film analysis

narrative

The telling of a story or an account of an event or series of events.

types of narrative

referential, explicit, implicit, symptomatic

referential meaning

plot summary of the film

explicit meaning

the point of the film, the idea it's trying to get across

implicit meaning

the interpretation of the film when the meaning isn't stated directly

symptomatic meaning

ideas that may emerge due to the films historical/social context; what particular signs represent or what broader issues it points to

plot vs story

all the events that are directly presented to us in a movie

complete summary of events from all perspectives ordered chronologically

range and depth of knowledge (or story information)

how much the audience knows in comparison to the characters

how closely the audience is given access to a character's experiences.

Mise-en-scene

All of the elements placed in front of the camera to be photographed: the settings and props, lighting, costumes and makeup, and figure behavior.

what are the four components of mise-en-scene

Setting, costume/makeup, lighting, staging(movement and performance)

setting in mise-en-scene

a container for human events and can dynamically enter the narrative action (shapes how we understand the story action)

costume/makeup in mise-en-scene

the clothing, accessories, or props worn by a character that help signal their identity, social status, time period, or personality.

how a character's face and body are styled (including hair, prosthetics, or special effects) to highlight features, show age or injury, or create a certain look.

lighting in mise- en-scene

expresses ideology, emotion, color, depth and style

major qualities: quality, direction, source, and color

high-key lighting in mise- en-scene

lighting design that uses fill light (less intense illumination that "fills in" softening or eliminating shadows cast by key light (the primary source)) and backlight to create relatively new contrast between brighter and darker areas

low-key lighting in mise- en-scene

creates stronger contrasts and sharper, darker shadows

3 point lighting system

key light, fill light, back light

key light, fill light, back light definition

the primary source providing the brightest illumination

less intense illumination that "fills in" softening or eliminating shadows cast by key light

comes from behind the subject, it can be positioned from above the figure, various angles at the side, pointing straight at the camera, or from down below. It helps to create silhouettes

cinematography

A general term for all the manipulations of the film strip by the camera in the shooting phase and by the laboratory in the developing phase.

what are the three aspects of cinematography

photographic, framing, duration

photographic cinematography

how the image looks because of choices like lighting, color, contrast, film stock or digital settings, lens type, and exposure. (

framing cinematography

how the camera positions and organizes what we see in the shot—things like camera angle, distance, movement, and the placement of characters and objects within the frame.

duration cinematography

how long a shot lasts on screen before it cuts to the next one. (Short duration = quick pace; long duration = slower, more continuous feel.)

photographic aspects

range of tonalities, speed of motion, perspective

photographic

deep focus, racking focus, superimposition, zoom

deep focus, racking focus

when everything in the frame, from foreground to background, is kept sharply in focus.

shifting focus during a shot from one subject to another, guiding the viewer's attention.

superimposition, zoom

placing two or more images over each other in the same frame, so they appear layered or transparent.

changing the focal length of the lens during a shot to magnify or reduce the size of what we see, making the image appear to move closer or farther away without moving the camera.

5 aspects of framing

angles (high/low/straight/canted), camera distances, dolly or tracking shot, crane, pan tilt

angles (high/low)

camera tilts downward from above the subject (like nodding your head down). → Makes the subject look small or weak.

camera tilts upward from below the subject (like nodding your head up). → Makes the subject look powerful or imposing.

angles (straight/canted)

camera stays level, no tilt (like looking straight ahead). → Feels neutral, balanced, natural.

camera tilts sideways left or right (like leaning your head toward your shoulder). → Creates imbalance, unease, or disorientation.

camera movement

Tilt = swivels up/down (nod).

Pan = swivels left/right (shake head "no").

Tracking/Dolly = camera body moves physically forward, backward, or sideways.

Crraning: the entire camera is lifted up or lowered down through space, usually on a crane or jib arm. It can rise high above characters or swoop down toward them.

camera distances

Extreme long shot (ELS) / Establishing shot: shows the subject from very far away, often the full environment. → Sets location and context.

Long shot (LS) / Full shot: shows the entire body of the subject, head to toe. → Shows action and movement.

Medium long shot (MLS) / Knee shot: shows subject roughly from knees up. → Balances environment and character.

camera distances pt 2

Medium shot (MS) / Waist shot: shows subject from waist up. → Focuses on gestures and dialogue.

Medium close-up (MCU) / Chest shot: shows subject from chest up. → More intimacy, emphasizes facial expression.

Close-up (CU): shows head or face only. → Highlights emotion or detail.

Extreme close-up (ECU): shows specific part (eye, hand, object). → Maximum detail, often symbolic or dramatic.

duration (cinematography)

how long a single shot lasts on screen before cutting to the next shot

long take

one run of the camera that records a single shot; an alternative to a series of shots