Comm1300_2_12 - is shown II. Associational Juxtaposition a....

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Visual Comm 1300 2-12-09 Charlie Chaplan vs. modern films Chaplan – only a little editing (cuts, frame changes), silent, kind of like a stage play, no close ups, we maintain a social distance, it’s like we’re looking through a window, we can’t get close to them Stage shots vs. closeups Exaggerated vs. subtle No camera movement vs. moving camera Extended vs. short shots I. Paraproxemic principle a. The physical closeness implies a different psychological relationship than physical distance b. The cameramen decided how close you are to the subject i. Ex. The inauguration and a person far into the distant are not close c. The camera becomes our eyes, it tells us what is important, it’s our window into what’s happening d. The camera controls what we see i. Ex. Tina Fey – not a close up but not a distant shot either, context
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Unformatted text preview: is shown II. Associational Juxtaposition a. Put images side by side, you form associations between them, putting together meaning i. Important in print advertising: connecting image with a product ii. Ex. Wall-e: series of clips that you begin to construct feelings b. At least two images are involved III. False continuity a. Basis of all films b. Without false continuity, there is no editing c. Illusionistic power of film and television d. Two shots joined together are read by the viewer as being related in terms of time, space or action i. Ex. Wall-e, early shots are establishing the context, there is nothing moving other than Wall-e, they establish personality using visuals only (interaction with cockroach)...
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This note was uploaded on 04/12/2009 for the course COMM 1300 taught by Professor Scherer,c. during the Spring '08 term at Cornell University (Engineering School).

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