semiotics of the moving image 08
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Semiotics of the Moving
Image
CLB004 Lecture, Week 5, 2008
Michael Dezuanni
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Overview
Semiotics and moving images
Example - The IncrediblesTips for Video Production
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The Incredibles
View an except from The Incredibles
How can we understand, and make useof, the language components of this
text?
What types of literacies are required?
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Semiotics and visual language codes
Semiotics can be used to analyse all language.
Specific applications in relation to visual languagerelate to:
Social and symbolic codesTechnical visual codes
Narrative codes and conventions Ideological codes related to discourses
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John Fiske Television Culture
An event to be televised (or filmed) is already
encoded by social and symbolic codes such
as those of:
Level one: Reality
Appearance, dress, make-up, environment,
behaviour, speech, gesture, expression, sound,
etc
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John Fiske Television Culture
These are encoded electronically by technical
codes such as those of:
Level two: Representation
Camera shots and composition, angles, editing,
music and sound
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John Fiske Television Culture
Which transmit the conventional representationalcodes, which shape the representations of, forexample:
Narrative, conflict, character, action, dialogue, setting,casting etc
Level three: Ideology [discourse].
Which are organised into coherence and socialacceptability by the ideological codes, such asthose of:
Individualism, patriarchy, race, class, materialism,capitalism etc
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Shot 1 - Denied
Extreme Close Up - RedDenied stamp on policy.
Social and symbolic codes:
Following previous section- it is clear Mr Incrediblehas been denied his life asa superhero.
We learn hes in insurance
- which is boring andunfulfilling.
Red for stop and theresult of an aggressiveaction - stamping.
This is a moment ofimpact in the narrative - aturning point.
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Shot 2 - Mrs Hoganson
Pull out and up to: slightlyhigh angle close up of MrsH: Youre denying myclaim?
Social and symbolic codes
She is very small, weakand old looking.
She is wearing grannyclothes.
She has a frail soundingvoice. Background of grey filing
cabinets - official situation,but also depressing.
She needs to be saved.
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Shot 2 - Mrs Hoganson
Technical codes
Shes looking up - inferior in the
situation (its a high angle)reinforces that she is small andhelpless.
Its a medium close up whichhelps to reinforce the emotion ofthe situation.
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Shot 3 - Mr Incredible (Bob) & Mrs H
Level angle medium shot ofBob with back of Mrs H inforeground. 15 years latercomes up on screen.
Social and symbolic codes
Office is bland - pastel coloursrather than the bright colours ofearlier scenes.
Bob is slumping, chin in hand.Wearing bland (white-collar)
office worker clothes. He is very large - he over fills
the space - hes too big for it. He looks worried - not in control.
Mrs H looks frail - sheshunching.
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Shot 3 - Bob & Mrs H
Bob is looking down at desk - hecant look her in the eye. He isashamed.
Technical Codes:He fills the space - too big for it?
His body cannot be properly
contained by the space.Camera angle is level hes on the
same level as the rest of us nolonger super.
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Shot 4 - side view of Bob and Mrs
Hoganson
Long shot, level angle, of Boband Mrs H
Social and symbolic codes Bob appears trapped (caged).
Head down - bad posture.
Workspace is a small cubicle
space (not the public sphere).
Cluttered with office furniture,
phones, computer wires,
cabinets. It is dark / dull - no
natural light.
They appear as part of the
system.
Creates a binary withprevious scenes. He isunfit and controlled /contained.
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Shot 4 - side view of Bob and Mrs
Hoganson
Long shot, level angle, of Bob and Mrs H
Technical codes Level angle places us on same level as Bob
- we are invited to be in his position.
However, we are remote from it - we areobserving it from outside - they lack control -they are being surveilled?
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Shot 5 - Elastigirl (Helen) & baby - A
momentous occasion
Medium shot of Helen on phonewhile washing baby in kitchensink.
Social and symbolic codes
She is smiling. We are officiallymoved in. She sounds and looksgenuinely happy with her domesticsituation - light hearted and carefree.
Wearing slacks and shirt, with asensible haircut. Binary withElastigirls sexy outfit and attitude.
Contrast with Bobs (depressed)attitude.
Binary created withprevious scene -unnatural Vs natural.
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Shot 5 - Elastigirl (Helen) & baby - A
momentous occasion
Medium shot of Helen on phone while washingbaby in kitchen sink
Social and symbolic codes
Interior of house signifies as middle class and suburban. Helen is literally in the kitchen, mothering.
Baby is very happy.
Technical codes Level angle - we are on her level - we identify with her everyday
domestic situation.
Medium shot reveals peaceful neighborhood.
Natural lighting.
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Shots 6&8 - Bob on phone
Close up of Bob on phone.
Social and symbolic codes Phone is too small for his hand -
hes too big for this situation.
We realise they have been in thehouse for 3 years (news is notmomentous) - Bob sounds weary
and bored. Contrast with Bobas Mr Incredible.
Technical Codes Close up reveals Bobs emotion,
state of mind. Does he suspectHelen is nothappy?
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Shot 12 - Bob peaks around corner
Extreme long shot - Bob
peaks around corner
Social and symbolic codes Long grey corridor with
bright fluro lightssymbolises corporate
mass production. Its
sterile and lifeless.
Technical codes ELS, with deep
perspective reinforces its
oppressive nature.
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Shot 23 - Mr Huff
Medium shot as Mr Huff (the boss)walks quickly down hallway, pushingpast Mrs H, paying no attention toher. (corporate treatment ofindividuals).
Social and symbolic codes
Shows his lack of care for the littlepeople. He wears dark clothes(corporate, evil?)
Technical codes Camera pans dramatically with Mr
Huff as he storms into Bobs office,yelling at him, reinforcing thedramatic nature of the confrontation.
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Shot 24 - Mr Huff
High angle medium shot ofMr Huff as he yells at Bobabout his poor work.
Social and symbolic codes Mr Huff looks angry and
flustered. He is trying totake control.
Technical codes
Camera angle refuses tosupport Mr Huff (highangle).
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Shot 25 - Bob
Technical codes
Bob leans over desk and speaks back to
Mr Huff, defending client. Shows he has ahint of dignity left (the old Mr Incredible).
Social and symbolic codes
Bob looks defeated (but camera supports him - lowangle).
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Shot 30 - Bob
Extreme high angle, long shotas Mr Huff storms back downcorridor and Bob leans overdesk.
Social and symbolic
codes Grey interior is oppressive. Bobs head down,
symbolising defeat
Technical codes Extreme angle and long
shot emphasise Bobsisolation andpowerlessness.
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Focus on editing
Editing achieves more than the linking of
frames.Controls continuity which aims to hide the
edits to make the unnatural appear natural.
Draws us into the narrative we are stitched
in to the position of the main character
through editing forced to see things fromtheir perspective.
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Focus on editing
Editing achieves more than the linking of
frames.Reinforces the mood of the scene through
controlling pace. Faster edits reinforceaction. Slower reinforce emotion.
Can be used to create new meanings
through montage the joining of two imagescreates a new meaning not presented in
either individual image.
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Focus on sound
Sound achieves more than adding naturalism:
Non-diagetic sound eg music and sound effects
creates mood and adds meaning. Can be usedsymbolically or as a counterpoint against a visual to
introduce new meaning.
Diagetic sound eg dialogue - can be used tohelp the text appear natural and un-constructed.
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Practical tips for video production
If making a video for your self representation:
Use a tripod and frame your shots carefully.
Avoid low light and backlighting. Avoid noise and try to use an external mic.
Plan your shoot complete a storyboard or shooting
script, so you know every shot you need.
Dont shoot everything as one continuous shot planfor many short takes to build up your scene.
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Practical tips for video production
Shoot to edit. Shoot your shots as you know
they will need to be edited.
Aim to shoot 3-4 shots per hour, maximum.
Rehearse each shot several times beforeshooting.
Count your shots in: 3,2,1 action
Dont zoom and pan or tilt.Keep the zoom right out and move the
camera to frame up new shots.
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