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Film Appreciation Theory and History

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Page 1: Film Appreciation Theory and History. Widescreen vs. Full screen Widescreen film was determined by the director with the big screen in mind. Full screen

Film AppreciationTheory and History

Page 2: Film Appreciation Theory and History. Widescreen vs. Full screen Widescreen film was determined by the director with the big screen in mind. Full screen

Widescreen vs. Full screen

• Widescreen film was determined by the director with the big screen in mind.

• Full screen films have been edited to fit an old TV screen.

Page 3: Film Appreciation Theory and History. Widescreen vs. Full screen Widescreen film was determined by the director with the big screen in mind. Full screen

Why read a film?

The better a viewer reads an image the more he/she understands:

•Its artistic quality

•Its reflection of culture and its values

•Its various sets of metaphorical meanings

Page 4: Film Appreciation Theory and History. Widescreen vs. Full screen Widescreen film was determined by the director with the big screen in mind. Full screen

When you look at a frame, one of the first things to consider is space.

How complex is the mise-en-scene?

•Is it claustrophobic?•Is it wide-open space?

How much of the space of the frame is filled by the characters?

Mildred Pierce 1945

Hidalgo 2004

Page 5: Film Appreciation Theory and History. Widescreen vs. Full screen Widescreen film was determined by the director with the big screen in mind. Full screen

A claustrophobic set design builds tension and anxiety.

The Shining 1982

Harry Potter

Page 6: Film Appreciation Theory and History. Widescreen vs. Full screen Widescreen film was determined by the director with the big screen in mind. Full screen

A spacious, open set design can create loneliness, isolation, or freedom.

Lord of the Rings 2001

Forrest Gump 1994

Page 7: Film Appreciation Theory and History. Widescreen vs. Full screen Widescreen film was determined by the director with the big screen in mind. Full screen

Another thing to consider is distance.

How much do you see of the character(s)?

•Is it a close up?•Is it a full shot?•Is it a medium shot?

How much distance is between the viewer and the characters?

A Place in the Sun 1951

Page 8: Film Appreciation Theory and History. Widescreen vs. Full screen Widescreen film was determined by the director with the big screen in mind. Full screen

In general the closer the camera gets to the characters, the closer the viewer feels towards the characters.

Most common in…

love scenes

horror films

emotional dramas

Page 9: Film Appreciation Theory and History. Widescreen vs. Full screen Widescreen film was determined by the director with the big screen in mind. Full screen

As the camera moves further away from the character(s), the viewer is provided more information about them or about their situation.

From Rosemary’s Baby 1968 From Babel 2006

Page 10: Film Appreciation Theory and History. Widescreen vs. Full screen Widescreen film was determined by the director with the big screen in mind. Full screen

The further the camera is from the subject, the moredistant you will feel from what is happening in the sceneor to the character(s).

Page 11: Film Appreciation Theory and History. Widescreen vs. Full screen Widescreen film was determined by the director with the big screen in mind. Full screen

The Establishing Shot

It lets the audience have a look at the subject in relation to itssurroundings. It usually appears at the beginning of a film orscene to establish the setting or to introduce a film.

The Illusionist 2006

Page 12: Film Appreciation Theory and History. Widescreen vs. Full screen Widescreen film was determined by the director with the big screen in mind. Full screen

The Two-Shot

Makes two characters the subject of the frame. It allows you tounderstand how the characters interact and react to each other.

Avatar 2009

Page 13: Film Appreciation Theory and History. Widescreen vs. Full screen Widescreen film was determined by the director with the big screen in mind. Full screen

Something else to consider when observingA frame is the angle or camera position.

Was the frame shot from high above? (a high angle)

Was it shot at eye level?

Was it shot from a low angle?

Page 14: Film Appreciation Theory and History. Widescreen vs. Full screen Widescreen film was determined by the director with the big screen in mind. Full screen

A frame shot from a high angle is often referred to as God’s eye view because it suggests that ‘someone’ is observing the characters. It can suggest danger and helplessness.

300 2006

Page 15: Film Appreciation Theory and History. Widescreen vs. Full screen Widescreen film was determined by the director with the big screen in mind. Full screen

Apocalypto 2007

The Fountain 2007

Page 16: Film Appreciation Theory and History. Widescreen vs. Full screen Widescreen film was determined by the director with the big screen in mind. Full screen

A frame shot from a low angle makes the subject seem larger.

The Postman Always Rings Twice 1946

Citizen Kane 1941

Page 17: Film Appreciation Theory and History. Widescreen vs. Full screen Widescreen film was determined by the director with the big screen in mind. Full screen

The Dark Knight 2008

Page 18: Film Appreciation Theory and History. Widescreen vs. Full screen Widescreen film was determined by the director with the big screen in mind. Full screen

Inglorious Basterds 2009

Page 19: Film Appreciation Theory and History. Widescreen vs. Full screen Widescreen film was determined by the director with the big screen in mind. Full screen

A character that seems larger than another in a frame is usually the dominant character.

From Double Indemnity 1944

From Rebecca

1940

From Gone with the Wind1939

From Letter from an Unknown Woman 1948

Page 20: Film Appreciation Theory and History. Widescreen vs. Full screen Widescreen film was determined by the director with the big screen in mind. Full screen

The Departed 2006

Page 21: Film Appreciation Theory and History. Widescreen vs. Full screen Widescreen film was determined by the director with the big screen in mind. Full screen

A Dutch angle suggests that something is wrong either in the character or the story’s situation.

Page 22: Film Appreciation Theory and History. Widescreen vs. Full screen Widescreen film was determined by the director with the big screen in mind. Full screen

Artificial Intelligence 2001

Page 23: Film Appreciation Theory and History. Widescreen vs. Full screen Widescreen film was determined by the director with the big screen in mind. Full screen

Besides shots and angles, you should also watch for symbols.

Some common symbols are:

Images of entrapment are usually shown through characters framed by doors, gates, or confined spaces (like closets).

From The Kid 1921

From Carrie 1976

Page 24: Film Appreciation Theory and History. Widescreen vs. Full screen Widescreen film was determined by the director with the big screen in mind. Full screen

Pan’s Labyrinth 2006

Atonement 2007

Page 25: Film Appreciation Theory and History. Widescreen vs. Full screen Widescreen film was determined by the director with the big screen in mind. Full screen

The Hours 2002

The Ring 2002

The Painted Veil 2006

Page 26: Film Appreciation Theory and History. Widescreen vs. Full screen Widescreen film was determined by the director with the big screen in mind. Full screen

A Beautiful Mind 2001

The Departed 2006

Page 27: Film Appreciation Theory and History. Widescreen vs. Full screen Widescreen film was determined by the director with the big screen in mind. Full screen

Images of duality are usually represented by characters reflected in mirrors , water, glass, or in accentuated shadow.

Psycho 1960

Page 28: Film Appreciation Theory and History. Widescreen vs. Full screen Widescreen film was determined by the director with the big screen in mind. Full screen

The Lady from Shanghai,1947

Taxi Driver 1976

The Matrix 2003

Page 29: Film Appreciation Theory and History. Widescreen vs. Full screen Widescreen film was determined by the director with the big screen in mind. Full screen

Mulholland Drive 2001

Page 30: Film Appreciation Theory and History. Widescreen vs. Full screen Widescreen film was determined by the director with the big screen in mind. Full screen

Black Swan 2010

Page 31: Film Appreciation Theory and History. Widescreen vs. Full screen Widescreen film was determined by the director with the big screen in mind. Full screen

Stairs, dark alleys, Dutch angles, darkness enveloping a character, seeing only part of a character are some images of imminent danger.

From Silence of the Lambs

From Kiss Me DeadlyFrom Halloween

From The French Connection

Page 32: Film Appreciation Theory and History. Widescreen vs. Full screen Widescreen film was determined by the director with the big screen in mind. Full screen

From The Sixth Sense

From The Others

Page 33: Film Appreciation Theory and History. Widescreen vs. Full screen Widescreen film was determined by the director with the big screen in mind. Full screen

Light cutting through a character(s), lines which divide the frame, usually mark images of characters that are in turmoil.

From The Usual Suspects

From Blade Runner

From The Awful Truth

Page 34: Film Appreciation Theory and History. Widescreen vs. Full screen Widescreen film was determined by the director with the big screen in mind. Full screen

Sweeney Todd 2007

Page 35: Film Appreciation Theory and History. Widescreen vs. Full screen Widescreen film was determined by the director with the big screen in mind. Full screen

Other Symbols

Christ figures/Biblical References

Dead Poet Society

The Shawshank Redemption

Cool Hand Luke

Page 36: Film Appreciation Theory and History. Widescreen vs. Full screen Widescreen film was determined by the director with the big screen in mind. Full screen

From Schindler’s List

Color

Rebirth

Page 37: Film Appreciation Theory and History. Widescreen vs. Full screen Widescreen film was determined by the director with the big screen in mind. Full screen

Eyes

From Un Perro Andaluz

From Spellbound

From The Blair Witch Project

From Psycho

Page 38: Film Appreciation Theory and History. Widescreen vs. Full screen Widescreen film was determined by the director with the big screen in mind. Full screen

Phallic symbols Dr. Strangelove

Bonnie and Clyde

Rear Window

Page 39: Film Appreciation Theory and History. Widescreen vs. Full screen Widescreen film was determined by the director with the big screen in mind. Full screen

Why read a film?

Art represents all that we experience as humans.

Understanding film as an art means understanding yourself and the world

around you.