The Film Techniques Used By Cameron

Film exists in layers of physical existence and reality. You have the layer the audience views of the film’s world - setting, characters, and plot - and then you have the layer the film production workers view of the film’s world - actors, the set, and the story. Like photography, film is able to establish a physical existence. However, unlike photography, film uses two very unique and different techniques in order to establish its physical existence. According to Siegfried Kracauer, film establishes its physical existence through representation of reality as it evolves through time and with the help of techniques and devices exclusive to cinema cameras (Kracauer 187). All the world is a stage for film, however Kracauer lists specific techniques of film he refers to as cinematic due to how these techniques are read on the cinematic medium. Although Kracauer wrote his theory on Establishment of Physical Existence in 1960, the 2015 movie Tangerine contains a fair amount of content that can be serviced as examples in order to support Kracauer’s theory. Using the 2010’s movie Tangerine directed by Sean S. Baker, modern cinema examples from various scenes of the film can be provided for examples on Siegfried Kracauer’s theory of Establishment of Physical Existence through cinema’s recording functions of nascent motion, cinema’s revealing function of transients, and cinema’s revealing function of blind spots of the

The term Mise-en-Scene is used to signify the director’s control over what happens in the film frame. In English the phrase literally translates to “putting in the scene” (Bordwell, 2010a). ‘Night of the Hunter’ (Charles Laughton, 1955) is a prime example of a film that uses aspects of Mise-en-Scene to sway the audience’s opinions of characters and their understanding of narrative themes and to create a certain atmosphere in the film. “Although the fundamental aspects of Mise-en-Scene in both theatre and cinema are those of lighting, blocking and production design (costume, props and sets),

In a nutshell, In the film “Indiana Jones and the Raiders of the Lost Ark” elements of mise en scene and cinematography give depth to the main character as well as the plot of the story by means of the settings and surroundings of events, and the techniques utilized by Steven Spielberg. Making use of the narrative form to mise en scene and cinematography Indiana Jones by adding depth in emotion, settings, musical scores, the use of light apertures and many other aspects of cinematography and the Raiders of the Lost Ark has become an American classic amongst the pantheon of

The creation and consumption of films are a common favorite pastime for many people and have been for hundreds of years, but while some films can seem deceptively simple, many elements go into creating a scene, much less an entire movie. Directors use these elements which include, but are not limited to style, mood, composition and special effects to create a product that we often don’t acknowledge without looking deeper into the film. These components together are called Mise en Scène (Ebert). Of course, film can be enjoyed leisurely but there are so many more aspects of film to be explored and analyzed such as the composition of camera movement, lighting, color, sounds and music. In this case, I chose to analyze the “Redrum” scene from the renowned film, The Shining directed by Stanley Kubrick. In this scene, Danny Torrence, a five year old boy wanders around his mother’s room with a knife in hand, muttering the word “Redrum” over and over again before scrawling it across the door. I feel that a lot of this scene’s mood and style relies heavily on the camera work of the scene, the lighting and colors, and the music incorporated into the segment.

Almost every piece of cinema seeks to give the viewer an understanding by intricately assembling shots in a coherent, and a sometimes muddled, manner; the techniques used in editing places various shots in purposeful sequences, to emphasize certain relationships between shots. The shots can be arranged smoothly and logically, or shift abruptly from shot to shot; different methods of the aforementioned arrangement of shots are utilized in either discontinuous or continuous editing. Sherlock Jr. and The War on Drug’s music video “Holding On”, are two motion pictures that offer spatial relations, by applying techniques of both continuous and discontinuous editing.

Over the many years of filmmaking, there is no doubt that classical Hollywood has made an interesting name for itself. The classical Hollywood style has become quite predictable in relation to film narrative because of their unique filmmaking choices using devices like continuity editing, three-point lighting, centered framing, and musical scores. When we think of a classic Hollywood film, we usually imagine a story with a happy ending. A phenomenal film that performs all these functions

Steven Spielberg is the highest grossing director by the worldwide box office collection that was ($9.444 million). Steven has made only 27 films in fourty years and got 24 super hits out of it.He has contributed to the film industry with revolutionary techniques and genres and ideas. He introduced people with different technological ideas and special effects. Steven Spielberg has probably shown us adventure films with one of the best special effects. Steven Spielberg is known for the stylistic theme to the film and has shown mainstream approach in his work. He is the most commercially successful director of all the time. He has been thanked in Oscar speech more than Jesus in the award winning speeches by different actors, producers and

After watching and analyzing the action adventure film, Indiana Jones - “Kingdom of the Crystal Skull” (2008) and the Sci-Fi thriller, The Matrix (1999) many cinematic elements attracted my attention. With three very distinct and ingenious directors, (Spielberg and the Wachowskis siblings) these two films exemplified extraordinary uses of lighting, framing, editing and sound techniques unique to its own genre.

In the early 1900’s silent films amazed audiences with images, later talkies impressed with sound, today we have 3D. As technology continues to evolve so too will film genres. Genres, while having some shared characteristics, also differ in terms of stylistic devices used. For instance, the dramatic film “The Notebook” effectively uses color to reinforce theme and has plausible performers as the two main protagonists.

This paper will discuss various elements of mise-en-scene, specifically; character development, lighting, performance, costume, makeup in the film "Casablanca".(Michael Curtiz,1942) The setting of the story sets the tone for the entire film. Shots of tanks and planes show the violence of war that coincides with the cutthroat city that is Casablanca. From there, those sentiments are reinforced when a man is shot in the street while another man pick pockets someone whom is distracted. The mood of the movie stays on the dark side of things when we enter Rick's Café, where we meet our protagonist played by Humphrey Bogart. In this scene we are treated to the jaded portrayal of night club owner. We see his utter disregard for a French woman

Being one of the world’s most popular art forms, it was inevitable that these archetypes would find their way into film as well. In this essay I will argue that the

During the process of envisioning and designing a film, the director, production designer, and art director (in collaboration with the cinematographer) are concerned with several major spatial and temporal elements. These design elements punctuate and underscore the movement of figures within the frame, including the following: setting, lighting, costuming, makeup, and hairstyles. Choose a scene from movieclips.com. In a three to five page paper, (excluding the cover and reference pages) analyze the mise-en-scène

Film techniques are used to represent clear images of what the filmmaker has in mind for the viewer. Mise-en-scène is a technique within filmmaking that displays what is to be filmed in front of the camera. Composition refers to the frame of the image that is being observed. Filmmakers utilize the space within each frame to bring attention to significant objects, characters, colors, backgrounds or lighting. Compositions can be symmetrical such that all contents are organized to convey a sense of unity, or can be asymmetrical where each side of the frame is different than the other, showing different depths. Composition can be seen in Joseph Paul’s film of There Will Be Blood through his use of minimal props and lighting throughout the scenes, to show a more gloomy and serious setting. The workers do not converse much with anyone nor interact in any other activities other than drilling for oil. This shows the importance that oil had served in the lives of the Plainview family and his

The term ‘mise-en-scene’ is used to “signify the director’s control over what appears in the film frame” (1) and covers such elements as setting, lighting, costume and the movement and actions of figures appearing within the film.

Edward Branigan classified elements of representation in films into six categories –origin, vision, time, frame, object and mind. According to him, origin signifies the perspective of placement of camera and use of sound in cinema. The reference point that generates images and space by glance, look, sight and gaze constitute vision. Time refers to the time of telling i.e. the time of representation and the time of what is told i.e. represented. Branigan refers to the boundary that limits selection and organization of the story as frame. Object and mind refers to the element that is represented and the mental state attributed to a character, respectively. Thus, we can argue that from a director’s point of view, Branigan’s elements – vision and