1. Introduction to Film Studies Mise-en-scène

2. Perspective Relations: Lens Akira Kurosawa frequently used the telephoto lens. In his Red Beard a mad woman walks in a doctor’s room. It is filmed over the shoulder of the doctor and the distance between the two characters appear close at first. When they are shown sideways, the viewer would know that they are far apart.

3. Perspective Relations: Lens As the telephoto lens flatten depth, a figure moving towards the camera appears to take more time to cover what seems to be a small distance. Running-in-place Mike Nichols’ The Graduate run for elaine run for elaine

4. Perspective Relations: Lens Zoom lens – a lens which can change focal length and transform perspective relations within a single shot. The zoom lens can substitute for moving the camera forward and backward, as it can magnify and de-magnify the subject. The Conversation Opening

5. Describe that in Kurosawa Akira’s Kagemusha what lenses are used and what effects do they create.

6. Describe that in Stanley Kubrick’s Shining what lenses are used and what effects they create. Come play with us Come play with us

7. The Lens: Depth of Field and Focus Depth of focus = the range before the lens within which objects can be photographed in sharp focus. A lens with a depth of field of 10ft (3m) to infinity renders any object in that range clearly, but anything outside it (e.g. in 4ft) goes out of focus.

8. Lens: Depth of Field and Focus A wide-angle lens has a relatively greater depth of field than does a telephoto lens. A scene from Orson Welles’ Citizen Kane – an example of ‘pan’ focus. All the people in this frame are in sharp focus.

9. Depth of Field and Focus Only one plane is in focus and the other planes are blurred – shallow focus. David Fincher’s Social Network (2010) A young man’s head in focus, another man in front slightly out of focus, and everybody beyond the central figure completely out of focus. A scene A scene

10. Depth of Field and Focus Objects nearer to the camera are thrown out of focus, so that the viewer’s attentions is drawn to the sharper middle ground. A popular visual style in the 1940s. More recent example, Godfather (1972)

11. Lens: Depth of Field and Focus Selective focus can be used for a more abstract compositional effect. Leo Carax’s Boy Meets Girl (1984) I am what I am I am what I am

12. Depth of Field and Focus Faster film stock, wider-angle lens, more intense lighting yield a greater depth of field. Deep focus photography, in which everything is in focus. In Citizen Kane Greg Toland achieved memorable deep focus photography.

14. Lens: Depth of Field and Focus Deep focus photography a popular stylistic choice in the 1940s and 50s. Samuel Fuller, Underworld USA (1961) Who is the guy? 2.30 Who is the guy?

15. Lens: Depth of Field and Focus Perspective relations can be adjusted by using rack (racking) focus or pulling focus. One object is in focus in one plane and you rack focus so that another thing in another place, which was out of focus, come in focus. Wes Anderson’s Rushmore Swimming pool Swimming pool

16. Describe the ways in which scenes are focused in Paul Thomas Anderson’s The Master and what effects it creates? The cause The cause

17. Describe the ways in which scenes are focused in Stephen Spielberg’s Close Encounters of the Third Kind and what kind of effects it creates. Last encounter Last encounter

18. Where in the scene is the rack focus found and for what effect is it used? Da vinci code Da vinci code

19. Framing Framing effects the image by means of: (1)The size and shape of the frame (2)The way the frame defines on-screen and off-screen space (3)The way framing controls the distance, angle, and height of a viewpoint

20. Framing

22. The sizes and shapes of the frame Aspect ration = the ratio of frame width to frame height Academy Ratio or Aperture (: 3 to 2 or 1.33:1 The first television screen was 3 to 2 ratio. Framing (Sizes and Shapes)

24. An early experiment to change the shape of a frame Abel Gance’s ‘Triptych’, composed of three normal frames shot separately and combined side by side. First attempt to create an wide, panoramic screen

25. Framing (Sizes and Shapes) The Academy of Motion Picture Arts and Sciences established ‘Academy Ratio’ 1.33:1 in the 1930s Standard worldwide until the mid-1950s

26. Framing (Sizes and Shapes) A variety of widescreen ratios have dominated the 35 mm filmmaking since the 1950s 1.85:1 in North America (Alien); 1.66:1 in Europe (Lancelot du lac)

27. Widescreen format more frequently used in Europe than US, Robert Bresson’s Lancelot du lac (1974) Spirit of the lance Spirit of the lance

28. Framing (Sizes and Shapes) A 2.35:1 aspect ration was standardized by the name of CinemaScope during the 1950s. King Hu’s A Touch of Zen (1970) Bamboo Forest Bamboo Forest

29. Framing (Sizes and Shapes) How to make a widescreen Hard matte = To mask a frame either during production or before exhibition

30. Framing (Sizes and Shapes) The images are first photographed squeezed horizontally by a special lens and another special lens un- squeeze the image during projection. Anamorphic lens and anamorphic process

31. Framing (Sizes and Shapes) Emphasizing the horizontal expanse, widescreens were initially associated with spectacle genres – Westerns, travelogues, musicals, historical epics. David Lean’s Lawrence of Arabia (1962)

32. Framing (Sizes and Shapes) Widescreen can be used for intimate drama as well. Kurosawa’s Read Beard creates a deep space photography with foreground, middle ground and background images.

33. Framing (Sizes and Shapes) The frame is normally rectangular. Filmmakers can change its shape by attaching masks over either the camera’s lens to block the passage of light. A circular mask is called iris, frequently used in silent cinema. A binoculars scene in Jean Renoir’s Boudou saved from downing 16.00 16.00

34. Masks in various sizes and shapes

35. Mask reveals and hides: Buster Keaton’s Neighbors A girl for wedding but her wedding is not luxurious. Neighbors 12.00 Neighbors

36. Framing (Sizes and Shapes) In D.W. Griffith’s Intolerance the frame is boldly blocked out to leave only a vertical line or diagonal line. Screen is shaped without matting.

37. Michelangelo Antonioni, L’Eclipse

41. Framing (Sizes and Shapes) Split-screen creates different frame shapes. Two or more different images, each with its own frame size and shape appear within the larger frame. Telephone conversation in Philips Smalley’s Suspense (1913) 4.00 from SuspenseSuspense

42. Framing (Sizes and Shapes) The moment before guided missiles are launched is made more tense by splitting the frame into several images and giving the audience a good knowledge about what is going on. Robert Aldrich’s Twilight’s Last Gleaming Nuclear Weapon Nuclear Weapon