COMM 274 The Classical Hollywood Cinema

Refers to the film frame as being horizontal hence

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: refers to the film frame as being horizontal, hence the firector usually tries to balance the right and left halves of the frame a.ii.1.a. More common than perfect symmetry is the loose balancing of the shot’s left and right regions
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a.ii.1.b. Filmmakers often place a single figure at the center of the frame and minimize distracting elelemnts at the sides a.ii.2. Balances composition is the norm, but unbalanced shots can create strong effects a.ii.3. Sometimes the filmmaker will leave the shorts a little unbalanced in order to prime our expectation that something will change position in the frame a.ii.4. A filmmaker can guide our attention by the use of contrast or color; our eyes are biased toward registering differences and changes a.ii.4.a. Color contrasts don’t have to be huge because of our eye’s sensitivity to small differences; when lightness values are equal warm colors in the red, yellow, orange range tend to attract attention, while cooler colors are less prominent a.ii.4.a.i. Limited Pallette : involved a few colors in the same range a.ii.4.a.ii. Monochromatic : a.ii.5. Our tendency to notice visual differences shifts into high gear when the image includes movement a.ii.5.a. When several moving elements appear on the screen, we are likely to shift our attening amount them according to other cues or depending on our expectations about which one is most salient to the narrative action b. Scene Space: b.i. Elements of tht image that create this impression are called depth cues b.ii. Depth cues are what enable us to understand an actions place n realitistic space with layers and volume; our understanding of depth cues is developed from our ecperience of real localed and earlier experience with pictoral media b.ii.1. Provided by light, setting, costume, and staging (aspects of mise-en-scene) b.ii.1.a. Film suggests colume by shape, shading, and movement b.ii.1.a.i. An abstract film, because it can use shapes that are not everyday objects can create compositions with a sense of volume b.iii. Depth cues also pick out planes within the image b.iii.1. Planes : refers to the layers of space occupied by persons or objects; described accourding to how clor to or far awa from the camera they are b.iii.1.a. Forground b.iii.1.b. Middle Ground
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b.iii.1.c. Background b.iii.2. Only a completely blank screen has a single plane b.iii.3. Whenever an object appears we perceive it as being in front of a background b.iii.4. Overlap b.iii.4.a. Color difference also create overlapping places; because cool or pale colors tend t recede, filmmakers commonly use them for background places such as setting b.iii.4.b. Because warm or saturated colors tend to come forward, such hues are employed for costumes and other foreground elements b.iii.5. Movement is one of the most important depth cues as it strongly suggests both planes and volumes b.iii.5.a. Ariel Perspective b.iii.5.b. Size Dimminution : b.iii.5.b.i. Reinforces our sense of there being a deep space with considerable distances between the various planes b.iii.5.c.
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  • Fall '12
  • Coffman
  • depth cues, Classical Hollywood cinema, Classical Hollywood Narrative, film lighting

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