Tuesday October 23 2012 - FILM LECTURE.docx

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University of Toronto St. George
Innis College Courses
Corinn Columpar

Tuesday October 23, 2012 –FILM LECTURE For assignment: When a human figure isn’t present, we can talk about shot scale by imagining a human figure in the field and THEN determine shot scale based on that imaginary figure Sometimes the vocab we learn in class has to be modified, it doesn’t adhere perfectly to the categories and terms we have seen so far. We have to think about the human figure in the shot, and if we can’t see it we have to describe what we see in the image and use a different nomenclature Also just give a general idea of what is going on during shot You do not need to give thoroughly mutinous for every element in the shot Signal patterns at hand (ex: Sound same as…) You want to establish mise-en-scene at the outset of shot by shot breakdown Speak with precision about the text Talk about rhythm (account for the length of shots). Think about relative durations. In future assignments, we will be only doing part B but the assumption is we are doing part A as well Sound: It comes to us via different strand of technology and became a permanent component of film much later than other elements such as mise-en-scene, lighting… We are both viewers and listeners however. It is the most significant element when it comes to being absorbed in the film. Sound helps envelop us, convince us that we are surrounded by the diegetic world. Without sound, we may see images and be engaged by them but the images don’t have the capacity to draw us in. We rely on sound to give us information concerning what goes on during film. Sound can’t be frozen in place and its individual elements can’t be itemized. While sound may be the most resonant of the stylistic categories, it resists analysis most successfully -> we have to be very attentive to the soundtrack of a film when we analyze it. Possible functions sound fulfills in a movie:  It directs the spectator’s attention to certain figures on screen or certain actions (we direct our gaze to the most prominent source of sound)  Sound shapes how images are interpreted  Sound sets a mood (especially music but also ambient sounds)  Sound creates motifs and thereby contributes to the structure of a narrative  It can define onscreen space (suggesting things about its dimensions, its furnishings)  It can create off-screen space and create the illusion of a diegetic space much more expansive than the one we see  It can mask cuts and contribute to continuity editing (sound creates expectations that are then met -> film has created desires that are then met) Fundamentals of film sound: 1. Perceptual properties  Loudness  Pitch  Timbre (tonal quality) We want to think about how a film manipulates these different properties We can have all sound elements at same level, or a sound mix in which certain elements are give priority 2. Dimensions of film sound: (attributes that define the relationship between sound on one hand and images on the other hand)  Rhythm -> We consider rhythm in editing (beat, pace, accents). Rhythm manifests itself not only in music but also in sounds, speaking… We can have a dynamic interplay with the rhythm. In the clip of Delicatessen, how do sound and images work together? The rhythm of sound increases, along with it the editing increases (gets fas
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