Mise-en-Scene• Setting

e.g. Caligari; Avatar

• Lighting-- 3 point: key, fill, back; frontal,

top, side, under, high

• Costumes--e.g. Pan’s Labyrinth

• Staging--Performance, movement, gesture

• Screen space--aspect ratios; Deep space

• Color (or absence of it…)

Eisenstein--Montage

• “Conflicts within the form, with the shot…as well as between colliding shots or montage”:

• 1.Graphic conflict• 2. Conflict of planes• 3. Conflict of volumes• 4. Spatial conflict• 5. Light conflict, tempo conflict, etc… Dialectical thinking=synthesis from conflict

(thesis +antithesis=synthesis) Sergei Eisenstin, 1929

Italian Neo-Realism1942-1951

“Faithfulness to everyday life in the scenario, truth to his part in an actor.”

Andre Bazin, What is Cinema?

Bazin--Realism

• “Only the impassive lens, stripping its object of all those ways of seeing it, those piled-up preconceptions, that spiritual dust and grime with which my eyes have covered it, is able to present it in all its virginal purity to my attention and consequently to my love.” Andre Bazin 1967

“The attempt to cheat or outlast death through the preservation of one’s image and world seems very close to Bazin.”

A.R. Duckworth

Experimental Films

Avant-garde, alternative, collage, experimental documentaries, exp. narratives; Exploring--rhythm, music, sound, space, light, cognition, perception, structure

Experiential elements of cinema--Sound

Loudness--breadth of vibrations

Pitch--frequency of vibrations

Timbre--harmonic components

Dimensions: rhythm--coordination/disparities, fidelity

Space: Diegetic/Non or extra-diegetic

Time: Synchronous/Asynchronous

Score, sound effects, dialogue

sound bridge, sound mix, dialogue hook