1. Visual Literacy & Film As Literature Analysis of Motion Pictures
Film Techniques
Visual Literacy & Film As Literature
Analysis of Motion Pictures

2. Camera Angles
To create different effects, a director must take into account where the camera will be placed in relation to the object being shot.
Three main types:
Low angle
High angle
Eye level angle

3. Low Angle
Camera shoots subject from below; has the effect of making the subject look larger than normal; strong, powerful, or threatening

4. Low Angle

5. High Angle
Camera is above the subject; usually has the effect of making the subject look smaller than normal, weak, powerless, or trapped

6. High Angle

7. Eye-level Angle
Accounts for 90-95% of the shots seen because it’s the most natural; camera is even with the key character’s eyes

8. Eye-level Angle

9. Camera Movement
Directors and camera operators have developed ways for cameras to help tell the story on the big screen, primarily in the way the camera moves.
Types of camera movement:
Pan
Tilt
Dolly
Zoom

10. Pan
Stationary camera move either left or right (like shaking your head)

11. Tilt
Stationary camera moves either up or down (like nodding your head)

12. Dolly
The camera itself is moving with the action on a track with wheels or held by hand

13. Camera Movement

14. Zoom
The camera is stationary, but the lens moves, making the objects appear to grow larger or smaller

15. Zoom

16. Lighting
Lighting can play an essential role in creating particular effects desired by the director
The principle source of light on a set is called the “key light.”
Other light sources are used to balance, soften, and shade the key light.
Types: low key, high key, neutral

17. Low-key Lighting
Scene is flooded with shadows and darkness; creates suspense/suspicion or the possibility for romance
Could indicate: evil, fright, intensity, obscurity

18. Low Key Lighting

19. High-key Lighting
scene is flooded with light; creates a bright and open-looking scene.
Could indicate: innocence, beauty, bravery, benevolence

20. High Key Lighting

21. Neutral Lighting
Neither bright nor dark; even lighting throughout the shot

22. Neutral Lighting

23. Sound Sound is a crucial, though often overlooked aspect of film
Directors use sound in many ways to create desired effects.
Sound could be: dialogue, music, sound effects, etc.
Two main types: diegetic and nondiegetic

24. Diegetic Sound
Sound that could be heard logically by the characters in the film. Can be internal diagetic, meaning that the sound can be heard only within the mind of one character

25. Nondiegetic Sound
Sound that can not be heard by any characters; sound given directly to the audience by the director

26. Focus
The director uses focus techniques to communicate things to the audience.
Some types are:
Soft focus
Rack focus
Deep focus

27. Soft Focus
When the director intentionally puts his or her object slightly out of focus to make the image look softer or unclear.

28. Soft Focus Shot

29. Rack Focus
When the director shifts the focus from one object to another in the same shot in order to direct the audience’s attention.

30. Rack Focus

31. Deep Focus
When the foreground and background are equally in focus.

32. Deep Focus

33. Editing
Editing describes how shots are put together, or how a director chooses to move from one shot to another.
Types of shot editing:
Cut
Fade
Dissolve
Crosscutting
Flashback
Eye-line match

34. Cut
“CUT TO”
An individual strip of film consisting of a single shot; the separation of two pieces of action as a "transition" (used when one says "cut from the shot of the boy to the shot of the girl"); a verb meaning to join shots together in the editing process; or an order to end a take ("cut!").

35. Fade “FADE IN” or “FADE OUT”
Scene fades to black or white; often implies that time has passed

36. Dissolve
An image fades into another; can create a connection between images

37. Dissolve

38. Crosscutting
Cut to action that is happening simultaneously; also called parallel editing
Can appear as two shots side by side, OR, more commonly, alternating frequently between two scenarios about the collide…

39. Crosscutting

40. Flashback Movement into action that has happened previously
Often signified by a change in music, voice-over narration, or a dissolve
A flash-forward leads us ahead in time

41. Flashback

42. Eye-line Match
A shot of a person looking, then a cut to what he or she saw, followed by a cut back for a reaction

43. Eye-line Match