1. Movement

2. Kinetics »“Movies,” motion pictures,” and “moving pictures”…all suggest the importance of motion in film. »Cinema comes from the same Greek root as kinetic, kinesthesia, and choreography. »Kinetics, or the art of motion, can be as meaningful and communicative as images in film. Think of ballet, mime, or dance. »“Movies,” motion pictures,” and “moving pictures”…all suggest the importance of motion in film. »Cinema comes from the same Greek root as kinetic, kinesthesia, and choreography. »Kinetics, or the art of motion, can be as meaningful and communicative as images in film. Think of ballet, mime, or dance.

3. The Moving Camera »Directors have two choices for changing what’s in the frame; they can cut, or edit, or they can move the camera. »Moving the camera takes up film time; too much camera movement can make a film seem slow-moving, but used effectively can have a greater impact on the viewer. »Directors have two choices for changing what’s in the frame; they can cut, or edit, or they can move the camera. »Moving the camera takes up film time; too much camera movement can make a film seem slow-moving, but used effectively can have a greater impact on the viewer.

4. Camera Movements » Pan --camera moves horizontally from a fixed point.  Reaction pan -camera moves away from central attraction to the reaction of an onlooker. Preserves the cause- effect relationship between two subjects.  Swish (flash or zip) pan -camera pans so fast that only blurred image is seen. Might connect events at different locales that might otherwise appear remote from each other. » Pan --camera moves horizontally from a fixed point.  Reaction pan -camera moves away from central attraction to the reaction of an onlooker. Preserves the cause- effect relationship between two subjects.  Swish (flash or zip) pan -camera pans so fast that only blurred image is seen. Might connect events at different locales that might otherwise appear remote from each other.

5. »Example of a pan from Traffic (Steven Soderbergh, 2000)

6. » Tilt --camera moves vertically from a fixed point.  POV-could simulate a character’s POV as s/he looks up or down, suggesting a shift within in the character based on the angle. » Hand-held --camera is harnessed to the cinematographer and moves with him/her.  Originally used by documentarists to shoot almost anything, anywhere.  Often jumpy and ragged. » Tilt --camera moves vertically from a fixed point.  POV-could simulate a character’s POV as s/he looks up or down, suggesting a shift within in the character based on the angle. » Hand-held --camera is harnessed to the cinematographer and moves with him/her.  Originally used by documentarists to shoot almost anything, anywhere.  Often jumpy and ragged.

7. »Example of tilt from Besieged (Bernardo Bertolucci, 1998)

8. »Example of hand-held steadicam from Dancer in the Dark (Lars Von Trier, 2000)

9. Movements through space » Tracking (or dolly) --camera moves along a track or on a moving vehicle  If the experience of a character’s movement is important, then a dolly shot might be used.  A pull-back dolly is effective when surprising the viewer with a revelation. » Tracking (or dolly) --camera moves along a track or on a moving vehicle  If the experience of a character’s movement is important, then a dolly shot might be used.  A pull-back dolly is effective when surprising the viewer with a revelation.

10. Pull Back Zoom from Jaws

11. »Example of tracking shot from Central Station (Walter Salles, 1998)

13. »Crane--camera moves above the ground and through the air in any direction. This can give the viewer a feeling of omniscience over the scene. We feel as if there are no boundaries as we move through the lot in The Player. In the following scene from Touch of Evil, the crane shot allows us as the audience to follow the constant threat of the bomb in the car.  Aerial shots are a variation of a crane shot usually taken from a helicopter. »Crane--camera moves above the ground and through the air in any direction. This can give the viewer a feeling of omniscience over the scene. We feel as if there are no boundaries as we move through the lot in The Player. In the following scene from Touch of Evil, the crane shot allows us as the audience to follow the constant threat of the bomb in the car.  Aerial shots are a variation of a crane shot usually taken from a helicopter.

14. Crane Shot from Touch of Evil (Welles 1958)

15. » Crane shot from The Player (Robert Altman, 1992)

16. » Zooms --change from a wide-angle view to extreme close-up (and vice versa).  Zoom shots can move in an out of a shot faster than a dolly or crane shot.  Gives the viewer a sense of being thrust into a scene. » Zooms --change from a wide-angle view to extreme close-up (and vice versa).  Zoom shots can move in an out of a shot faster than a dolly or crane shot.  Gives the viewer a sense of being thrust into a scene.

17. »Watch both zoom examples from The Stendhal Syndrome (Dario Argento, 1996). How do they feel different?

19. Mechanical Distortions of Movement »Animation »Fast motion »Slow motion »Reverse motion »Freeze frames »Animation »Fast motion »Slow motion »Reverse motion »Freeze frames

20. Example of Fast Motion

21. Example of Slow Motion

22. »The following clip from Kung Fu Hustle (Chow 2004) demonstrates many of these techniques. »See which ones you can identify as you watch. »The following clip from Kung Fu Hustle (Chow 2004) demonstrates many of these techniques. »See which ones you can identify as you watch.