Introduction to Film Studies Mise-en-scne Lighting: Colour In Colour lighting, thin colour film placed in front of a light gives image a universal tint. Colour gel or filter Lighting: Colour In Michael Powell and Emeric Pressburgers Black Narcissus, their cinematographer Jack Cardiff got scenes lit in bold colours. Intense key light comes from the screen right in blue and orange. Lighting: Colour The theatrical lighting in blue in the concluding sequence of Nagisa Oshimas last film, Taboo (1999) Lighting: Colour Dominant colour can be chosen to fit the mood of the film. Woody Allens Purple Rose of Cairo has sepia tone in order to reflect symbolically the mood of the Depression, which was the period setting for the film. Lighting In William Wylers Jezebel, Bettie Davis is lit by the key light from top right, by the fill light from left and by the back light from slightly high at back. No strong contrast between light and dark parts is created HIGH KEY LIGHTING Hes always mine Hes always mine Lighting Three point lighting in a colour film Strong key light from left, a fill light from off right of the camera, and the office behind the couple is lit more dimly and softly with background light. Whenever the camera position moves, the lighting positions must be rearranged. Lighting Three point lighting suited to high-key lighting Photography with low contrast between brighter and darker areas The most frequently used in classical Hollywood cinema. Under the bamboo tree Under the bamboo tree Lighting LOW-KEY LIGHTING creates stronger contrasts and sharper, darker shadows. The lighting is hard, and fill light is lessened or switched off. Light is hard and comes from right in the shot above, The Maltese Falcon. Fill and back light eliminated creating a dark shadow on the wall Analyze the ways that scenes are lit. Light, shadow, direction, colour, etc. Ridley Scott, Blade Runner Analyse the ways that scenes are lit. Light, shadow, direction, colour, etc. Roger Mitchells Notting Hill Im just a girl Photography: Tonality FILM STOCK, LIGHTING and LABORATORY PRECESS determine the tonality of photography In general, a slow film stock will produce a high- contrast look the sharp difference between the darkest and lightest areas of the frame. Hard lighting, Low-key, lighting creates strong contrast In film developing process, contrast can be heightened or lessened high-contrast and low contrast. Photography: Tonality In most black-and-white films, grays, blacks and whites are balanced and nuance is created through high-key, soft- lighting, normal film stock and standard developing. Jean Renoirs Grand Illusion French stockFrench stock Photography: Tonality In the dream sequence of Ingmar Bergmans Wild Strawberries a bleached-out look (little colour gradation) is created through a combination of film stock, over-exposure and laboratory processing. dream Photography: Tonality News-reel like photography in Jean Luc Godards Les Carabiniers The positive prints were simply made on a special Kodak high contrast stock Several shots, intrinsically too gray, were duped again sometimes two or three times, always to their highest contrast. In cinema In cinema Photography: Tonality Technicolor [colour film stock] famous for its sharply distinct, heavily saturated hues. Rich colours created by a specially designed camera and a printing process. Vincent Minellis Meet Me in St. Louis (1944) The Trolley Song The Trolley Song Photography: Tonality Soviet film stock tended to lower contrast and give the image a murky greenish-blue cast. The monochrome-like colour design in Andrei Tarkovskys The Stalker. Actions seem to be taking place underwater. Stalker Stalker Photography: Tonality TINTING - Already developed positive film is immersed in dye. Lighter areas pick up the colour while darker ones remain black and gray. In Abel Gances Jaccuse! (1919) the image was tinted in pink. JAccuse JAccuse Photography: Tonality TONING when dye is added during the developing of the positive print, the darker areas of the frame are coloured and the brighter portions remain white or only faintly coloured. Ve Chytilovs Daisies Night Club Night Club Photography: Tonality Hand colouring Portions of black-and-white images are painted in colours, frame by frame. The ships flat in Sergei Eisensteins Battleship Potemkin is hand coloured red. Each frame painstakingly hand coloured in George Mlis A Trip to the Moon colour version colour version Photography: Tonality Manipulations of tonalities Stan Brakhage scratches off the emulsion in certain parts of the image for creating a graphic design. Chinese series Chinese series Photography: Tonality Tonality is the most crucially determined by exposure. Overexposure (too much light admitted through the lens) make the image too bright and underexposure (little light) make the image too dark. Carl Dreyer overexposes the windows to create a religious atmosphere in Ordet. Funeral 5.30 Funeral Photography: Tonality The area in the strong sunshine is slightly over- exposed, while the areas in shadows are shot in right exposure. Francesco Rosis Salvatore Giuliano. Photography: Tonality Women in the foreground shot in right-exposure, but the sun-lit town in the background is overexposed. Inside the house a woman is underexposed, while the countryside in the background well-exposed. Photography: Tonality Filter a slice of glass or gelatin placed in front of the lens reduces certain frequencies of light reaching the film. Day for Night A filter can block out part of the light and make footage shot in daylight seem to be shot at night. George Stevens, Shane Perspective Relations Types of camera lenses determined by their focal length distance between the centre of the lens to the point where light rays converge on the film. Focal length of the lens can affect perspective relations in the things in a frame. Perspective Relations Short focal length (wide- angle) lens - A lens of less than 35 mm in focal length Distort straight lines lying near the edges of the frame. Two towers appear to lean rightward and leftward Nicholas Roegs Dont Look Now Perspective Relations Anything nearer the camera appear to bulge and its shape look distorted. In Terry Gilliams Brazil a wide-angle lens is used extensively opening Perspective Relations The wide-angle lens exaggerate depth. In a scene from William Wylers Little Foxes the lens makes the characters seem farther away from each other than we would expect. Arrival Arrival Perspective Relations Middle focal length (normal) lens A lens of medium focal length between 35 and 50 mm. No noticeable perspectival distortion: horizontal and vertical lines are rendered straight and perpendicular Depth does not look stretched apart or squeezed Perspective Relations Long focal length (telephoto) lens - A lens of long focal length between 75 and 250 mm or more. It flatten the space between what is in the foreground and in the background The planes seem squashed together Chen Kaiges Life on a String Perspective Relations In Godfrey Reggios Koyaanisqatsi an airport is shot from a great distance by a telephoto lens. The long lens makes the aeroplane look as if it were landing on a crowded motorway koyaanisqatsikoyaanisqatsi Perspective Relations Akira Kurosawa frequently used the telephoto lens. In his Red Beard a mad woman walks in a doctors room. It is filmed over the shoulder of the doctor and the distance between the two characters appear close at first. When they are shown sideways, the viewer would know that they are far apart. Perspective Relations As the telephoto lens flatten depth, a figure moving towards the camera appears to take more time to cover what seems to be a small distance. Running-in-place Mike Nichols The Graduate Perspective Relations Zoom lens a lens which can change focal length and transform perspective relations within a single shot. The zoom lens can substitute for moving the camera forward and backward, as it can magnify and demagnify the subject. The Conversation