form, content, and meaning art within physical and psychological spaces
TRANSCRIPT
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FORM, CONTENT, and MEANING
Art within Physical and Psychological Spaces
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COMPOSITION• We have already determined that
COMPOSITION determines how and what your viewer will observe within the frame
• COMPOSITION and FRAME are both considered “forms”
• In film, the main concerns of “form” are distance and space and how they apply to the viewer psychologically
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PERSONAL SPACE
• In “real-life”, personal space is culturally defined
• “Closeness” is a psychological concept
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PERSONAL SPACE IN ART
• In ART, distance is set up by the artist
• The viewer has no control over their personal space because the artist is deciding how physically close the viewer is to the subject matter!
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3 BASIC DISTANCES IN FILM
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LONG SHOT
a composition where the subject matter is usually small, far from the camera,
surrounded by large amounts of information about the environment and
surroundings
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MEDIUM / MID SHOT
subject matter is closer to camera, usually occupying about half the frame
(if a person is the subject, typically he or she is seen from the waist up)
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CLOSE UP
in a close up the subject typically fills the frame and very little of the
environment is visible
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NERVOUS MAN IN A FOUR DOLLAR ROOM
• As we watch Nervous Man in a Four Dollar Room again, think about the concept of distance and space
• When you see a Distance Composition happening on screen, call it out… Close Up! Long Shot! Etc.
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• When did you, as an audience, feel most likely to share this character’s feelings? When did you empathize, or feel sorry for him?
• When were you most likely to judge him, make decisions about him, or be more intellectual about the situation?
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THE BASIC FILM DISTANCES AS
PSYCHOLOGICAL AND EMOTIONAL
INDICATORS
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LONG SHOT
in the Long Shot, the viewer’s emotional and empathy levels are down and the
audience is prone to be intellectual and analytical about the image or situation
depicted in the artwork
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CLOSE UP
in the Close Up, where the subject fills the frame and distance between subject
and viewer has been closed, the viewer’s emotional levels have been raised - the intellectual is DOWN and
the empathy is UP
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THE GOOD, THE BAD, AND THE UGLY
• The final showdown sequence in Sergio Leone’s The Good, the Bad, and the Ugly is very famous for its manipulation of “aesthetic distance”, or the use of the psychological connotations of Long, Medium, and Close Up composition forms
• As we watch the segment, think about what it is the filmmaker is attempting to accomplish by deliberately manipulating the distance between the viewer and the subject matter
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• Visual structure of a film is based on the design of a series of aesthetic distances
• Different types of shots / compositions have very different meanings for an audience
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FORM GIVES MEANING TO
CONTENT!
• The MEANING of WHAT YOU SHOW is determined by HOW YOU SHOW IT!
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• Form and Content are equally valid to structure of a film
• Form is harder to understand, however, because it is usually used AGAINST you as a viewer
• The viewer gets caught up in the emotional connotations of the forms and forgets that what they are experiencing is not real, which is the basis for…
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WILLING SUSPENSION OF
DISBELIEF!