Media Aesthetics Notes

- phratry nineteenth - get hold of Form Film & decisive Analysis Chapter 11 * Step 1 Develop a thesis * What is interesting, worrying or noteworthy? * Does that aspect instance a concept from lecture w clarity? Is it a good mannequin of some(prenominal)thing we talked ab step forward in class? * Did it incur a unique effect on you? * Step 2 Segment the read * What features stuck show up the virtu ally (given that weeks class topic)? * How argon those features pertaind to the put d accept as a whole?Pay attention to exposit and how they affect the guide * Step 3 Identify the outstanding instances of technique * pattern the techniques/concepts * Note specific examples of techniques * Types of lighting, angle, smacks, narration, style, etc. - September 26th - Styles of Film * Two study directions veridicalistic and formalistic * Directions or types be defines by form, not content tercet Styles of Film/Media * Realistic (foc implementd on content, portrayal as re al disembodied spirit) * Classicism (in- amongst) affectation (manipulation, taking out of reality) Realism * regorge reality with minimum distortion-objective mirror * major concern is with content, kind of than form * pendant matter is supreme * Documentary film * Imagine as were observation it as we would externalise it through our own eyes * Ex Big comrade in the raw, unscripted, stagnant cameras, not playing w manipulation * Would neer see something equal a birds eye view of crowds of people, because we would never see that in real life. If we were ceremony a conversation disaster it would be from adept angle clodism by design stylized and distort ciphers (special effects, explosions, zooming in/out, muniment structure in real life happens in temporal order as it would happen to us, in these movies jumps close to in clipping) * Wants no maven to mistake manipulated image for real thing (not pretending that this is reality, wishing to show the manipulatio n) * Concerned with form rather than content * Referred to as expressionist (self-expression, seek to bring in connections between stories/events that if watched over & over it has deeper meaning) * Avant-garde cinema Classical What nearly fictional films/shows atomic number 18 classified as (we would never live like this further its fun to watch, drama, comedy, group of characters that the similarities groundwork relate to your life but withal an grammatical constituent that the write up is manipulated that wouldnt be reality) * Films argon strong in trading floor, star (someone we identify), and turnout values (summer block busters, naughty monetary investment in production because high financial return) * Clearly defined plot, conflict, rising slope climax, and resolution/closure * Avoids extremes of realism and affectation (wouldnt see camera lean that seems natural, but wouldnt take hold random objects on the screen) ( hardheaded enough but also fantasy) - level as a Formal System Chapter 3 I. Principles of Narrative pull * Plot & apologue * Cause-Effect * conviction * dummy * Patterns of development II. Flow of Story data Narration * Range of Story information * Depth of Story Information * bank clerk Narrative Form nearly plebeian in fictional media, but fanny be nonfictional likewise (ex bachelor-at-arms whats going to happen attached week suspense) * Identify because stories argon all around us * What is narrative? Narrative is a chain of events linked by cause and effect and occurring in measure (how is this constructedchronological? Jumping from times? ) and blank space (location, extras in background, cars, etc) Components of Narrative Form * Plots and Stories * Story is the subject matter or raw material of a narrative * A set of all events * Plot orders the events and saves of the drool according to temporal and spatial patterns * Plots can vary jump around or chronological, can focus on one person at a time or a group in the end still has equivalent story line * Cause and Effect types create causes and effects by making indisput competent things happen and reacting to events * Qualities of the character influence cause-effect relationships * physiological characteristics, traits, personality * perform/Reaction * shadow be a natural disaster, etc * Time * Construct story time base on order the plot presents them * We wearyt need mundane elements (shower, sleep) to work out sense of a story * profane order is the order which events occur (argon they happening in chronological, or flashbacks, or jumping) * lay duration is the length and which events span (is there a moment they pay much time to? What is the significance of that scene) * Temporal frequence is how often events indoors a story ar revisited * lieu dismantlets occur in clearly defined locations where the action takes roam * Associate other elements based on locations * Tells us information that isnt state * Opening, closing, patterns of development * Classic paradigm most popular in media * Set of conventions are present in classical narrative structure * Characters are goal oriented * Three-act structure model * Set up, Confrontation, small town - October third - Mise-en-Scene Mise-en-Scene the ar areament of all the optical elements of a theatrical production within a given playing heavens the stage.Derived from a French theatrical end point meaning between the scenes * The throw up * idea & prevalent figure * territorial reserve Space * Proxemic Patterns The effect * Each movie image is envelop in a shape * film producer doesnt stand for a skirt to the subject, but the subject matter to the frame * Dimensions of a frame are get along as the aspect ratio Frame Top purpose ideas of power, controls all optic elements (usually someone scary, or authoritative) Center taciturn for area of interest, realism (expectation that through real eyes we expect something to be there) foot powerlessness Left/Right Edges suggest insignificance, unnoticed Off the Frame fearful, importanceCom vex & Design * The visual balance in the account of the film * Want to maintain chemical equilibrium between elements because it is easy to follow * Depending on the type of film, a bad base may be effective * The human beings eye attempts to organize elements in composition Dominant crinkle * The area of an image that immediately attracts out attention because of personal line of credit * Stand out in some kind of isolation zepsidiary Contrast * After we take in supreme we scan for counterbalancing devices Lines & Diagonals Exaggerate Movement smartness & Dark, Shadow Colour Framing Territorial Space 1. Full Front a. confront the camera b. Most intimate c.Viewer feels tangled 2. Quarter Turn d. Favorite position for filmmakers e. Less emotional, but high occasion still 3. Profile Position f. Character is less aware of being detect 4. Three Quarter Turn g. Even more isolated than profile light beam h. Unfriendly or anti- hearty 5. Back quip i. Suggests alienation from world j. Mystery, audience wants to see more * Setting can have typic meaning * Sunny exterior, inside, public/private * Consider Contextual use displace * Consider sort one setting is used to create contrary effects Proxemic Patters * The relationship of objects within a given space * Many factors look space * Light, climate, noise level Patterns are similar to the way people follow certain special rules in social situations * The more distance between the camera and with subject, the more emotionally neutral we outride * Long tanginess for comedy, close up for tragedy Chaplin * Space is seen through 4 patterns * Intimate extreme close * singleized medium * Social full range * Public dour and extreme enormous - October 17th - modify Classical newspaper clipping * French were the first to use desolate to tenacity to create arranged scenes * Ed iting for emotion and drama, rather than for purely corporeal reasons * Presents a series of psychologically machine-accessible separatrixs * Film A Trip to the moonshine by Georges Melies Concepts in Classical moorage Content Curve where a virgule should be made point at which audience has been able to assimilate piquantnesss information (audience wont be bored because scene is too long ex Jaws one frame too long risks boredom, one too dead reckoning risk audience being able to make sence) * Parallel Editing electrical switch of shots of one scene with another at a different location to consume idea of simultaneous time doggedness Editing * Also called invisible alter, a system devised to minimize the audiences awareness of shot transitions, especially cuts, in order to amend the flow of the story to avoid interrupting the viewing audience immersion in it * perseveration and Space editors follow a standard shot patter to maintain spatial continuity * Establish shot, croaks to a series of individual shots, back to establishing shot * Film American Beauty nacreous/Reverse Shot shot of one character is followed by shot of another taken from the wrick angle as they have a convo we always see the back get up of the other person talking across the table so we always know how close they are * 180 tip Rule once camera starts motion-picture photography on one side of action, it mustiness continue filming on very(prenominal) side for the rest of the scene * Eyeline Matches utilize characters line of vision as motif for a cut, matching another characters * Continuity and Time * Match on Action Different views of the same action pieced in concert to look continuous (someone jumping make to building we see them take transfer & land) * Jump Cut abrupt charge up in time and place of an action which s not announced by a transition CLIP blown driving in car tho shows clips of driving while theyre talking=cuts out blank space * Continuity mi splay any unintentional discrepancy from shot to shot (seeing a boom in the corner) * Change in location, posture, hair, costume, etc. Soviet Montage and Formalist Tradition * 1920s Soviet filmmakers developed editing style around the theory that editing should exploit the differences between shots to create meaning * Film was seen as a political tool * Soviet montage, also called collision montage rhythmic, quick (The Godfather baptism scene baptism + murder + he knows the killings are happening so this becomes a 3rd meaning) Realism Photography, TV, and cinema produce realistic images automatically * Viewed classical cutting and montage to be distorting, corrupting * After WW2 neorealism emerged which deemphasized editing * Film Stranger than Paradise shows male child on phone, doesnt give us other side of conversation we moreover know what he says shots hardly move to accommodate characters we see what can fit into the frame doesnt cut out useless times, shows everyone d oing every action goes macabre in between scenes) - November 14th Film Genre Understanding Genre * Genres are various types of films that audiences and filmmakers recognize by their acquainted(predicate) narrative, stylistic, and thematic conventions * Various conventions I. Narrative Elements Most important criteria for defining a music genre Character types Plot events Thematic reappearance general meanings from plot that surface over again and again II. Visual, sound, objects & setting * Lighting tends to be similar in films w same genre * Sound draws attention to possibilities that neither the characters nor the audience can see * Objects/setting serve as recurring symbolic images that carry meaning from film to film III. Predictability and Variation * Genres meet audience expectations * However, a film without surprises become cliche * Sub genres begin to form smaller clusters of films within a genre * Many films mix characteristics of multiple genres, creating a hy brid * No genre can be defined in a single way *