Presentation on theme: "Do The Right Thing Spike Lee, 1989. Review: Montage vs. Mise-en-scene Continuity Editing – Shot-Reverse shot (Do The Right Thing (15:50-16:30) Mother."— Presentation transcript:
Do The Right Thing Spike Lee, 1989
Review: Montage vs. Mise-en-scene Continuity Editing – Shot-Reverse shot (Do The Right Thing (15:50-16:30) Mother Sister and Da Mayor) – Eyeline match Jump Cute.g. Bonnie and Clyde (Penn, 1967) Parallel Editing/Cross-cutting (Within Our Gates [Micheaux, 1920]) Subjective shot (e.g. Lady in the Lake  and Being John Malkovich (1999) Direct Address
Shot: A. A stretch of film made up of a series of frames that is uninterrupted by editing. (The shot ends as soon as the editing begins.) B. A single frame of a film. The Long Take: A shot that continues for an unusually long period of time before the transition to the next shot. E.g. A Touch of Evil (Welles, 1959)
Camera Placement Angle: – Low Angle – Straight-on Angle – High Angle – Oblique Anglecomes at a diagonal, disrupts our sense of vertical orientation. Height: – Crane shotChange in framing accomplished by having the camera above the ground and moving through the air in any direction. Distance: Extreme Close up (usually focuses on some aspect of the face, not rendering the entire face) Close-up (typically renders the entire face, scale of the faceor other object is large) Medium Close-up (Frames the human body from the waist up) Medium shot American shot (Figure is shot from the knees up). Medium Long shot Long shot (Human figures are visible but background dominates. Extreme Long shot (Human figure is barely visible)
The Passion of Joan of Arc (1928)
Do The Right Thing (1989)
Establishing shot Usually a distant framing that illustrates the spatial relations among important figures, objects and settings. It also usually provides a view of all the space in which the action is about to occur. Often comes at the beginning of a scene. Can also tell us something about the quality of this space.
Horizontal Camera Movement Achieved in two ways, generally: – PanningCamera mimics the action of turning ones head. When the angle of vision shifts horizontally, as if the camera is looking from left to right, but the camera itself stays stationary. – Tracking ShotRather than just moving its head, the camera walks. Tracking shot is when the camera actually moves from left to right or backward or forward. (Do The Right Thing [35:25])
ZoomGives the viewers the sense of getting closer to the subject through the cameras lens without moving the camera.
Deep FocusWhen the camera renders figures in the foreground and background in relatively equal focus, causing the viewer to have to attend to multiple planes of action.
Handheld shotOne created with a camera not stabilized by a tripod. (Do The Right Thing (7:40)
Two Shot: A shot with two figures in it.
Deep Focus Citizen Kane (Welles, 1941)
Deep Focus 2 Citizen Kane (Welles, 1941)
Deep Focus 3 Citizen Kane (Welles, 1941)
Do The Right Thing (1989)
Mise-En-Abyme When one space gives way to another in a seemingly infinite succession (e.g. The Gangs All Here [Berkeley, 1943])
Lighting Three Point LightingDominant in Classical Hollywood film. There are three sources of light in the shot: – One primary source of light, usually facing the scenes primary figure diagonally (Key Light); – One from a source near the camera, but still facing the figure (fill light) and – One from behind and above the figure (back light). High Key Lightingsense of brightness and illumination created. Not very much contrast between light and dark. Low Key Lightinge.g. Touch of Evil (1959) The key light is dimmed to create a high contrast between light and shadow. BacklightingComes from behind the subject being filmed. Creates a silhouette.
Backlighting The Big Combo (1955)
Sound Sounds three components: Noise, Music, Speech Diegetic soundComes from within the narrative. Non-Diegetic soundComes from outside the narrative – Voice-over – Music on the soundtrack Sound BridgeWhen a sound seems to carry over from one scene to another. Polyphonywhen (conflicting) voices are juxtaposed at a dialogical angle that reveals more than any one voice alone would have revealed.