toward the camera it moves with astonishing speed, as we all know from watching the images of a moving locomotive rush at us and then “catapult over our heads”. • Camera lens is another way to achieve motion: lens affords wider, narrower, larger, or smaller field of vision, placing in the scene, and suggested movement. • Zoom lenses bring images gradually closer; can fool the eye • Realistic qualities of a film can be threatened, however, if too sensational. • http://www.youtube.com/watch?v=Cht63QybtiA POLAR EXPRESS Movement

  3. sound • Al Jolson’s The Jazz Singer (1927) introduced sound, although not everyone welcomed it • Directors felt introduction of sound to film would compromise artistic integrity • On contrary: it intensifies film experience. • Example: Frances Ford Coppola’s Apocalypse Now is well known for the exceptional ways that music intensifies the scenes • Or Steven Speilberg’s Saving Private Ryan 1. Surround sound may intensify our experience of film ; we can hear the sounds that are associated with the action on screen

  4. Film Structure • Editorial choices are most important to creating structure. • Such as MichealCimino’sDeer Hunter Portrayal of 3 hometown men who fight together in Vietnam and switches back and forth between 3 very different parts of their lives. Finally reverting back to the present and the effects the war had on all 3 lives. • Episodic structure allows contrast for impact. • Episodic structure – a story composed of separate incidents tied loosely together. Such as Thelma and Louise (1991) or Eisenstein’s Battleship Potemkin • Cutting or montage (Psycho) can increase tension. • The joining of physically different but usually psychologically related scenes