Download - A Basic Grammar of Film
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A BASIC GRAMMAR OF FILM
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SEQUENCE
Forms a distinct narrative unit
Unity of action / Unity of purpose
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SCENE
Describes an action that takes place in
a single location and continuous time
Screen time = diegetic time
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SHOT
A single continuous recording made by the camera
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FRAME
A single still image
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TYPES OF SHOTS
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1. Shot scale (or camera distance)
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Extreme Long shot (XLS)
Gone With the Wind, Victor Fleming, MGM, 1939 .
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Long shot (LS)
From Roman Holidays, William Wyler, Paramount Pictures, 1953.
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Medium long shot (MLS) / three-quarter shot
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Medium shot (MS)
The Social Network, David Fincher, Sony Pictures, 2010
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Medium close-up (MCU)
Casablanca, Michael Curtiz, Warner Bros, 1942
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Two-shot
One subject in MCU in the foreground+
One subject in MS in the background
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Close-up (CU)
The Long Goodbye, Robert Altman, Lion’s Gate Films, 1973
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Extreme close-up (XCU)
Citizen Kane, Orson Welles, 1941, RKO Pictures
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Insert / Cut-in
Covers action already covered in the master shot but emhasizes a different aspect of that action
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2. Depth of field, camera angle, and camera movements
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DEPTH OF FIELD
Distance between the nearest and farthest objects that appear sharp in a shot
Long depth of field
Citizen Kane
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Short depth of field
From The Silence of the Lambs, Jonathan Demme, Orion Pictures Corporation, 1991
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CAMERA ANGLES
Guide the audience’s judgement about the objects and characters
in a shot
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Bird’s eye view
The Birds, Alfred Hitchcock, Universal, 1963.
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High-angle shot
The Shadow of a Doubt, Alfred Hitchcock, 1943.
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Eye-level shot
Cleopatra, Joseph L. Mankiewicz, 1963, Twentieth Century Fox
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Low-angle shot
Citizen Kane
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Canted /oblique / Dutch angle
Pickup on South Street, Samuel Fuller, 20th Century Fox,1953.
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CAMERA MOVEMENTS
Give their specificity to cinematic images
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DOLLY SHOTS/TRACKING SHOTS
Camera moves forward = tracking in
Camera moves backward = tracking out
Camera moves sideways
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PANNING/PAN SHOT
Scans a scene horizontally
When scans a scene vertically: called « tilt »
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HAND-HELD SHOTS
Since 1970’s : smooth thanks to the Steadicam
Denote a certain kind of realism
Audience feeling part of the scene
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3. Editing
The art of combining shots into a coherent whole
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LONG TAKE/SINGLE SHOT/SEQUENCE SHOT
Describes a whole scene (even a whole sequence) without any cut
The Rope, Alfred Hitchcock, 1948, Warner Bros.
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CUT
Abrupt change of shot from one viewpoint or location to another
Changes scene, compresses time, varies point of view
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MATCHED CUT
Establishes logical relationship between shots
JUMP CUT(When two shots don’t match)
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FADE AND DISSOLVE
Gradual transition between shots
Fade-in / Fade-outDissolve = one shot merging into another
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MATCH ON ACTION
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EYE-LINE MATCH
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SHOT / REVERSE SHOT
Deemphasizes transitions beween shots
Very commonly used in dialogues
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CROSS-CUTTING
Describes actions occurring at the same time in two different locations
Expresses simultaneity / Creates suspense / Suggests parallels, contrasts, dichotomies…
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3 TYPES OF RELATIONSHIPS BETWEEN SHOTS
1. Time relationships2. Spatial relationships
3. Thematic relationships
2 BASIC FUNCTIONS4. Ensures continuity
5. Organizes seperate units into discourse6. Creates rhythm
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THE KULESHOV EXPERIMENT
Editing changes the viewer’s interpretation of the whole scene