UNIT 9 IMAGE SIZE
There are no hard and fast rules with respect to the language of image size. Usually, though,
when directors and cinematographers and critics talk about image size, they talk about how the
subject (usually a person's face) fits into th
UNIT 14 LIGHT & EXPOSURE
So far we've considered some of the implications for visual design of practical matters like
camera placement and angle. In this unit we're going to focus on issues of exposure the relation
of light, the film stock, and the lens
UNIT 4. CENTER
So now that we've spent some time thinking about frames, we can begin to consider the basic
arrangement of objects, shapes, people, whatever, inside the frame. The composition. Let's make
that a definition: "composition" is "the arrangeme
UNIT 5. BALANCE
Let's revisit the single dot.
Here again is our slightly decentered dot, the one we may want to drag slightly down and to the
Now here he is again. But this time he's got a buddy. And we have to find a way to talk about the
Note: This unit assumes you have read the chapter on space in your text and can answer
the questions in the reading guide on that chapter. If you have not already completed
those tasks, please do so before continuing.
UNIT 13 SPACE
The spatial world is
UNIT 6 THE SCREENWRITER, THE ACTOR, THE DONKEY, PROFESSOR KULESHOV
Ask an average Joe what a movie is and hell probably look at you with some kind of blank stare.
Everyone knows what a movie is, right?
But show Joe, say, Stan Brakhages Passage Through a f
UNIT 8 ANGLE, HEIGHT, AND CANT
THE FRAME REVISITED
Framing suggests a particular point-of-view re the subject. Cameras are set up in particular
places. They are leveled (or not) and angled (or not). Specific lenses are locked into the camera.
We see not
The Reading Guides below are designed to help students prepare for the Exams that cover the
textbook. They are not meant to be turned in. Feel free to post questions on the Discussion Board
if, after reviewing the materials in your text, you still have an
UNIT 3. FRAME
Let's start simple. Let's talk about frames. Film images are symmetrical, geometrical. The edges
of those images are implied frames, and those frames are always, except in the case of the most
experimental films, rectangles.
"Each film is a documentary about its own production." Eric Rohmer
1. Faculty Information
Name: Professor Robert W. Davis Jr.
Office: CP 650-23
E-mail: [email protected]
Office hours: via email, and in-person on Wednesdays 5:30-6:30
Note: this unit assumes you have both read the chapter on line in your text and carefully
watched The Outsiders. If you have not yet completed these assignments, you should do
so before continuing.
UNIT 7 LINE IN THE OUTSIDERS
Here is the first (post-cr
UNIT 2 INTRODUCTION TO VISUAL DESIGN
What you may learn from this class is that many films are much more carefully constructed
visually constructed, visually designed than you probably imagined.
If you start by looking at these three film images
Note: This unit assumes you have watched Dreyers The Passion of Joan of Arc carefully
and that you have a strong grasp of the terms, like spatial separation and spatial
continuity, introduced in previous units. If you havent watched the film or complete