1. Introduction to Film Studies
Mise-en-scène

2. Framing
Camera height, distance, angle and level can be changed within the shot – mobile framing – a unique aspect of film
The change of framing is achieved by moving the camera during filming.
Several kinds of camera movement
Pan, Tilt, Tracking, and Crane

3. Framing
The pan turns the camera horizontally on a vertical axis - horizontal scanning of space pscycho
The tilt moves the camera vertically up and down on a horizontal axis Rear Window
Tilt up and tilt down

4. Framing
In the tracking (dolly or trucking or traveling) shot, the camera as a whole change position
Day for Night Pan & Travelling shot Day for Night
In the crane shot, the camera moves above the ground level, being carried by a crane.

5. Framing Example of tracking shots Martin Scorsese’s Age of Innocence
Behind the Scene Tracking shot

6. Dynamic crane shot in Luc Besson’s Leon

7. Framing
Example of the combination of tracking and crane shot in Orson Welles’s A Touch of Evil Opening shot

8. Framing
The shot size can be changed without moving the camera – zoom shot
The zoom lens with adjustable focal length permits the photographer to change the shot size
Impression of perspectival depth changes
The Shining

9. Framing
When zooming in, the depth of field become shallow and the perspective narrow, when zooming out, the depth deepens and the perspectives widens.
Dolly zoom; or vertigo shot – zoom in and track out at the same time
The Goodfellas Goodfellas

10. One more example of dolly zoom in Jaws Raft scene

11. Origin of dolly zoom – Vertigo effect Alfred Hitchcock’s Vertigo Vertigo effect

12. Introduction to Film Studies
Montage

13. Montage The editor discards unwanted footage
e.g. The editor of The Net (1995) dealt with 300
reels (3,000 minutes or 50 hours) and culled them
to 12 reels (120 minutes or 2 hours)
Then the editor joins the desired shots, the end of the one to the beginning of another.
David Lean

14. Montage A shot is joined to another in various ways
A Fade-out gradually darkens the end of a shot to black
A Fade-in gradually lighten a shot from black Citizen Kane
A dissolve briefly superimposes the end of shot A and the beginning of shot B, while shot A gradually gives away to shot B
Citizen Kane
In a wipe shot B replaces shot A by means of shot B moving across the screen
Seven Samurai

15. Dimensions of Film Editing
The film editor consider four aspects of editing 1. Graphic relations between shots 2. Rhythmical relations between shots 3. Spatial relations between shots 4. Temporal relations between shots Graphic Relations Editing permits the interaction, through similarity and difference, of the pictorial qualities of shots (lighting, setting, costume, behaviour, framing, photography, and camera movement)

16. Graphic Relations in Editing
Montage connecting two shots with the same graphic quality – folded hands, hand of a Japanese lover and a hand of a former German lover in Alain Resnais’s Hiroshima mon amour 18.00

17. Graphic Relations in Editing
The most bold graphic match: cut from a bone to a spaceship jumping millions of years over two shots. Stanley Kubrick’s 2001, Space Odyssey bone and spaceship

18. Graphic Relations in Editing
Cutting on action or matching on action – the editor cuts from one shot to another in the way that the action in the second shot matches the one in the first.
A variation of the graphic match editing technique
G.W. Griffith’s Orphans of the Storm 2.50

19. Graphic Relations in Editing
Two people in conversation is typically filmed in one shot showing both without cut, or in shot-reverse-shot (a character shown looking at another character and then the other character is shown looking back at the first character).
The conversation without editing Play it Again, Sam

20. Graphic Relations in Editing
Shot and reverse shot: two people in conversation shown not together but individually. Woody Allen’s Manhattan ending

21. Graphic Relations in Editing
In a shot-reverse-shot adjacent shots do not have to be continuous graphically
Mild discontinuity may appear in widescreen composition in shot-reverse-shot (shots showing characters facing each other)
Wim Wender’s Paris, Texas

22. Birds
Each shot centres on the action (the flaming trail and Melanie’s face), but movements thrust in different directions. Contrasts between stillness and movement

23. Rhythmic Relations in Editing
Acceleration
A group of people talking: 1,000 frames, 41 seconds
Melanie looking out the window 309 fr. 13 sec.
Exterior shot of a gas station: 55 fr. 2 1/3 sec
Melanie joined by Mitch and the Captain: 35 fr. 1 ½ sec.
The shot length subordinated to the internal rhythm of the dialogue and the movement in the images.

24. Rhythmic Relations in Editing
Melanie’s horrified reaction to the racing flames
70 frames (Flaming car) – 20 frames – 18 frames – 16 frames – 14 frames – 12 frames – 10 frames – 8 frames – punctuate the scene by the two shots with the identical length - 34 frames (Cars at station explode) frames (Melanie covers her face) – a long shot of the city over 600 frames (pause or reverberation)

25. Rhythmic Relations in Editing
Goodfellas
Rhythmic factors include beat, accent and tempo and are supported by mise-en-scène and sound.
The tempo of cutting is getting quicker and quicker as the day is getting more hectic in the helicopter sequence of Goodfellas.
Jump cuts, rock music with strong beats, clock

26. Rhythmic Relations in Editing
Tempo of cutting is slow matching the lugubrious and lethargic mood of the scene, the slow motion movements, and monotonous waltz music in Wong Kar Wai’s In the Mood for Love.
Each shot is long lasting over 10 seconds – long take first encounter

27. Continuity Editing
Graphic qualities must be kept continuous from shot to shot – once composition is fixed, it must be maintained; the overall lighting tonality must remain constant
The rhythm of editing has its own rules: long shots are left on the screen longer than medium shots, and medium shots are left on longer than close-ups
The aim of continuity editing is to create a smooth flow from shot to shot

28. The 180° system or rule
‘Axis of action’, the ‘centre line’ or the 180° line
Only the shots taken from the camera placed in the 180° area on either side of the axis of action (the white area) must be edited together.

29. Continuity Editing
Once the axis of action is established, the camera stays on the same side. Annie Hall

30. This ensures some common space from shot to shot.
The 180° system ensures constant screen direction.
Once upon a Time in the West

31. Continuity Editing
Art gallery
Eye-line Match - in one shot a person is shown seeing off screen in one direction and in the next what he/she is seeing is shown
Dario Argento’s The Stendhal Syndrome a girl looks out of frame to her left, and there is a cut to the painting that she is supposed to be looking at.

32. Continuity Editing
The 180° rule and the eye-line match are carefully observed and give the viewer consistent sense of direction in Alfred Hitchcock’s Rear Window. Jeffrey is a photographer on wheelchair and kills his time by looking into the apartments across from his. Eyeline match

33. Continuity Editing
Match on action or cutting on action – the first shot is cut to another shot in the way the action started in the former continues in the latter and matches the action in the latter.
In Stephen Soderbergh’s Traffic, a man jumps in shot A and lands on the ground in shot B.

34. Continuity Editing
In Bringing up Baby, the shot in which Katherine Hepburn strikes a match is cut to the shot in which she is lighting a cigarette.
The action is continuous and matching.