Film Techniques for Analysis

Content Camera Shots / Movement Camera Angles Editing Sound / Music Mise-en-Scene Lighting Storyline Techniques

Content

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How often do we need to use film techniques in your analysis? Remember, film techniques are not by themselves, very strong, they require context, they require you to have chosen a specific paragraph and then added it in.

Film techniques should be sprinkled across your body paragraphs, but they shouldn't be the only thing that you're analysing. They should act as a supporting example/evidence for a larger idea.

Camera Shots / Movement

A camera shot is the amount of space that is seen in one shot or frame. Camera shots are used to introduce the setting, themes and characters of Cinematic Techniques.

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Is it like an entire city, or is it just one person's face?

An extreme long shot contains a large amount of landscape. It is often used at the beginning of a scene or a film to establish general location (setting). This is also known as an establishing shot.

A long shot contains landscape but gives the viewer a more specific idea of setting. A long shot may show the viewers the building where the action will take place. A full shot contains a complete view of the characters. From this shot, viewers can take in the costumes of characters and may also help to demonstrate the relationships between characters.

A mid-shot contains the characters or a character from the waist up. From this shot, viewers can see the characters’ faces more clearly as well as their interaction with other characters. This is also known as a social shot.

A close-up contains just one character’s face. This enables viewers to understand the actor’s emotions and also allows them to feel empathy for the character. This is also known as a personal shot.

An extreme close-up contains one part of a character’s face or other object. This technique is quite common in horror films. This type of shot creates an intense mood and provides interaction between the audience and the viewer.

Camera Movement: is something we interpret without thinking about it of Cinematic Techniques.

The purposes of common camera movements are listed below: A crane shot is often used by composers of films to signify the end of a film or scene.

The effect is achieved by the camera being put on a crane that can move upwards.

A tracking shot and a dolly shot have the same effect. A tracking shot moves on tracks and a dolly shot is mounted on a trolley. This camera movement is used in a number of ways but is most commonly used to explore a room such as a restaurant. By using a tracking shot or a dolly shot the composer of a film gives the viewer a detailed tour of a situation. It can also be used to follow a character.

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E.g. following spider-man across different locations as he jumps, tracking him.

Panning is used to give the viewer a panoramic view of a set or setting. This can be used to establish a scene.

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E.g. When we see the whole entire city, panning across it.

Dolly zoom is when you zoom in the camera but the camera is being shifted backwards. [combination of a movement and a shot]

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We will be using Sunset Boulevard as an example as it will be a text response text in the future.

Example of Camera Technique Usage in Sunset Boulevard

One example is the use of low angle shots, which are used to make the characters appear larger than life and more powerful. This technique is often used in scenes featuring Norma Desmond, the reclusive former silent film star at the centre of the film, to emphasise her grandiosity and delusions of grandeur. Other camera techniques used in the film include close-ups, which are used to focus on the emotions and expressions of the characters, and tracking shots, which are used to follow the characters as they move through the film's lavish sets and locations.

Camera Angles

It is important that you do not confuse camera angles and camera shots. Camera angles are used to position the viewer so that they can understand the relationships between the characters of Cinematic Techniques. They are more deliberately technique-y – that is, they cause a strong effect.

An aerial / bird’s eye angle is an angle that looks directly down upon a scene. This angle is often used as an establishing angle, along with an extreme long shot, to establish setting.

A high angle is a camera angle that looks down upon a subject. A character shot with a high angle will look vulnerable or small. These angles are often used to demonstrate to the audience a perspective of a particular character.

An eye-level angle puts the audience on an equal footing with the characters. This is the most commonly used angle in most films as it allows the viewers to feel comfortable with the characters.

A low angle is a camera angle that looks up at a character. This is the opposite of a high angle and makes a character look more powerful. This can make the audience feel vulnerable and small by looking up at the character. This can help the responder feel empathy if they are viewing the frame from another character’s point of view.

A Dutch angle is used to demonstrate the confusion of a character or the strangeness of a place. A Dutch angle should disorient you.

Editing

When shooting is finished there will be hours and hours of footage – most of which will never be seen or used. It is the editor’s role to ensure continuity (that the film flows from one scene to another and that plot and character development makes sense throughout the film).

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An edit is a transition, it can be transitioning from one perspective to another, or from one scene to another.

There are many editing techniques and rules and we will cover the basics of Cinematic Techniques:

1. A Cutaway: A cutaway in a film occurs when a scene is interrupted by another piece of footage. For example, a character driving a car down the street may have been filmed all in one shot, but half-way down the street a piece of footage of the character spying on the driver has been edited in.

2. A Dissolve: This occurs when one scene slowly fades into another. This is often done to show the link between two scenes or the passing of time.

3. Wipes: There are a variety of wipes. Wipes are used as transitional techniques between scenes. The following are examples of wipes. Pay close attention to how these wipes link scenes and therefore help to shape meaning.

4. Filters: Filters moderate the way in which a film records colours as a monochrome tone value. Filters can be applied through editing or physical disks placed in front of a camera lens.

A clock wipe is used to connote time passing between two scenes. (the old scene disappears a quadrant at a time and is replaced with the new scene, like clock hands turning round)

A matrix wipe can consist of a variety of patterns that form the transition between scenes. It will be up to you to decide why a composer has used a particular matrix wipe.

Sound / Music

Diegetic sound: Is sound that occurs in film that is natural and intentionally occurring. These sounds include doors opening and closing, footsteps, dialogue, any music that comes from radios in the film or played on musical instruments, thunderstorms, tyres screeching and explosions. Any sound that is caused by actions or actually happens in the course of the film is Diegetic sound.

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Natural sound. Characters in the movie can hear it.

Non-Diegetic sound: Is sound that is added to the film during editing. These sounds include: music and songs that are added to the film. Music that sets mood for films (such as screeching violins at climax moments) narration (voiceovers) sounds added as special effects, especially in slapstick.

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Not natural sound. This is like edited sound, soundtracks, songs, scene-specific songs and tracks played.

Example in Sunset Boulevard

In the scene where Joe Gillis is being chased by the repo men in Sunset Boulevard, the film uses suspenseful music to heighten the tension and create a sense of danger. The music in this scene is non-diegetic, meaning it is not part of the film's world and is used to manipulate the viewer's emotions.

The film uses a variety of sound effects to create a sense of chaos and danger in the scene. For example, the film uses the sound of car engines revving and tires squealing as the repo men chase Joe's car. The sounds of doors slamming and footsteps running to create a sense of urgency and movement. These sound effects help to draw the viewer into the scene and create a more immersive experience.

Mise-en-Scene

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This is about the placements within the frame on screen.

Mise en scène – literally “placing on stage” in French – is a common term in film analysis and criticism circles. To explain it simply, mise en scène refers to what we see onscreen in a film. It’s the film’s visuals; meaning, all of the elements that appear on camera and their arrangement.

The arrangement of the scenery, props, etc. on the stage of a theatrical production or on the set of a film.

the setting or surroundings of an event.

In particular, colour can be read as an expression of deeper meaning. Green is often interpreted to exude nature, red passion, black death or foreboding. Textures, too, are key. If a lush fabric like velvet is common in a space, then you might conclude that the inhabitants can afford luxury.

A film’s mis en scene also dictates the mood, drama and sense of intensity, mode of feeling to invite the audience to conjure a certain emotion. The placement in the frame communicates with the audience an atmosphere, a sense of the films own world, which is how it can impact the overarching ideas or emotions present within a scene.

Sunset Boulevard Example

In the opening shot of "Sunset Boulevard," the placement of objects within the frame is significant in conveying the film's themes and setting the stage for the events that unfold. The placement of the mansion and pool at the center of the frame serves to establish them as key locations in the film, while the body floating in the pool serves to introduce the film's central character and to foreshadow the tragic events that will unfold. The overgrown state of the mansion and pool also serves as a visual metaphor for the decay and disillusionment that pervades the film. The fact that the body is floating facedown in the water also adds to the sense of despair and hopelessness.

Lighting

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Cinematic Lighting is one of the underappreciated film techniques to analyse as it is quite subtle and not immediately noticed.

Cinematic lighting is for the film to evoke a sense of the atmospheric presence for style and feeling. Emulating lighting styles from famous paintings such as Rembrandt will give you the cinematographic look, which can help you define what the specific lighting is.

Film Lighting Techniques and Terms

Key Lighting: It is the main subjective light of a scene of a subject. This is normally the strongest type of lighting within a scene or frame.

Fill Lighting: A type of lighting to fill in and remove the dark. Not much of this can be analysed.

Backlighting: Backlighting accentuates the silhouette of a subject and can move the focal point to the silhouette. Certain types of backlighting can be used to create different atmospheres for the audience.

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These lighting techniques are often intentional and can be a source of analysis.

Soft Lighting: It is more flattering on human subjects to accentuate their presence within the scene. It minimises the appearance of shadows.

Hard Lighting: Hard light can be a strong light source or the sun, which is used to illuminate everything within the scene.

Coloured Lighting: Generally, cool or blue light gives the audience a sense of calm during the film. But it can also be used to create a sombre or suspenseful scene. Warm lighting, on the other hand, is more comforting. It can conjure up feelings of joy and ease.

Examples of more lighting techniques with Analysis in Sunset Boulevard:

Chiaroscuro lighting: This is a lighting technique that uses strong contrasts between light and shadow to create a sense of drama and depth. Sunset Boulevard uses chiaroscuro lighting in several scenes, such as in the scene where Norma Desmond (played by Gloria Swanson) is sitting in front of the mirror applying makeup. The strong contrast between the light illuminating her face and the shadow cast on the rest of the room creates a sense of mystery and intrigue.

Backlighting: This is a lighting technique that involves placing the light source behind the subject, which creates a halo effect around the subject and separates them from the background. Sunset Boulevard uses backlighting in several scenes, such as in the scene where Joe Gillis first arrives at Norma Desmond's mansion. The backlighting creates a sense of otherworldliness and adds to the sense of mystery surrounding Norma.

Soft lighting: This is a lighting technique that uses diffused light to create a softer, more subtle effect. Sunset Boulevard uses soft lighting in several scenes, such as in the scene where Joe Gillis and Norma Desmond are sitting in the garden having a conversation. The soft lighting creates a sense of intimacy and warmth between the two characters.

Storyline Techniques

Non-linear narrative: This refers to a story that is told out of chronological order, with events presented in a way that does not follow a straight timeline. This can be used to create suspense, surprise, or to convey the disjointed nature of a character's thoughts or experiences.

Flashback: This is a technique in which a character remembers an event that took place in the past, often used to provide background information or to reveal key plot points.

Foreshadowing: This is when the film provides hints or clues about what is to come later in the story, creating a sense of anticipation or mystery for the viewer.

Symbolic imagery: This refers to the use of objects, actions, or imagery in the film that represent or symbolize something else, often a theme or idea.

Subtext: This refers to the underlying meaning or message of the film, beyond the surface level plot. This can be conveyed through the dialogue, actions, or imagery of the film.

Chekhov’s Gun: Chekhov's gun is a literary device that states that every element in a story should contribute to the plot. If something is introduced early on, it should be used later on. Analyzing its use in a text can help identify the significance of elements and the author's intentions.

Using these techniques can help to make an essay about a film more sophisticated and engaging for the reader.

Example Usage of Chekhov’s Gun within Sunset Boulevard

In the 1950 film "Sunset Boulevard," the character of Joe Gillis's death in the pool serves as a Chekhov's gun. Throughout the film, there are several hints and foreshadowing moments that suggest Joe's ultimate demise. One of the earliest examples is the scene in which Joe first meets Norma Desmond, the reclusive former silent film star who becomes his lover and eventual murderer. As they sit by the pool, Norma tells Joe that she has a script that she believes will make her comeback to Hollywood. She says, "I am big. It's the pictures that got small." This line not only foreshadows Norma's delusions of grandeur and her eventual descent into madness, but it also serves as a metaphor for Joe's own fate. As he becomes more enmeshed in Norma's world and her destructive obsession, he too will become small and insignificant. Another example is the recurring motif of water and drowning throughout the film. When Joe first arrives at Norma's mansion, he is literally pulled out of the water after his car sinks into a pool. This incident foreshadows his ultimate death in the pool at Norma's mansion. Additionally, the film is filled with shots of water and swimming pools, which serve to underscore the sense of danger and entrapment that surrounds Joe as he becomes more and more isolated in Norma's world. Finally, the use of the gun as a Chekhov's gun serves to heighten the tension and drama in the film's final moments. When Norma confronts Joe in the pool house and pulls out a gun, it is clear that something terrible is about to happen. The fact that the gun has been introduced earlier in the film, and that its presence has been hinted at throughout, makes the moment all the more powerful and devastating.