Photography Lecture Part Two
- 1. Sunset Boulevard 1950 Directed by Billy Wilder William Holden as Joe Gillis Gloria Swanson as Norma Desmond
- 2. Sunset Boulevard 1989 the Library of Congress selected it as one of the 25 landmark films of all time.
- 3. Sunset Boulevard 1989 the Library of Congress selected it as one of the 25 landmark films of all time. 1998 AFI voted it the 12th greatest film in its list of top 100 films.
- 4. Sunset Boulevard 1989 the Library of Congress selected it as one of the 25 landmark films of all time. 1998 AFI voted it the 12th greatest film in its list of top 100 films. 2007 AFI rated it the 16th greatest film of all time.
- 5. Journal Writing Assignment #2 Did Sunset Boulevard reinforce or exceed your expectations of a black and white film?
- 7. Film Formats
- 10. Larger formats = higher resolution
- 11. Larger formats = higher resolution more expensive
- 12. Larger formats = higher resolution more expensive equipment less portable
- 14. 35mm camera most feature films shot with 35mm
- 15. 16mm camera Choice of independent filmmakers on a limited budget
- 16. Super 8 Pre-video used for home movies still used in avant-garde & music videos
- 17. VIDEO
- 18. VIDEO - less expensive than film
- 19. VIDEO - less expensive than film - smaller, lighter
- 20. VIDEO - less expensive than film - smaller, lighter - work faster, with smaller crews
- 21. FOCAL LENGTH • 3 kinds of lenses:
- 22. Each lens has its own characteristic effect on the image…
- 23. NORMAL LENS (50mm) “the way our eyes see”
- 24. • A normal lens = 50mm
- 25. • A normal lens = 50mm • smaller than 50mm = wide-angle
- 26. • A normal lens = 50mm • smaller than 50mm = wide-angle • larger than 50mm = telephoto
- 28. • deep depth of field
- 29. • deep depth of field deeper depth of field shallower depth of field
- 30. • deep depth of field deeper depth of field shallower depth of field out of focus
- 31. Deep depth of field
- 32. deep depth of field Citizen Kane
- 33. deep depth of field Citizen Kane
- 34. • deep depth of field • wider field of view - more peripheral information
- 35. Wide-angle lens
- 36. Extreme wide-angle = Fisheye lens
- 37. TELEPHOTO LENS
- 38. TELEPHOTO LENS • shallow depth of field
- 39. Jackie Brown & The Aviator
- 40. TELEPHOTO LENS • shallow depth of field • flattens the image = more 2-dimentional
- 42. TELEPHOTO LENS • shallow depth of field • flattens the image = more 2-dimentional • movement toward or away from camera is less apparent
- 43. TELEPHOTO LENS • shallow depth of field • flattens the image = more 2-dimentional • movement toward or away from camera is less apparent • narrower field of view - less peripheral information
- 46. wide telephoto The Gladiator Crouching Tiger, Hidden Dragon
- 47. CAMERA ANGLE • Relationship between subject and viewer
- 48. Low angle shot
- 49. Low angle shot • emphasizes a character’s power or superiority – • appear threatening Touch of Evil
- 51. Shaft
- 52. High angle shot High Fidelity
- 53. High angle shot • subject seems weak, powerless, perhaps depressed High Fidelity
- 54. Bicycle Thieves
- 55. Kill Bill
- 57. Eye-level shot • no visual superiority or inferiority
- 58. Eye-level shot • no visual superiority or inferiority • often a realist tendency
- 60. Bird’s-eye view • somewhat disorienting Last Days
- 61. Bird’s-eye view • somewhat disorienting • not the way we usually see things Last Days
- 62. American Beauty
- 63. The Third Man
- 64. Oblique (canted) angle shot
- 65. Oblique (canted) angle shot • image appears less stable - off balance - might suggest a state of flux Citizen Kane
- 66. (oblique and low-angle) Citizen Kane
- 67. CAMERA MOVEMENT
- 68. Pan
- 69. Pan • Horizontal camera movement
- 70. Pan • Horizontal camera movement • Might follow the action in the scene
- 72. Tilt
- 73. Tilt • Vertical movement of the camera - tilting up or down
- 75. Dolly Shot
- 76. • Filmed from moving vehicle or cart Dolly Shot
- 77. • Filmed from moving vehicle or cart • Also called tracking shot Dolly Shot
- 79. Crane Shot
- 80. crane shot
- 81. Zoom Shot • Position of camera does not change
- 82. Zoom Shot • Position of camera does not change created with the lens
- 83. zoom
- 85. Hand-held Shot no stabilizing device
- 86. hand held shot
- 87. Aerial Shot
- 88. Aerial Shot • Often establishing shot
- 89. Aerial Shot • Often establishing shot • Helicopter
- 90. Aerial Shot
- 91. Director Phillip Noyce (2002) Everlyn Sampi as Molly Tianna Sansbury as Daisy Kenneth Branagh as A. O. Neville
- 92. Remember! Make sure you’re answering the question with evidence from the film not just giving plot summary. Write about the film in the present tense. “Joe is an anti-hero.” Not “Joe was an anti-hero.”
- 93. Be specific in your thesis sentence Do not begin with a vague sentence like, “Joe Gillis is an anti- hero for many reasons.” Your introduction should be strong and set up your response.
- 94. Your analysis should Begin with an introduction with a topic (thesis) sentence. The body of your paper supports the thesis And finally a conclusion to wrap it all up
- 95. SOURCE Anything that isn’t your original idea must be sourced, even me! (Kendall) Not sourcing and referencing others material is considered plagiarism
- 96. “Unlike the prototypical hero or good guy Joe Gillis embodies the quintessential characteristics of an anti-hero” (Kendall).
- 97. 10 to 12 lines of material Shorter papers will not receive full credit Put film titles in italics And capitalize the first letter of each word Sunset Boulevard Double space your document
- 98. Finally! Write your paper in the third person and avoid using pronouns, like “you” and “I’ “we” “they” Please proof read your paper before submitting it and follow the format in the writing packet
- 99. Response Questions - CHOOSE ONE OF THESE QUESTIONS TO RESPOND TO 1. How does the use of a wide angle lens enhance the storytelling in Rabbit Proof Fence? 1. How does camera movement enhance the storytelling in Rabbit Proof Fence? (Give specific examples from the film and use film grammar) RESPONSE PAPERS: Throughout the course of the semester, we will screen at least twelve films. You are required to write half-page response papers for at least five of the films. These papers are due one week from the day they are assigned. Each paper is worth a maximum of 2 points These papers may constitute cumulative total of 10 possible points. All papers must be typed using 12 point Times Roman font, with 1” margins and be double-spaced. No handwritten pages accepted. Grammar, spelling, and punctuation are taken into account. Plagiarism is strictly prohibited.
Editor's Notes
- action is FRACTURED