Film Studies: An Introduction (Film and Culture Series)
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Ed Sikov builds a step-by-step curriculum for the appreciation of all types of narrative cinema, detailing the essential elements of film form and systematically training the spectator to be an active reader and critic. Sikov primes the eye and mind in the special techniques of film analysis. His description of mise-en-scene helps readers grasp the significance of montage, which in turn reveals the importance of a director's use of camera movement. He treats a number of fundamental factors in filmmaking, including editing, composition, lighting, the use of color and sound, and narrative. Film Studies works with any screening list and can be used within courses on film history, film theory, or popular culture. Straightforward explanations of core critical concepts, practical advice, and suggested assignments on particular technical, visual, and aesthetic aspects further anchor the reader's understanding of the formal language and anatomy of film.
color or streaks of black paint. And bear in mind that all works of art, in addition to being representations, are also real things themselves. The woman Leonardo da Vinci painted against a mysterious landscape may or may not have existed, but the painting commonly known as the Mona Lisa is certainly a real, material object. In literature, too, writers describe cities that never existed and people who never lived. But on film—at least narrative films like the ones you’re going to learn about in
Dorothy waking up from what we assume to be a fairly brief period of unconsciousness afterward. Within each of these three main segments, however, there are smaller units. The initial segment, taking place in Kansas, breaks down this way: 1. Kansas (a) Auntie Em’s farm, where Dorothy speaks of her fears for Toto’s safety because of the evil Miss Gulch; to protect Toto, Dorothy decides to run away from home. (b) On the road, Dorothy encounters the flamboyant Professor Marvel, who convinces
which may shorten the film by as much as 6 or 7 percent of its total running time. LOCATION: a real place used by filmmakers as the setting of a given scene, as opposed to a set that is specifically designed and constructed for a film; outdoor scenes in westerns are usually shot on location, for example, because not even the most expansive outdoor set can convey either the natural beauty or the desolation of the American West. LONG SHOT: a shot in which the camera appears to be fairly far away
camera movements are those that are prompted by the characters and events in the film; unmotivated camera movements are those that pertain to the filmmakers’ commentary on characters and events. (Please note: unmotivated camera movements are something of a misnomer; they, too, are motivated—but by the director, not the characters or events in the film.) MOVING SHOT: a camera movement that results from the camera shooting from a moving object, such as a shot taken out of a train window as the
Turturro, John: Romance & Cigarettes (2005) 20th Century-Fox Twentieth Century (1934) Leagues Under the Sea (1907) A Space Odyssey (1968) two-shots type UA. See United Artists (UA) Ultraman (2004) UltraPanavision Unconquered (1947) undercranking. See also overcranking Unforgiven (1992) Un homme de têtes (The Four Troublesome Heads ) United Artists (UA) United States v. Paramount Pictures et al. Universal Studios unmotivated camera movements, See also motivated camera movements