1. DYNAMIC IDENTITY

2. Elements of film language grammar Introduction to the subject SHOT SIZES – FRAMING

3. SHOT SIZES FRAME

4. FRAMING? DECISIONS? WHAT CAN WE SEE? WHAT DOES IT MEAN?

5. COMPOSITION – IN THE FRAME You need to decide whether the FRAME should have a focal point [i.e person or object], should be symmetric or asymmetric, harmonic or non harmonic. The presence of each element in the frame should be justified.

6. Extra long shot: Shows the full topography of the scenery where the action takes place; human figures are small and poorly visible, blending in with the background; used for general description of a place or for presenting a new space.

7. Long shot: A full view of the place of action; the human figure is visible; the space is clearly visible; used for showing the relation between the actors and the surrounding space or showing general information about the place of action.

8. Full shot: Is a cut-out of an extra long shot; we can see the full figure of the actor; we can see only a part of the surrounding space; very popular in silent movies.

9. American shot: Shows a part of the full shot; the human figure is shown from knees up and dominates in the film frame; mostly used in dialogue scenes.

10. Medium shot: Shows the human figure from the waist up; the actor dominates in the frame; we can see more of the expressions on the face than in an american shot.

11. Medium close-up: we see the human figure's bust, we can see the actor’s expressions, gestures, emotions; the background is not so important – it is barely visible.

12. Portrait/Close-up: An actor’s head (or any other object) fills the frame almost completely; it allows for accurate observation of details or expressions.

13. Big close-up: Is a very accurate form of getting closer to an actor or object; the frame is filled with a body detail or object detail connected with the action; this frame draws attention; it's used as a rule for rasing the level of emotional tension.

14. In what frame you would feel like yourself?