CMCL+C335+Spring+2011+Week+1+Composition

CMCL+C335+Spring+2011+Week+1+Composition -...

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Introduction to Composition There are many ways to compose a  shot and, subsequently, to convey  meaning.  Be it through film or video,  the subject’s spatial relationship to  the camera is very important in 
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Distance
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Wanda  (Barbara Loden,1970) Extreme Long Shot (ELS):  used to establish sense of scale between subject and  context; its greater distance allows for heightened sense of scale and subject’s  insignificance than the  Long Shot  communicates.
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The Long Shot (LS) : emphasizes scenery, background, sense of scale over characters; camera is at a significant distance; shows a wider  context beyond the subject of the shot, tells us extra information. March of the Penguins  (Luc Jacquet, 2005)
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The Searchers  (John Ford, 1956)
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Medium Long Shot (MLS): This shot shows the full figure of  character(s) with a lesser amount of  background, contextual info. Bad Boys  (Michael Bay, 1995) Daybreakers   (Michael and Peter Spierig, 2009)
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The Medium Shot (MS):   produces  different meaning from the LS or ELS; here,  the character and his/her actions are more  visible, thus, more emphasized although  background context is still present; usually  not a full human figure (cut off at knees,  waist, etc.) The Bourne Identity  (Doug Liman, 2002) Talledega Nights The Ballad of Ricky Bobby  (Adam McKay, 2006)
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Pride and Prejudice  (Joe Wright 2005) Rio Bravo  (Howard Hawks, 1959)
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