m10-8 film intro to cinema

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  Cinematography, Pt. 1

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 1960 (Cinematographer: John L. Russell)

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  At what points did you see an “open frame” vs.

  “closed frame”? What do these open & closed framessuggest about the characters and the narrative world(s)  they inhabit?

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  At what points did you see an “open frame” vs.

  “closed frame”? What do these open & closed framessuggest about the characters and the narrative world(s)  they inhabit?

  Anything else you noticed about the mise en scène?

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  Cinematography, Pt. 1

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Cinematographer Dariusz Wolski

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From page 226 in your textbook:

“Although cinematography might seem to exist solely to please our eyes with beautiful images, it is in fact an intricate language that can (and in the most complex and

meaningful films, does) contribute to amovie’s overall meaning as much as the story, mise en scène, and acting do.

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From page 226 in your textbook:

“Although cinematography might seem to

 exist solely to please our eyes with beautiful images, it is in fact an intricate language that can (and in the most complex andmeaningful films, does) contribute to a

movie’s overall meaning as much as the story, mise en scène, and acting do. Thecinematographer (or “DP” / director ofphotography) uses the camera as a maker of

meaning, just as the painter uses the brush or the writer uses the pen: the angles, heights, and movements of the camera function both as a set of techniques and expressive material.”

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Cinematographer Emmanuel Lubezki(Oscar winner for Gravity , 2014

 and Birdman, 2015)

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“painting with light and motion”

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Cinematographer Emmanuel Lubezki(Oscar winner for Gravity , 2014)

“In space it’s mostly the characters against black with apiece of the Earth or sun or moon. That’s not enough visual variety to keep you excited for 100 minutes, so I decided to

make the lighting constantly change. It was very exciting to deal only with the quality of light--how harsh or soft it would be, the amount of bounce and its color. Those few elements made it possible for us to create many different environments all in the service of the story and characters’ emotions.”

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Cinematographer Emmanuel Lubezki(Oscar winner for Gravity , 2014)

“In space it’s mostly the characters against black with apiece of the Earth or sun or moon. That’s not enough visual variety to keep you excited for 100 minutes, so I decided to

make the lighting constantly change. It was very exciting to deal only with the quality of light--how harsh or soft it would be, the amount of bounce and its color. Those few elements made it possible for us to create many different environments all in the service of the story and characters’ emotions.”

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I’m Not There

The Virgin Suicides

Far From Heaven

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“We rely so heavily on the written word to translate

an idea that we often don’t trust how images canexpress an idea.”

--Edward Lachman

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Cinematographer Emmanuel Lubezki(Oscar winner for Birdman, 2015)

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Cinematographer Dariusz Wolski

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I’m Not There

The Virgin Suicides

Far From Heaven

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Haskell Wexler

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One Flew Over the Cuckoo’s Nest

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Gregg Toland

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Citizen Kane

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At the most rudimentary level, cinematography involves…

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--the spatial characteristics of the frame

At the most rudimentary level, cinematography involves…

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--the spatial characteristics of the frame

--the temporal, time-dependent character  of the film medium

At the most rudimentary level, cinematography involves…

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--the spatial characteristics of the frame

(how to arrange the shot & where to place the camera)

--the temporal, time-dependent character

  of the film medium(how long to hold the shot)

At the most rudimentary level, cinematography involves…

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BASIC DEFINITIONS

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shot- (1.) One uninterrupted run of the camera and

(2.) the recording on film, video or other mediumresulting from that run. A shot can be as short or as longas necessary, with the obvious condition that it notexceed the time limitations of the medium on which themoving images are being recorded. (page 228)

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The sets of Hitchcock’s Rope (1948) & Iñárritu’s Birdman (2014).Both films gives the illusion of being one long, continuous shot(80 & 115 minutes, respectively) without any cuts / edits.

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long take- an uninterrupted shot lasting longerthan one minute.

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long take- an uninterrupted shot lasting longerthan one minute.

The famous “Copacabana” long take in Scorsese’sGoodfellas (1990)

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(dir. Paul Thomas Anderson, 1997)Cinematographer: Robert Elswit

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Cinematographic elements totake note of during today’s

screening &  familiarizeyourself with before next

week’s class include…

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Color / Tonal Qualities -- 233-234

Nature & Source of Lighting -- 236-242

Implied Proximity -- 248-251

Shot Angle and Height -- 259-264

Camera Movement -- 265-274

Point of View -- 274

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