Developing Critical Thinking thru Film Analysis

1. 1. What’s Cinematography? The Best Cinematography goes to...

2. 2. Dr. James L. Paglinawan MA IDT, MS MathEd, Phd Ed Ad throug h By:

3. 3. CINEMATOGRAPHY refers to how a film is photographed. •The standard rate for a film is 24
frames per second. If more frames are added to this second the film will seem to slow down.
•The film will speed up if there are less than 24 frames per second. •Persistence of Vision
Cinematographer = Cameraman = Director of Photography A film is a series of still pictures.

4. 4. CINEMATOGRAPHY •is the act of capturing photographic images in space through the use of a
number of controllable elements. •These include the quality of the film stock, the manipulation
of the camera lens, framing, scale, movement and duration, or the length of the shot.

5. 5. CINEMATOGRAPHY •is a function of the relationship between the camera lens and a light
source, the focal length of the lens, the camera’s position and its capacity for motion.

6. 6. CINEMATOGRAPHY includes •Lighting •Angle •Level •Distance •Movement •Framing

7. 7. LOW-KEY LIGHTING - set is dimly lit, with rich shadows and occasional highlights - to provide a
dark and brooding atmosphere Titanic (1997)

8. 8. HIGH-KEY LIGHTING -the set is brightly lit; commonly used in comedy and musical films High
School Musical

9. 9. “ARTIFICIAL” LIGHTING - often used in TV commercials, in fantasy, horror and science fiction
films Harry Potter and the Order of the Phoenix (2007)

10. 10. STRAIGHT-ON ANGLE (EYE-LEVEL SHOT) Matrix

11. 11. HIGH ANGLE ( BIRD’S EYE-VIEW SHOT) Over The Hedge

12. 12. LOW ANGLE or WORM’S EYE-VIEW Spiderman 3 (2007) Over the Hedge

13. 13. Canted – the framed horizon and poles are at diagonal angles Spiderman 3

14. 14. Note: In what follows, we shall use the standard measure – the scale of the human body

15. 15. EXTREME LONG SHOT -the human figure is barely visible; this is the framing for landscapes,
bird’s eye-views of cities, and other extensive entities

16. 16. LONG SHOT -figures are more prominent, but the background still dominates.

17. 17. -the human figure is framed from knees up -permits a balance of figure and surroundings -
shots at the same distance of nonhuman subject are called medium long shots Wentworth
Miller PLAN AMERICAIN (“AMERICAN SHOT”)
18. 18. MEDIUM SHOT -frames the human body from the waist up -gesture and expression now
become more visible Prison Break (2005)

19. 19. MEDIUM CLOSE-UP -frames the body from the chest up Wentworth Miller

20. 20. CLOSE-UP -is traditionally the shot showing just the head, hands, feet, or a small object -it
emphasizes facial expression, the details of a gesture, or a significant object Mariah Carey James
L. P.

21. 21. EXTREME CLOSE-UP -singles out a portion of the face (eyes or lips), isolates a detail,
magnifies the minute

22. 22. PAN A pan shot is a camera movement which follows the action, or reveals previously
unframed space, as it moves horizontally. Pans occur in varying speeds for dramatic purposes.

23. 23. TILT A tilt shot is essentially a vertical pan, where the camera moves up and down rather
than from one side to another. Tilt shots often heighten an audience’s level of suspense as they
are unaware what the shot will uncover.

24. 24. TRACKING/ DOLLY A tracking shot follows action through space in a variety of directions. As
the action, or character, moves along the screen the tracking shot enables the audience to feel
as if they are moving with the action through space.

25. 25. TRACKING/ DOLLY

26. 26. CRANE A crane shot is achieved by mounting a camera on some type of crane device.

27. 27. ZOOM

28. 28. EDITING - is the process of selecting, arranging, and juxtaposing of materials in order to bring
forth or reveal a subject or event in the most dramatic manner or effective way.

29. 29. SHOT TRANSITIONS Straight Cut –one shot to another – simplest transitional device – ideally,
it should pass unnoticed

30. 30. – presents the image as evenly emerging out of or retreating into complete darkness FADE

31. 31. – presents the image as evenly emerging from a circular mask or the reverse, the image
becomes a small picture then disappears IRIS

32. 32. – one image becomes another – two images, usually of the same shape or size blend
DISSOLVE OR MELT

33. 33. – one image replaces another as a moving boundary line crosses the screen – one image
appears to be pushed at the arrival of another – both images are briefly on the screen at the
same time but they do not blend (as in dissolve) WIPE
34. 34. – two images are on top of one another, one disappears, one stays – at the midpoint, both
images are equally half-present SUPERIMPOSITION

35. 35. OTHER EXAMPLES OF MONTAGE (Montage means a series of superimposed or overlapping
images. Loosely, it is film editing in general.)

36. 36. MONTAGE SEQUENCE – it is a segment of a film that summarizes a topic or compresses a
passage of time into brief symbolic or typical images – brief portions of a newsreel footage,
newspaper headlines, and the like, can be swiftly joined by dissolved and music to compress
lengthy series of action into a few moments

37. 37. VISUAL METAPHOR – it is the side by side showing of two or more shots, the first shot is part
of the film’s story line while the next different shot has similarities with the former shot, or vice
versa.

38. 38. THE ART OF FILM MUSIC 1. To accompany the main titles of the film 2. To heighten the
dramatic effect 3. To give a sense of locale 4. To create or support pace and movement 5. To
identify character qualities 6. To predict things to come 7. To establish, maintain, and change
mood Film sound can include silence as the silent film cannot.

39. 39. 1. Dialogue 2. Voice-over / commentary 3. Sound effects (SFX) 3.1 Atmospheric – sound of
raindrops, thunder, and the like 3.2 Spot effect – sound of a firing gun, a moving car, etc. 4.
Theme Song – the music constantly played 5. Sound of Silence FILM SOUND

40. 40. ARTISTIC USES OF SOUND • Asynchronism – one hears the sound but does not see the one
performing • Sound Metaphor – similarities between two sounds coming from two different
shots Example: First shot – a chattering wife leaves Second shot – a parrot mumbles

41. 41. •Overlap Sound-cut or Extended Sound – a sound coming from one shot is continued to be
heard though another shot arrives on screen • Sound Montage – a sound is picked up by
another sound and then it “becomes” that sound Example: From “The 39 Steps”: in one shot, a
cleaning woman discovers a body and turns to scream. Then there is a straight cut to a shot of a
train, blowing its whistle as it comes out of a tunnel. We do not hear the woman’s voice, the
shriek of the steam, instead “becomes” the scream.

42. 42. FILM ANALYSIS Guide questions formulated by Cathelyn Caiña-Adajar based on the Film
Appreciation lecture of Fr. Nicasio Cruz, S.J. adapted by Dr. James L. Paglinawan, College of
Education, Central Mindanao University

43. 43. In writing a critical essay about a movie, these are the points to consider: I. PLOT • Is the plot
coherent? 1. Are all the scenes relevant / important? 2. Does one know the conflict during the
first few minutes of the film? 3. Are the scenes tightly knit? • Is the plot probable? 1. Is it
credible? 2. Can it happen in life? • Is the plot interesting? 1. Is it unpredictable? 2. Were you
not bored while watching the movie? 3. Does it give the element of surprise and the element of
suspense?
44. 44. • Is the personality of the actor fit for the character he is portraying? • Does the actor make
good use of his voice? • Does the actor show appropriate facial expression? • Are the
action/gestures of the actor graceful or polished? II. ACTOR

45. 45. III. SETTING • Is it authentic? • Are the costumes and props true to the period? • Does it
depict a particular season (summer, winter, etc.)? What could be the importance?

46. 46. IV. THEME • Does the movie have one clear message about life? • How relevant is the
message? • Is the message true to a particular race/country/era? Or is it universal? • Was the
movie able to say what it really intends to say?

47. 47. V. SEX AND VIOLENCE • Is it necessary? • Is it done in good taste?

48. 48. THANK YOU!