1. Hollywood Cinema Space: The Conventions of Representation

2. Classic Hollywood Style Continuity in: Mise-en-scene Camera movement Editing Aim: The best view Transparency—looking through the camera to the action presented in a way that aims at keeping the illusion intact for the viewer

3. Quickie Quiz How does expressive space differ from represented space in a movie? (Give at least one example of what you mean.)

4. Space Represented Recognizable space which the cameras record and which really exists Emphasis on material form: perceived as three dimensional Expressive Same space, but different emphasis: often perceived as two dimensional for graphic purposes Given a meaning beyond the literal by the arrangements of the elements within the frame Metaphoric rather than literal space

5. Conventions of Frame Composition Frame as both border and opening The golden third Frontality Deep space vs. selective focus Citizen Kane Pulling the focus

6. Mise-en-scene Literally, the arrangement of elements within the frame Includes lighting, color, organization of space, positioning of figures, sets, costume, makeup, film stock, lens type, focus, camera angle and distance, and framing

7. Maltby on Mise-en-scene “An efficient mise-en-scene serves the needs of both the producers and the consumers of the fiction, maintaining the viewer’s involvement in the action by allowing for understanding and interpretation without impeding its progress with intrusive explanation.”

8. Editing Defined as joining two shots into a sequence Continuity editing is the Hollywood style Unobtrusive flow is the aim Coverage Shot/reverse shot The 180 degree rule Eyeline matching Continual reframing to preserve the best view

9. Final Cut Traditionally the province of the producer May very occasionally be conceded to powerful director or star “Cutting in the camera” John Ford Alfred Hitchcock

10. Point of View How does point of view contribute to our visual pleasure? Superior knowledge of events Power to make value judgments using information not available to characters If pov is restricted, potentially closer emotional identification with at least one character or increased potential for thrill or surprise.

11. Mise-en-scene as tradition The Searchers (1956; directed by John Ford) The Godfather (1972; directed by Francis Ford Coppola)

12. Our Viewing Process “By looking more closely at our taken-for- granted notion of simply “watching a movie,” we can begin to uncover an account of cinema spectatorship that implies a much more active collaboration with the cinema....” -- Hollywood Cinema

13. Your Videos “If we rely on technique and dispense with imagination, we become mechanical. If we rely on imagination alone and ignore technique, our work will become chaotic.”