Six Elements of Style in Film Making: How Directors Tell a Story HOW TO READ A FILM By Blanqui Valledor Six Elements of Style Literature versus Film Literature Film Diction Cinematography  Author’s Choice of Words o Specific effect of word choice: connotation and denotation  Overall Style o Types and lengths of sentences o Types of words used o Use of imagery/figurative language Imagery  The language that engages the senses and evokes emotion o Visual Imagery: what we can see o Auditory: what we can hear o Tactile: what we can touch o Olfactory: what we can smell o Gustatory: what we can taste o Kinesthetic: sense of movement o Organic: internal sense of being  Shots o Extreme Long Shot o Long Shot o Medium Long Shot o Medium Shot o Medium Close-up o Close-up o Extreme Close-up  Angles o Low o High o Eye-level o Worm’s Eye o Dutch (Oblique/Canter) o Bird’s Eye  Movement o Pan o Dolly (in/out) o Tracking (side to side) o Tilt o Zoom is NOT a camera movement, but a lens movement Imagery  Mise-en-scene o Composition o Lighting o Special Effects o Costume/Makeup o Sets/Props  Sound o Non-diegetic (outside the story) Tone Tone  The attitude of the speaker toward  Cinematography another character, a place, an idea or  Mise-en-scene a thing  Sound o It is important to pay o Diegetic (within story) attention not only to what o Non-diegetic (outside story) the character or speaker does, but also to what he or The tone taken by the movie’s narrator she says reflects the screenwriter’s and director’s psychological, emotional, and intellectual attitudes toward their story Syntax  The order of words in a sentence; the rhythm of the prose o Prominence o Position o Pace Point of View      Editing  How the story is told; rhythm and pace o Prominence o Position o Pace Point of View  Omniscient – (unrestricted) 3rd person point of view of all aspects of the movie’s action or characters  Restricted – a narration that reveals information to the audience only as a specific character learns of it  First person narration – voice of an actual character in the movie (i.e Cher in Clueless (1995))  Voice-over narration – a person who is not a character (i.e documentaries) First Person Second Person Third Person - Limited Third Person – Omniscient Objective Figurative Language  Language not meant to be taken literally (metaphor) Figurative Language      Symbolism Cinematography Mise-en-scene Editing Sound (non-diagetic) Six Elements of Style - Literature Title of Work: Author: _ How does the author present? Diction Imagery Tone Syntax Point of View Figurative Language Evidence from the text? How does it develop the theme? Six Elements of Style – Movie Title of Movie: Director: _ Theme: How does the director present? Diction/Cinematography Imagery Tone Syntax/Editing Point of View Figurative Language/Symbolism Evidence from the movie? How does it develop the theme? Basic Film Definitions STRUCTURE OF A FILM Shot A single 'run' of the camera This is the basic unit from which a film is constructed The length (or duration) of a shot depends upon: a its purpose ie establishing a place; to show action; to show reaction b the pace (or tempo) of the sequence in which it occurs Sequence A group of shots depicting one action, or, which seems to belong with or depend upon each other (Say to 18 shots) Scene A group of sequences, or, (for short scenes) a group of shots, which: a depict an event in the story and b occur in one place A scene is generally a larger unit than a sequence (though) sometimes a group of shots can be classified as either) TYPES OF SHOT Extreme Long Shot [E.L.S] Shot taken from a great distance, almost always an exterior shot, shows much of locale Long Shot [L.S.] A distance shot in which a setting, and not a character, is the emphasis This is generally used to establish the place in which action will occur, hence the term establishing shot Given its function, a long shot is often used at the beginning of a scene or sequence, and may be combined with a panning movement of the camera to show us a wider area Mid Shot [M.S.] A middle distance shot which focuses our attention on a particular subject With a mid shot the camera is close enough to pick up detail, though still far enough away to be able to follow the subject as he/she/it moves The mid shot, therefore, is commonly used to show action e.g as in a fight scene Close Up [C.U.] A close shot of an object or person, the aim being to focus our attention on a particular detail Close ups of a person have a number of different functions: a in an establishing sequence a close up of someone suggests that he/she is a main character b the first close up of a character (in a sequence of shots), establishes point of view e.g who is watching an event c a close up is most commonly used to show the reaction of a character, i.e a reaction shot Extreme Close Up [E.C.U.] A shot of a small object or part of a face that fills the screen used for emphasize CAMERA MOVEMENTS Pan Movement from side to side from a stationary position Tilt Movement up or down from a stationary position Tracking The camera is not stationary but moves to follow a moving object or person The camera is mounted on a moving device such as a rail platform, a dolly or a vehicle Dolly Movement outwards away from a subject Note: The speed of a camera movement (from very fast to very slow) can dramatically alter its effect MOVING FROM ONE SHOT TO ANOTHER Cut The ending of a shot If the cut is a jerky movement, which seems a little inconsistent with the next shot it is called a jump cut Fade In or Out The image appears or disappears gradually It brightens to full strength over a full second, or darkens to fade out The fade is often used as a division between scenes Dissolve One image fades in while another fades out so that for a few seconds the two are superimposed CAMERA ANGLES In filming a shot a decision is made about the angle at which the camera is to be directed at a subject High and Low angles may be used to influence our impression of a particular character A character filmed from a low angle (camera placed low) will seem strong, powerful, tall, proud, etc whereas if a high angle (camera place high) is used the subject will appear weak, insignificant, vulnerable, small etc Our impression of a structure or object can be manipulated in a similar way A distorted angle (oblique/dutch) may be used to make a scene more frightening, or to make the viewer feel anxious, or queasy (especially if fast or jerky camera movement is also used) EDITING This is the process of assembling and splicing together the various shots which comprise a film Underlying the process is a technique which can be called pairing, i.e a story is built up by alternating one set of shots with another There are common instances of pairing: c A conversation or confrontation between two characters The shots alternate from one to the other, angles may be used to suggest inferiority or superiority d Shots of a character are alternated with shots of what he/she sees The first shot of the character is the P.O.V (It establishes point of view i.e who is looking) e Cross-cutting A sequence of shots in which the alternation is between two different locations (e.g A burglar creeping into a house in which an unsuspecting victim lies sleeping) The sequence builds to a climax and ends with the two things coming together The Editing Speed (or tempo) of a particular sequence is also an important consideration Fast editing involves fast cutting ie The shots are to seconds long Fast editing generates excitement and anticipation as for example in a chase sequence Slow editing (i.e Shots are to 10 seconds long), has the opposite effect, calming and relaxing the viewer Accordingly slow editing is a characteristic of love scenes OTHER TERMS Soft Focus A slightly blurred shot to make the subject seem more attractive, romantic, nostalgic or dreamlike Hand Held Camera The tripod and dolly are deliberately abandoned in favor of this method when a director wants to create a sense of anxiety or confusion, exploiting the unsteady movement of the camera A hand held shot in which a character is approached from behind usually suggests that someone is being followed and is about to be 'pounced upon' Montage The editing together of a large number of shots with no intention to create a continuous reality A montage is often used to compress time (a number of facts are established in one sequence) Films may begin with a montage which establishes a particular time and place With the absence of a visual relationship between them, the montage shots are linked through a unified sound - either a voiceover or a piece of music ONLINE RESOURCES Pre-production http://www.youtube.com/watch?v=5UWnXZa92Oc&feature=relmfu Outline and Treatment http://www.youtube.com/watch?v=g5dOY5xZAcU&feature=relmfu Scriptwriting http://www.youtube.com/watch?v=2JcJNul9y4k&feature=relmfu Storyboards http://www.youtube.com/watch?v=pWPjjoOFIu8&feature=relmfu How to Format Scripts http://www.scriptfrenzy.org/howtoformatascreenplay Lighting Basics http://www.youtube.com/watch?v=6e8NJZBiS2s&list=PL1FB0ADA8CF1A10C4&index=9&feature=plpp_v ideo Editing Transitions http://www.youtube.com/watch?v=KQIWywngiLI&feature=relmfu Sound http://www.youtube.com/watch?v=ujdhCw5u9Yg&feature=relmfu Slide _ SIX ELEMENTS OF STYLE IN FILM MAKING HOW DIRECTORS TELL STORIES _ _ _ _ _ _ Slide _ DICTION = CINEMATOGRAPHY _  Shots  Angles _  Movement _ _ _ _ Slide _ CINEMATOGRAPHY - SHOTS _ _ _ _ _ _ Slide _ CINEMATOGRAPHY - ANGLES _ _ _ _ _ _ Slide _ CINEMATOGRAPHY - MOVEMENT _ _ _ _ _ _ Slide _ ACTIVITY – IDENTIFY THE SHOT AND ANGLE _ _ _ _ _ _ Slide _ IMAGERY = IMAGERY _  Mise-en-Scene  Sound (non-diagetic) _ _ _ _ _ Slide _ MISE-EN-SCENE  Overall feeling of a movie _  The sum of everything the audience sees, hears, and experiences while viewing it  Influences our mood  Décor, lighting, smells, and sounds  All movies have Mise-en-Scene  Strong Mise-en-Scene: viewer experiences the aura of the place and time _ _ _ _ _ Slide _ EXAMPLES OF MISE-EN-SCENE _  Composition  Lighting  Special Effects  Costume/Makeup _  Sets/Props _ _ _ _ Slide 10 _ SETTING, DÉCOR, AND PROPERTIES _ _ Bertolucci’s The Last Emperor (1987) _ _ _ _ Slide 11 _ WHAT DO YOU SEE? HOW DOES IT MAKE YOU FEEL? _ _ _ _ _ _ Slide 12 _ SOUND _  Diegetic (within story)  Non-diegetic (outside story) _  Affects in Film _ _ _ _ Slide 13 _ TONE = TONE _  Cinematography  Mise-en-scene  Sound  Diegetic  Non-diegetic _  The tone taken by the movie’s narrator reflects the screenwriter’s and director’s psychological, emotional, and intellectual attitudes toward their story _ _ _ _ Slide 14 _ TONE _ _ _ _ _ _ Slide 15 _ SYNTAX = EDITING _  How the story is told; rhythm and pace  Prominence  Position  Pacing _ _ _ _ _ Slide 16 _ EDITING _ _ _ _ _ _ Slide 17 _ EDITING _ _ _ _ _ _ Slide 18 _ EDITING  Cut  Transition between scenes when one scenes ends and another one begins  Types     A shot inserted in a scene to show action to another location  Faces, emotions, narrative Cross Cutting  Action going on in time, two different spaces  Chases – people, cars, etc _ Dissolve   _ Cut Away A gradual transition in which the end of one scene is superimposed over the beginning of a new one Fade In/Out _ _ _ _ Slide 19 _ POINT OF VIEW = POINT OF VIEW (CAMERA/EDITING) _  Omniscient – (unrestricted) 3rd person point of view of all aspects of the movie’s action or characters  Restricted – a narration that reveals information to the audience only as a specific character learns of it _  First person narration – voice of an actual character in the movie (i.e Cher in Clueless (1995))  Voice-over narration – a person who is not a character (i.e documentaries) _ _ _ _ Slide 20 _ FIGURATIVE LANGUAGE = FIGURATIVE LANGUAGE _  Symbolism  Mise-en-scene _ _ _ _ _ Slide 21 _ ACTIVITY _  Watch the short film, Perfection and identify the theme _ _ _ _ _ Slide 22 _ _ _ _ _ _ _ Slide 23 _ ACTIVITY  Now that you have identified the theme of the short film, how does the director create it using the following:  Table – Figurative Language  Table – Diction (auteur, cinematography, editing)  Table – Imagery (mise-en-scene)  Table – Tone (cinematography, mise-en-scene, sound)  Table – Syntax (editing)  Table – Point of View  Remember you need to identify how the director uses the above to create the theme Be specific! _ _ _ _ _ _ Slide 24 _ STUDENT SHOWCASE _ _ _ _ _ _ Slide 25 _ QUESTIONS? _ _ _ _ _ _ [...]... theme of the short film, how does the director create it using the following:  Table 1 – Figurative Language  Table 2 – Diction (auteur, cinematography, editing)  Table 3 – Imagery (mise-en-scene)  Table 4 – Tone (cinematography, mise-en-scene, sound)  Table 5 – Syntax (editing)  Table 6 – Point of View  Remember you need to identify how the director uses the above to create the theme Be specific!... _ EDITING  Cut  Transition between scenes when one scenes ends and another one begins  Types     A shot inserted in a scene to show action to another location  Faces, emotions, narrative Cross Cutting  Action going on in time, two different spaces  Chases – people, cars, etc _ Dissolve   _ Cut Away A gradual transition in which the end of one... _  First person narration – voice of an actual character in the movie (i.e Cher in Clueless (1995))  Voice-over narration – a person who is not a character (i.e documentaries) _ _ _ _ Slide 20 _ 6 FIGURATIVE LANGUAGE = FIGURATIVE LANGUAGE _  Symbolism  Mise-en-scene _ ... a new one Fade In/Out _ _ _ _ Slide 19 _ 5 POINT OF VIEW = POINT OF VIEW (CAMERA/EDITING) _  Omniscient – (unrestricted) 3rd person point of view of all aspects of the movie’s action or characters  Restricted – a narration that reveals information to the audience only as a specific character learns... (within story)  Non-diegetic (outside story) _  Affects in Film _ _ _ _ Slide 13 _ 3 TONE = TONE _  Cinematography  Mise-en-scene  Sound  Diegetic  Non-diegetic _  The tone taken by the movie’s narrator reflects the screenwriter’s and director’s psychological, emotional,... Décor, lighting, smells, and sounds  All movies have Mise-en-Scene  Strong Mise-en-Scene: viewer experiences the aura of the place and time _ _ _ _ _ Slide 9 _ EXAMPLES OF MISE-EN-SCENE _  Composition  Lighting  Special Effects  Costume/Makeup _  Sets/Props... _ 2 IMAGERY = IMAGERY _  Mise-en-Scene  Sound (non-diagetic) _ _ _ _ _ Slide 8 _ MISE-EN-SCENE  Overall feeling of a movie _  The sum of everything the audience sees, hears, and experiences while viewing it  Influences our mood  Décor, lighting, smells, and sounds... psychological, emotional, and intellectual attitudes toward their story _ _ _ _ Slide 14 _ TONE _ _ _ _ _ _ Slide 15 _ 4 SYNTAX = EDITING _  How the story is told; rhythm and pace  Prominence... _ CINEMATOGRAPHY - ANGLES _ _ _ _ _ _ Slide 5 _ CINEMATOGRAPHY - MOVEMENT _ _ _ _ _ _ Slide 6 _ ACTIVITY – IDENTIFY THE SHOT AND ANGLE ... _ ACTIVITY 1 _  Watch the short film, Perfection and identify the theme _ _ _ _ _ Slide 22 _ _ _ _ _ _ _ Slide 23 _ ACTIVITY 2  Now that you have identified ... imagery/figurative language Imagery  The language that engages the senses and evokes emotion o Visual Imagery: what we can see o Auditory: what we can hear o Tactile: what we can touch o Olfactory:... The attitude of the speaker toward  Cinematography another character, a place, an idea or  Mise-en-scene a thing  Sound o It is important to pay o Diegetic (within story) attention not only to. .. for a few seconds the two are superimposed CAMERA ANGLES In filming a shot a decision is made about the angle at which the camera is to be directed at a subject High and Low angles may be used to