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Stills From Pan’s Labyrinth

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Presentation on theme: "Stills From Pan’s Labyrinth"— Presentation transcript:

1 Stills From Pan’s Labyrinth
Film Techniques

2 Mise en scene Mise en scene refers to the placement of visual elements on the screen Shot Angle Lighting Color, filter The dominant Placement of characters within the frame Framing Proxemic patterns Staging positions Composition Depth

3 Shots Shot – indicated by how much of an object or an actor’s body is visible within the camera frame Extreme long shot, establishing shot – objects, people seen at a great distance – setting, distance Long shot – distance from viewer to stage in a stage play Full shot – the actor’s body fills the frame

4 Medium shot – the actor can be seen from the knees or waist up – common shot, dialogue
Close-up – the actor’s face or a small object fills the frame; nothing else can be seen – emotion, important detail Extreme close-up – only a small part of the actor’s face (e.g. eye, mouth) or an object can be seen – intense emotion, important detail

5 Deep-focus shot – long shot showing objects at close, medium, and long range in focus simultaneously – viewer’s eye is drawn into the scene

6 Long Shot

7 Full Shot

8 Medium Shot

9 Close Up

10 Deep Focus Shot

11 Deep Focus

12 Angles Angles are determined by the position of the camera in relation to the object being photographed Bird’s-eye view – Scene is photographed from directly overhead, disorienting – may make people shown seem small, unimportant High angle – Makes the subject seem unimportant, small – may give a the viewer a sense of power

13 Eye level – Most common angle, not very dramatic – seldom used to convey emotion or important information about a character Low angle – makes object, character seem more important and powerful – makes viewer feel fearful, insecure Extreme low angle – invokes fear, discomfort in viewer Oblique angle – disorienting -- may show character’s point of view, indicating disorientation or drunkenness

14 Bird’s Eye View

15 High Angle

16 Eye Level

17 Low Angle

18 Extreme Low Angle

19 Lighting, Color, Filters
Lighting key = lighting style High key – bright, even lighting – happiness, joy Low key – dark, shadowy – mystery, suspense, drama, the unknown – evokes fear High contrast – combination of dark and bright light Lighting keys can be combined in a single shot Colors Warm (red, orange, yellow) – stimulation, action, excitement Cool (blue, green) – calm, aloof, distant Some colors have symbolic importance (e.g. red) Filters can be used to emphasize a particular color, may have emotional or symbolic impact

20 Low Key

21 High Contrast

22 The Dominant The object in the frame to which the viewer’s eye is first drawn May be indicated by size or color Often of great (sometimes symbolic) importance


24 Placement of Characters or Objects within a Frame
Dominant characters, more important characters occupy more space Top = powerful, dominant Bottom = powerless, weak, less important Left and right sides of = placing characters here suggests their insignificance or may be used to suggest danger , the unknown (We do not know what is beyond the edge of the frame.) Most important object may be placed beyond the edges of the frame – especially if associated with mystery or death


26 Framing – The amount of space of within the frame has symbolic meaning
Tight frame – close-up shots, crowded shots = lack of freedom Loose frame = freedom



29 Proxemic Patterns Proxemic patterns = the relationship of characters within a given space The greater the distance between the camera and the character, the greater the sense of emotional “distance.” The smaller the distance between the camera and the character, the greater the sense of emotional involvement. The distance between characters also implies their emotional relationship.

30 Staging Position Character’s position in relation to the camera
Full front (facing camera) – great emotional involvement of viewer with actor Quarter turn (slightly turned away from camera) – most popular position – intimacy yet less emotional involvement Profile (looking off frame) – Character is unaware of being observed Three-quarter turn (only a small portion of the face is visible) – Character is unfriendly, antisocial Back to camera – lack of involvement, mystery

31 Composition Composition refers to the way in which the visual elements of a frame are arranged or put together. Frames in films are often arranged the way that paintings are arranged. Lines may be used to direct the viewer’s eye. Diagonal lines convey a sense of movement, tension Lines may point to most important element in the scene Recurrent patterns, shapes





36 Depth Films are usually arranged on three planes:
Foreground – Objects in the foreground usually provide important information about a scene or the film, foreshadowing Midground Background Use of three planes give film a sense of depth. Placement of objects, characters on different planes changes the meaning of objects, characters

37 Foreground

38 Foreground

39 Background

40 All three planes are of importance

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