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Tactics in order to Earn Cash Online is a post from: The Glaring Facts

“You photograph the natural life, but you also, by your juxtaposition of detail, create an interpretation of it” – John Grierson.

• The term nonfiction film is most commonly applied to documentary cinema, but it has also been used to describe avant-garde films.
• Avant-garde and documentary cinema occupy opposite poles on the classification chart of styles and types of film, documentary realism and avant-garde formalism both start from a suspicion of the use of spectacle and narrative in fiction films to involve spectators in a world of fantasy and illusion.

Legendary documentary about the American food industry

The Documentary Mode

• Depends on the basic assumption that film images provide evidence of a state of affairs that exists, or once existed, in the world outside the film.
• No documentary is simply an objective representation of facts, and the key question for the great documentary filmmakers has been how to create a convincing interpretation of reality without distorting the evidence.
• Documentaries are structured more like essays.
• The raw images provide the evidence that it is then organized to develop an argument. This argument is constructed largely through the way in which the images are edited together and through the way in which the images relate to the soundtrack.

Stages which critics classify genre movies:

• Primitive or formative
• Classical
• Revisionist or critical
• Parodic or reflexive

Grierson and the Classical Documentary

• The first films made and screened by the Lumiere brothers in 1895 were brief segments of everyday life, often referred to as “actualities”. Most historians agree that the first true documentary was the work of Robert Flaherty, an American explorer who used a camera to record his travels in the Canadian Arctic and eventually released a feature film called Nanook of the North (1921).
• The term “documentary was first applied to film by John Grierson. He argued that film should be used for social purposes and felt that Flaherty had shown the way, but had not yet gone far enough because he still organized his films around the exploits of an individual hero and tended to present a romantic view of exotic cultures. Flaherty deliberately misrepresented a culture!
• Grierson thought that Flaherty was too concerned with making his images beautiful and not concerned enough with the social purposes of a film intended to demonstrate the benefits of industrial development.
• 

  Al Gore's An Inconvenient Truth

  In a probing yet playful approach to a sensitive subject, this documentary examines the values that prompt people to alter their looks through cosmetic surgery. Personal accounts of men and women, young and old, who have decided to change their bodies are counterbalanced by comments from professionals who explain the effects of physical appearance on our lives. The film focuses mainly on the experiences of Daisy de Bellefeuille, a frank and feisty woman who decides to counter middle age with a facelift. The film provides us with a front-row seat during a facelift operation, as well as a close-up look at the results.

• Grierson’s major contribution to the future of the documentary was made as a producer whose enthusiasm could convince governments and industry of the value of sponsoring films that would make people more aware of social issues.
• Established the National Film Board (NFB) of Canada in 1939. Grierson called the documentary the “creative treatment of actuality.” Although Grierson often stressed the social objectives of the documentary rather than its aesthetics, Grierson was well aware of the need for creative techniques to develop a convincing interpretation of actuality.
• Grierson’s documentaries established the classical style in which the images are subservient to a verbal argument that has been scripted in advance. The commentary unifies the film and is spoken in a voice of authority. It is often referred to as a voice- of-God commentary, since the speaker is apparently omniscient and remains off screen.

Grierson’s approach has been criticized for 3 major reasons:

• Wanted to bring about social change
• Argued that documentary was opposed to the “illusions” of the Hollywood dream factory.
• The emphasis on the commentary meant that people were not allowed to speak for themselves.
• Grierson later claimed that Housing Problems (1935) was the origin of cinema verite

What is Documentary Film? is a post from: The Glaring Facts

• In the best movies, settings are not merely backdrops for the action but symbolic extensions of the theme and characterization.
• Settings can convey an immense amount of information, whether they are specially constructed in a studio or filmed on location.
• In set design, as in other aspects of movies, the terms realism and formalism are simply convenient critical labels.
• Spectacle films usually require the most elaborate sets.
• Expressionistic sets are usually created in the studio, where the contaminations of reality cannot penetrate. Magic, not realism is the aim.
• Expressionistic sets appeal to our sense of the marvelous.
• What matters in a setting is how it embodies the essence of the story materials and the artistic vision of the filmmaker.
• The set must present the character before he has even appeared. It must indicate his social position, his tastes, his habits, his lifestyle, his personality. The set must be intimately linked with the action.
• Settings can also be used to suggest a sense of progression in the characters.
• A film can fragment a set into a series of shots, now emphasizing one aspect of a room, later another; depending on the needs of the director in finding the appropriate visual analogues for thematic and psychological ideas.
• Even the furniture of a room can be exploited for psychological and thematic reasons.

TERRITORIAL SPACE:

• Space is the medium of communication, and the way we respond to objects and people within a given area is a constant source of information in life as well as movies.
• In virtually any social situation, we receive and give signals relating to our use of space and those people who share it.
• Most of us are not particularly conscious of this medium, but we instinctively become alerted whenever we feel that certain social conventions about space are being violated.
• Several psychologists and anthropologists have explored these and related questions. Their findings are especially revealing in terms of how space is used in cinema.
• Territories also have a spatial hierarchy of power. That is, the most dominant organism of a community is literally given more space, whereas the less dominant are crowded together.
• The amount of space an organism occupies is generally proportional to the degree of control it enjoys within a given territory.
• Space is one of the principal media of communication in film. The way people are arranged in space can tell us a lot about their social and psychological relationships.
• Dominance is defined contextually in film, not necessarily the way it is perceived in real life.
• The movie frame is also a kind of territory, though a temporary one, existing only for the duration of the shot. The space is shared within the frame is one of the major tools of the director, who can define, adjust, and redefine human relationships by exploiting spatial conventions.
• An actor can be photographed in any of 5 basic positions, each conveying different psychological undertones: 1) full front; 2) the quarter turn; 3) profile; 4) the tree-quarter turn; and 4) back to camera.
  • Full front position:
    • Is the most intimate—the character is looking in our direction, inviting our complicity.
    • In most cases, actors ignore the camera—ignore us—yet our privileged position allows us to observe them when their defenses are down.
  • Quarter turn:
    • Is the favoured position of most filmmakers, as it provides a high degree of intimacy but with less emotional involvement than the full-front position.
    • The profile is more remote
    • The character seems unaware of being observed, lost in his or her own thoughts.
    • More anonymous
    • Useful for conveying a character’s unfriendly or antisocial feelings, since in effect the character is partially turning his or her back on us, rejecting our interest.
    • When a character has his or her back to the camera, we can only guess what is taking place internally. This position is often used to suggest a character’s alienation from the world. It is useful in conveying a sense of concealment, mystery.
• The amount of open space within the territory of the frame can be exploited for symbolic purposes.
• Generally, the closer the shot, the more confined the photographed figures appear to be. Such shots are usually said to have tight framing.
• Conversely, the longer shots with loose framing tend to suggest freedom.
• Often a director can suggest ideas of entrapment by exploiting perfectly neutral objects and lines on the set. When figures are framed within a frame in this manner, a sense of confinement is usually emphasized.
• Territorial space within a frame can be manipulated with considerable psychological complexity.
• When a figure leaves the frame, the camera can adjust to this sudden vacuum in the composition by panning slightly to make allowances for a new balance of weights.

PROXEMIC PATTERNS:

• Imply the spatial relationships among characters within a frame.
• Can be influenced by surroundings such as noise, light, and/or character emotions. (e.g. Lack of light, noise, and danger tend to make people move closer together).
• Four major Proxemic patterns:
  • Intimate distances
    • Intimate distances range from skin contact to about half a metre away (physical involvement).
    • Portrays a level of love, comfort, and tenderness among people who are familiar with each other.
    • A level of suspicion, discomfort, and hostility will exist among strangers. This would be called intrusive rather than intimate.
  • Personal distances
    • From half a metre to a metre away. Individuals can touch if necessary; they are about an arm’s-length apart.
    • Tend to be for friends and/or acquaintances since they maintain adequate privacy among two individuals.
  • Social distances
    • Range from a metre to 4 metres away.
    • Common for impersonal business and causal social gatherings in which there are more than 3 people.
    • Personal distances among 2 individuals of a social group would be considered rude/unforthcoming.
  • Public distances
    • Range from 4 to 8 metres (or more).
    • Tends to be formal rather than detached.
    • Important public figures are generally seen from a public distance
    • Displays of emotion are considered bad form at these distances since a considerable amount of space is involved; therefore, characters must exaggerate their gestures and raise their voices to be understood clearly.
• Each proxemic distance has an equivalent camera angle. Intimate distances can be likened to close and extreme close range shots. The personal distance is approximately a medium close range. The social distances correspond to the medium and full shot ranges. Finally, the public distances are roughly within the long and extreme long shot ranges.
• Social context is a determining factor in proxemic patterns. For example, on a crowded bus, people are at intimate range but still maintain a public attitude. However, if a stranger were to stand next to us in an open space, we would involuntarily step away. The same would apply in a classroom or in a public washroom. Strangers often do not sit/stand next to each other; instead they leave a space in between.
• Distances affect audience emotions. For example, in a close up shot, we would feel an intimate relationship with the character, or we could feel hatred towards him/her if that person were to be the antagonist of the film (this would be the intrusive distance). Hence, the audience would be more emotionally involved at an intimate range rather than a public range (e.g. If we see at a close range a person slipping on a banana peel, it would not be as humorous if we were to see it at a long range distance because we would be more concerned about the persons safety).

OPEN AND CLOSED FORMS:

• No movie is either completely open or completely closed in form. These two forms are loosely related to the concepts of realism (generally open forms) and formalism (generally closed forms).
• Open Form
  • Rather simple techniques; they emphasizes informal, unobtrusive compositions.
  • Objects within the frame are not planned out in advance. Instead, they are randomly composed on the spot by a camera operator – known as Aleatory Techniques.
  • Make us aware that reality extends beyond the films frame. The frame is deemphasized, implying that more important information lies outside the composition.
  • Directors tend to favour panning the camera across the setting in order to show the continuity of the outside frame. Thus, the dramatic action on the screen leads the camera to where it will go next.
  • Formal beauty is sacrificed for truth in open forms
• Closed Form
  • Images are rich in textural contrasts and compelling visual effects; they are more densely saturated with visual information.
  • Emphasize a more stylized design, where objects and figures are more precisely placed within a frame.
  • Shots are carefully constructed within the frame so that elements outside the frame are irrelevant. Thus, the camera anticipates the dramatic action – known as anticipatory camera – and therefore, the characters do not make the important decisions as to what happens next in the film, the camera does.
  • Truth is sacrificed for beauty in closed forms.

AN EFFICIENT MISE EN SCENE ANALYSIS OF ANY SHOT INCLUDES THE FOLLOWING 15 ELEMENTS:

1. Dominant – Where is out eye attracted first? Why?
2. Lighting key – Is it high key? Low key? High contrast? Some combination of these?
3. Shot and camera proxemics – What type of shot? How far away is the camera from the action?
4. Angle – Are we (and the camera) looking up at or down on the subject? Or is the camera neutral (eye level)?
5. Colour values – What is the dominant colour? Are there contrasting foils? Is there colour symbolism?
6. Lens/filter/stock – How do these distort or comment on the photographed materials?
7. Subsidiary contrasts – What are the main eye-stops after taking in the dominant?
8. Density – How much visual information is packed into the image? Is the texture bare, moderate, or highly detailed?
9. Composition – How is the two-dimensional space segmented and organized? What is the underlying design?
10. Form – Is it open or closed? Does the image suggest a window that arbitrarily isolates a fragment of the scene? Or is it a proscenium arch, in which the visual elements are carefully arranged and held in balance?
11. Framing – Is it tight or loose? Do the characters have no room to move around? Or can they move freely without obstruction?
12. Depth – On how many planes is the image composed? Does the background or foreground comment in any way on the midground?
13. Character placement – What part of the framed space do the characters occupy? Center? Top? Bottom? Edges? Why?
14. Staging positions – Which way do the characters look vis-à-vis the camera?
15. Character proxemics – How much space is there between the characters?
    

A SYSTEMATIC ANALYSIS OF A SET INVOLVES A CONSIDERATION OF THE FOLLOWING EIGHT CHARACTERISTICS:

1. Exterior or interior. If the set is an exterior; how does nature function as a symbolic analogue to the mood, theme, or characterization?
2. Style. Is the set realistic and lifelike, or is it stylized and deliberately distorted? Is it in a particular style, such as colonial American, art deco, or sleek contemporary?
3. Studio or Location. If the set is an actual location, why was it chosen? What does it say about the characters?
4. Period. What era does the set represent?
5. Class. What is the apparent income level of the owners?
6. Size. How large is the set? Rich people tend to take up more space than the poor; who are usually crowded in their living area?
7. Decoration. How is the set furnished? Are there any status symbols, oddities of taste, and so forth?
8. Symbolic Function. What kind of overall image does the set and its furnishings project?

Analyzing Mise En Scène is a post from: The Glaring Facts

• Mimesis (showing)
• Diegesis (telling)
  • Diegesis is used by film critics to describe the fictional world created by a films narration

Narratology is the stuffy of how stories work; how we make sense of them; how we fit them together to form a coherent whole

Narratologists study different narrative structures, storytelling strategies, aesthetic conventions, types of stories (genres), and their symbolic implications

• Realistic narrator – events speak for themselves; movie is chronological
• Classical narrator – narrator fills in boring gap
• Formalistic narrator – subjective perspective; overly manipulative

Story v.s. plot

• Story is general; dramatic action shown in chronology
• Plot involves storyteller’s method; arrangements of events (e.g. flashback)
• Movies are like essays – a thesis (at the beginning) defines the film

Many film noirs present stories in complicated plots; they are heavily reliant on flashbacks

Classical Paradigm – conflict between a protagonist, who initiates action, and an antagonist, who resists it

Realism – portrays life without distortion

Formalism – emphasizes world of imagination (abstract editing/style – e.g. showing snippets of character’s line

Adaptation – many adaptations of literary sources

• They often require more skill than working with screenplays (e.g. think about the film Adaptation and his struggle to write a screenplay from the novel The Orchid Thief)
• Faithful adaptations attempt to recreate the literary source as close as possible

Genre & Myth

• Genre – type of movie (comedy, drama, musical…..)
• Distinguished by a characteristic set of conventions in style, subject matter, and values

Film critics and scholars classify genre movies into 4 main cycles:

• Primitive (or formative) – novelty of the form; many conventions are established in this phase
• Classical – embodies classical ideals of balance, richness, and poise; values are assured and widely shared by the audience
• Revisionist – more symbolic, ambiguous, less certain in its values; this phase tends to by stylistically complex, appealing more to the intellect than the emotions; in genres, preestablished conventions are exploited as ironic foils to a question or undermine popular beliefs
• Parodic – this phase is a mockery to the conventions, reducing them to clichés and presenting them in a comic matter.

Genres have a way of springing back to life after taking a rest for a few years (e.g. Chicago – Musical)

Tone

• Manner of the presentation – general atmosphere created
  • Tone affects the audiences response
  • Acting styles can determine the tone
• Genre also helps determine a films tone
• Voice over narrator can determine tone
  • E.g. Clockwork Orange – narrated by a thug
  • E.g. Maelstrom – used a fish as a narrator – creates a novelistic mood
• Music can also create tone (commonly used method)

Story

• Story can be many things
  • It is a property that has box-office value
  • To a writer, story is screenplay
  • To a film star, story is the vehicle
  • To a director, story is an artistic medium
  • To a critic, story is a classifiable narrative form
  • To a sociologist, story is an index to public sentiment
  • To a psychologist, story is an instinctive exploration of hidden fears or communal ideas
  • To a movie goer, it can be all of these and more

Narratology and Story-making in Film is a post from: The Glaring Facts

• Look of a film and its relation to the story depend on the collaboration between the director and the cinematographer
• Storyboarding – individual frame drawings of how things will look
• Style of photography should be geared towards story, theme, and mood of the film
  • Low-key lighting styles portray evil and secrecy ala. The Godfather

Shots

• Directors have different preferences in shot length and structure
• Shots aren’t necessarily determined by length/distance
  • Some lenses distort distance
    • A telephoto lens can produce close ups when its far away
  • Extremely long shots are often called establishing shots
  • Full shot – head at top of frame; feet at bottom of the frame (full body)
  • Long shots – kind of like the distance between an audience and the actors in a live theatre performance
  • Medium shots:
    • Two shot – contains 2 figures from waist up
    • Three shot – 3 figures; any more and it tends to become a full shot, unless there’s other figures in the background
    • Over the shoulder – 2 figures, one with the back of his/her shoulder showing, the other facing the camera
    • Close up – focuses on a relatively small object – e.g. a face of a person
      • Close up elucidates importance
    • Extreme close up – e.g. shows only mouth or eyes

Wide angle lens

• Shows something up close, then goes out of focus to show something of greater distance (that was out of focus before)
  • Amelie – when she is in the theatre – she is in focus while the background is out of focus – she tells us that she likes to look at peoples faces when they are watching movies and a wide angle lens is used to put her background in focus and Amelie out of focus.
  • the show 24 does this a lot
  • easier for audiences eyes to shift this way

Angles

• Angle is determined by where the camera is placed – not from where the subject is placed
• Most filmmakers film scenes at eye level – 1½ metres off the ground
  • e.g. view of an observer (eye level)
  • Realist tries to make viewer forget the camera is there
  • Formalist constantly brings attention to the camera
• Angles are often manipulative – thus, some filmmakers tend to avoid them

Five Basic Angles

1. Birds eye view – overhead shot
2. High angle – usually include floor/ground as background; establishes setting
3. Eye level – allow users to make up their own minds about how they see things
4. Low angle – low angles give opposite effect of high angles – increased height of a person = sense of power
5. Oblique angle – tilt of camera
   • e.g. All about my mother – perspective of someone getting hit by a car – he is on his side – we see from his POV

Light & Dark

• Spotlights are highly selective in focus and intensity – they can guide the viewers eyes to any area
• High key – bright; few shadows
• Realist favours available light (sunlight) but often uses lamps & reflectors
• Overexposure – flood of light over entire surface of the picture

Colour

• Colour is sometimes expressionistic (conveys meaning)

Lenses, Filters, Stocks & Opticals

• Telephoto (aka. Long lens) – gets close ups at extreme distances
  • E.g. if you are at a zoo, you wouldn’t want to go up close to a lion and film it
• Rack focusing/selective focusing – adjusting focal distance of long lenses while shooting
• Wide Angle lenses (short lenses) – short focal length and wide angles of view
• Lenses & Filters – can make an actor look taller, slimmer, younger, or older
• Soft Focus – often used for close ups – eliminate small facial wrinkles & blemishes
• Fast stocks – highly sensitive to light & can register images with no illumination
• Slow stocks – insensitive to light; require as much as 10x more illumination than fast stocks

Cinematography is a post from: The Glaring Facts

• Mise En Scène implies how the visual materials are staged, framed, and photographed. The frame’s aspect ratio: dimension of the screen’s height and width.
• Was originally a French theatrical term, meaning “placing on stage.”
• Refers to the arrangement of all the visual elements of a theatrical production within a given playing area—stage.
• In movies, it is somewhat more complicated, a blend of the visual conventions of the live theatre with those of the plastic arts.
• In movies, Mise En Scène resembles the art of painting in that an image of formal patterns and shapes is presented on a flat surface and is enclosed within a frame. But cinematic Mise En Scène is also a fluid choreographing of visual elements that correspond to a dramatic idea or complex of ideas.

The Frame:

• The frame functions as the basis of composition in a movie image.
• The ratio of the frame’s horizontal and vertical dimensions—known as the aspect ratio—remains constant throughout the movie.
• Screens come in a variety of aspect ratios, especially since the introduction of widescreen in the early 1950s. Before this time, most movies were shot in a 1.33:1 aspect ratio.
• Today, most movies are projected in one of two aspect ratios: the 1.85:1 (standard) and the 2.35:1 (widescreen).
• In the traditional visual arts, frame dimensions are governed by the nature of the subject matter.  The frame selects and delimits the subject, editing out all irrelevancies and presenting us with only a ‘piece’ of reality
• The materials included within a shot are unified by the frame, which in effect imposes order on them—the order that art carves out of the chaos of reality.
• The frame is thus essentially an isolating device, a technique that permits the director to confer special attention on what might be overlooked in a wider context.
• The movie frame can function as a metaphor for other types of enclosures.
• Certain areas within the frame can suggest symbolic ideas. Each of the major sections of the frame—centre, top, bottom, and edges—can be exploited for such symbolic and metaphoric purposes.
• The central portions of the screen are generally reserved for the most important visual elements. This area is instinctively regarded by most people as the intrinsic centre of interest.
• The area near the top of the frame can suggest ideas dealing with power, authority, and aspiration. A person placed here seems to control all the visual elements below, and for this reason, authority figures are often photographed in this manner.
• The areas near the bottom of the frame tend to suggest opposite meanings from the top: subservience, vulnerability, and powerlessness. Objects and figures placed in these positions seem to be in danger of slipping out of the frame entirely.
• The left and right edges of the frame tend to suggest insignificance, because these are the areas farthest removed from the center of the screen. Objects and figures placed near the edges are literally close to the darkness outside the frame.
• In some instances a director places the most important visual elements completely off frame.
• Especially when a character is associated with darkness, mystery, or death, this technique can be highly effective, for the audience is most fearful of what it cannot see.
• Two other off-frame areas can be exploited for symbolic purposes: the space behind the set and the space in front of the camera.
• The areas in front of the camera can also create unsettling effects of this sort.

Composition and Design:

• When a visual artist wants to stress a lack of equilibrium, many of the standard conventions of classical composition are deliberately violated.
• In movies, the dramatic context is usually the determining factor in composition.
• In movies a variety of techniques can be used to convey the same ideas and emotions.
  

  A Deep Focus Shot, Notice the Boy in the Window (Citizen Kane)

• The human eye automatically attempts to harmonize the formal elements of a composition into a unified whole. The eye can detect as many a seven or eight major elements of a composition simultaneously. The director accomplishes attraction through the use of a dominant contrast, also known as the dominant. The dominant is that area of an image that immediately attracts our attention because of a conspicuous and compelling contrast. It stands out in some kind of isolation from the other elements within the image.
• Movement is usually an automatic dominant contrast, if the other elements in the image are stationary. Movement tends to be less distracting in the longer shots and highly conspicuous in the closer ranges.
• The upper part of the composition is heavier than the lower.
• Isolated figures and objects tend to be heavier than those in a cluster. Sometimes one object—merely by virtue of its isolation—can balance a whole group of otherwise equal objects.
• Psychological experiments have revealed that certain lines suggest directional movements. Although vertical and horizontal lines seem to be visually at rest, if movement is perceived, horizontal lines tend to move from left to right, vertical lines from bottom to top. Diagonal oblique lines are more dynamic—that is, in transition. They sweep upward
• Throughout the ages, artists have especially favoured S and X shapes, triangular designs, and circles.
• These designs are often used simply because they are thought to be inherently beautiful.
• Design is generally fused with a thematic idea, at least in the best movies.

Mise En Scène is a post from: The Glaring Facts

• Realism – attempts to duplicate the look of reality; tries to keep things looking real
  • Extreme forms of realism are real life stories (i.e. documentary)
• Formalism – art forms take precedence over the subject matter as content; deliberately distorts the environment
  • Formalists are often called expressionists – expressionists are concerned with spiritual and psychological truths
• Few films are completely realism or formalism in style

During the mid 1890s in France, the Lumiere brothers created short films dealing with everyday occurrences (e.g. waiting for a train to arrive at the stations and boarding it).

• They captured the spontaneity of real life
• The Lumiere brothers are regarded as the founders of the realist tradition

George Melies created fantasy films, he is regarded as the founder of the formalist tradition

Producer – Provides and oversees budget and makes sure everything is organized efficiently

Director and Screenwriter – have most influence on a film

Director

• supervises the whole filming process
• responsible for transferring from paper to screen
• films communicate primarily through making images (films are not books!)
• director chooses shots, angles, lighting effects, editing… etc

Screenwriter

• screenwriter is the author of the film
• some directors write their own screenplays, others have writers help them expand on ideas

Spectator – we are conditioned to viewing films a certain way

• we expect certain things before even watching a movie
  • westerns have a sheriff and robbers
  • Singing in the Rain – expected only singing, but there was actually a plot involved

Time and Space – Directors can spend more time on one thing than another (to emphasis clarity)

With spoken language, Directors could easily express any kind of thought

• Motif – a technique/object systematically repeated but does not draw attention to it
• Symbols are apparent – they apply meaning
• Metaphor – comparison that is not literally true
  • e.g. poisonous time, torn with grief, devoured by love…

Point of View (POV)

• In novels, people have different images in their heads (they can use their imagination)
• In films, the director chooses how it looks from their point of view

Allegory – total avoidance of realism and probability
Allusion – implied reference (e.g. Scarface was modeled after Al Capone)

In cinema, reference to another movie, director, or shot is called Homage.

Characteristic of Filmmaking is a post from: The Glaring Facts