1. Mise en Scene CINEMATOGRAPHY

2.  The frame is defined by the edge of the film or sensor  Aspect ratio refers to how high the image is versus how wide  Prior to the 1950s, movies were shot in a variety of aspect ratios, with the most common being 1.33:1  1950s introduced the widescreen format  Until recently, most TV was filmed in 1.85:1  Widescreen is now filmed in 2.35:1 THE FRAME

3. FULL SCREEN

4. WIDESCREEN

5. RULE OF THIRDS

6.  Everyone, even formalists, use center weighting for dominance in basic shots CENTER WEIGHTING

7.  The edges are viewed as insignificant, but directors often use this space symbolically  Shadows at the edges symbolize the unknown, danger  Mysteries often use the edges for lurking figures  Directors use the edges to place important objects THE EDGES = INSIGNIFICANCE

8.  In Classical style, the composition of elements in a frame is balanced  Like the angle of the shot being straight, it comforts the eye to see balanced composition  Just like some shots require oblique angles, some shots are intentionally composed in an unbalanced style to make the viewer uncomfortable. COMPOSITION AND DESIGN

11.  The eye can view up to eight major areas in a frame at a time, generally in sequence.  The director “directs” the viewer’s eye to particular area first by using dominant contrast  This is done in black and white by adding one element in harsh contrast  In color, by using a bold, generally primary color DOMINANT CONTRAST

14.  After the dominant, where do we look next?  The director gives you second place to look, often by size of element or proximity to dominant element SUBSIDIARY CONTRASTS

15. SUBSIDIARY CONTRAST

16.  Objects have “weight” or significance based upon where on screen it is  In Western cinema in particular, most people go from left to right in viewing a scene  The upper part of the screen is “heavier” than the lower part  Singular objects are “heavier” than clusters or groups  Visual lines suggest movement and emotion  The sharper the angle of the line off the axis, the more tension WEIGHTING

18.  Space communicates just as much as every other element of film  We are aware of how people close are in spacing to each other… it can imply many things  Closeness can imply relationships, can be imposing, can suggest power  Distance can imply weakness, detachment TERRITORIAL SPACE

20.  Tightly framed can imply restraint.  It is also used extensively in horror movies when something bad is about to come from another angle  Loosely framed can imply freedom, escape TIGHT VS LOOSE FRAMING

21. TIGHT FRAMING

22. LOOSE FRAMING

23.  Proximity is part of space… There are four kinds  Intimate  Skin contact to 18 inches away  Personal  18 inches to four feet away  Social  Four feet to to twelve feet  Public  Beyond twelve feet PROXEMICS

24. INTIMATE SPACE

25. PERSONAL SPACE

26. SOCIAL SPACE

27. PUBLIC SPACE

28.  Generally regarded as an art term, but useful in film analysis  In general, realists use open forms, formalists use closed forms  Open form emphasizes informal, unobtrusive composition. Often, it has no discernable structure and suggest randomness  Closed form emphasizes a more stylized design. Objects and figures are more precisely placed and well-balanced OPEN AND CLOSED FORMS

29. OPEN FORM

30. CLOSED FORM