📺Film and Media Theory Unit 2 – Film Form and Style

Key Concepts in Film Form

• Film form refers to the overall structure and style of a film encompasses both narrative and stylistic elements
• Mise-en-scène is the arrangement of everything that appears in the frame (actors, lighting, décor, props)
  • Includes setting, lighting, costume, and makeup
  • Influences the mood and tone of a scene (film noir often features low-key lighting to create a sense of mystery and danger)
• Cinematography involves the choice of camera angles, movements, and lenses affects how the audience perceives the action and characters
  • Includes shot size, camera angle, and camera movement
  • Can convey character emotions and power dynamics (low angle shots make characters appear powerful while high angle shots make them appear vulnerable)
• Editing is the process of selecting and arranging shots into a coherent sequence
  • Establishes spatial and temporal relationships between shots
  • Can create meaning and evoke emotions through juxtaposition (intercutting between two scenes can suggest they are happening simultaneously)
• Sound design encompasses dialogue, sound effects, and music contributes to the overall atmosphere and emotional impact of a film
  • Diegetic sound originates from within the world of the film (dialogue, sound effects)
  • Non-diegetic sound comes from outside the world of the film (musical score, voiceover narration)
• Narrative structure organizes the events of a story into a cause-and-effect chain
  • Typically follows a three-act structure (setup, confrontation, resolution)
  • Can be linear or non-linear (flashbacks, parallel storylines)

Visual Elements of Film

• Composition refers to the arrangement of elements within the frame can guide the viewer's attention and convey meaning
  • Rule of thirds divides the frame into a 3x3 grid placing key elements along the lines or at the intersections creates a balanced and dynamic composition
  • Leading lines are visual elements that guide the viewer's eye towards a point of interest (roads, rivers, or architectural features)
• Color can evoke emotions, symbolize ideas, and create visual contrast
  • Warm colors (red, orange, yellow) are associated with passion, energy, and aggression
  • Cool colors (blue, green, purple) are associated with calmness, melancholy, and mystery
• Lighting shapes the appearance of objects and characters creates mood and atmosphere
  • High-key lighting is bright and evenly distributed creates a cheerful and optimistic mood (comedies, musicals)
  • Low-key lighting features strong contrasts between light and dark creates a sense of mystery, danger, or drama (horror, film noir)
• Depth of field is the range of distance within the frame that appears in focus
  • Shallow depth of field blurs the background draws attention to the subject in the foreground
  • Deep depth of field keeps both foreground and background in focus creates a sense of depth and realism
• Aspect ratio is the proportional relationship between the width and height of the frame
  • Common aspect ratios include 1.85:1 (widescreen) and 2.39:1 (anamorphic widescreen)
  • Can affect the composition and visual impact of a shot (widescreen aspect ratios are often used for epic or panoramic shots)

Audio Elements of Film

• Dialogue is the spoken words of characters reveals character traits, motivations, and relationships
  • Can be diegetic (heard by other characters) or non-diegetic (voiceover narration)
  • Delivery and intonation can convey subtext and emotional states
• Sound effects are artificially created or enhanced sounds that simulate real-world noises
  • Foley artists create synchronized sound effects in post-production (footsteps, clothing rustles, prop handling)
  • Can heighten the realism or stylization of a scene (exaggerated punching sounds in action films)
• Music can establish mood, evoke emotions, and provide commentary on the action
  • Leitmotifs are recurring musical themes associated with specific characters, places, or ideas (Darth Vader's theme in Star Wars)
  • Diegetic music originates from within the world of the film (a character playing an instrument or listening to the radio)
  • Non-diegetic music is added in post-production and is not heard by the characters
• Silence can create tension, anticipation, or a sense of emptiness
  • Emphasizes the absence of sound and can make the viewer more aware of the visuals
  • Can be used for dramatic effect or to signal a shift in tone or perspective
• Sound bridges are audio elements that carry over from one scene to the next
  • Create a sense of continuity or contrast between scenes
  • Can be used to link thematically related scenes or to create a sense of disorientation (a scream that carries over from a nightmare to a character waking up)

Cinematography Techniques

• Shot size refers to the distance between the camera and the subject affects the amount of visual information in the frame
  • Extreme long shot (ELS) shows a vast landscape or cityscape establishes the setting and context
  • Long shot (LS) shows the full body of a character or object in relation to their surroundings
  • Medium shot (MS) shows a character from the waist up allows for the display of facial expressions and gestures
  • Close-up (CU) shows a character's face reveals emotional states and reactions
  • Extreme close-up (ECU) shows a small detail or part of a character's face creates a sense of intimacy or intensity
• Camera angle refers to the position of the camera in relation to the subject can convey power dynamics, emotional states, or point of view
  • Eye level angle places the camera at the same height as the subject's eyes creates a sense of equality or neutrality
  • Low angle places the camera below the subject's eye level makes the subject appear powerful, imposing, or threatening
  • High angle places the camera above the subject's eye level makes the subject appear vulnerable, weak, or insignificant
  • Dutch angle tilts the camera to one side creates a sense of disorientation, instability, or unease
• Camera movement can create a sense of dynamism, reveal new information, or follow the action
  • Pan moves the camera horizontally from a fixed point reveals the surrounding environment or follows a moving subject
  • Tilt moves the camera vertically from a fixed point can reveal the full height of a subject or emphasize power dynamics
  • Tracking shot moves the camera alongside a moving subject creates a sense of movement and can emphasize parallels or contrasts between characters
  • Zoom changes the focal length of the lens without moving the camera can create a sense of focus or disorientation
• Framing refers to the placement of subjects and objects within the frame can create visual balance, guide the viewer's attention, or convey meaning
  • Symmetrical framing places subjects or objects in a balanced and harmonious arrangement creates a sense of stability or formality
  • Asymmetrical framing places subjects or objects off-center creates a sense of dynamism or unease
  • Framing can also be used to emphasize power dynamics or relationships between characters (placing one character in the foreground and another in the background can suggest dominance or subordination)

Editing and Montage

• Continuity editing is a system of cutting that maintains the illusion of continuous time and space across shots
  • Establishes spatial and temporal relationships between shots
  • Follows the 180-degree rule (keeping the camera on one side of an imaginary line between two characters to maintain consistent screen direction)
  • Uses match cuts to create a seamless transition between shots (a character exiting the frame in one shot and entering the frame in the next shot)
• Montage is the juxtaposition of shots to create meaning or evoke emotions
  • Intellectual montage (Soviet montage theory) creates meaning through the collision of two or more shots (intercutting between a wealthy man and a poor man to suggest social inequality)
  • Rhythmic montage uses the length and pacing of shots to create a sense of rhythm or tempo (quick cuts in an action scene to create a sense of excitement or chaos)
  • Tonal montage uses the visual and auditory qualities of shots to create a specific mood or atmosphere (a series of shots with muted colors and slow pacing to create a sense of melancholy)
• Cutting techniques can be used to manipulate time, space, and emotions
  • Jump cuts are abrupt transitions between shots that disrupt the illusion of continuous time and space creates a sense of disorientation or emphasis
  • Crosscutting alternates between two or more scenes happening simultaneously in different locations creates a sense of parallel action or suspense
  • Fade-ins and fade-outs gradually transition between shots or scenes by fading to or from a black screen can signal the passage of time or a change in location
  • Dissolves gradually transition between shots by overlapping them can signal the passage of time or a change in mental state
• Pacing refers to the rhythm and tempo of the editing can create a sense of urgency, suspense, or contemplation
  • Rapid cutting uses short shot lengths and quick transitions to create a sense of energy, excitement, or chaos
  • Slow cutting uses long shot lengths and gradual transitions to create a sense of calm, reflection, or anticipation
  • Pacing can also be used to manipulate the viewer's perception of time (compressing or expanding the duration of events)

Narrative Structure in Film

• Three-act structure is a common narrative framework that divides the story into setup, confrontation, and resolution
  • Act 1 (setup) introduces the characters, setting, and conflict
  • Act 2 (confrontation) escalates the conflict and presents obstacles for the characters
  • Act 3 (resolution) resolves the conflict and provides closure
• Character arcs refer to the development and transformation of characters over the course of the story
  • Positive character arcs show a character overcoming obstacles and becoming a better person (a selfish character learning to be selfless)
  • Negative character arcs show a character succumbing to their flaws or making poor choices (a good character turning evil)
  • Flat character arcs show a character who remains unchanged but inspires change in others (a mentor figure who guides the hero)
• Plot points are significant events that change the direction or momentum of the story
  • Inciting incident is the event that sets the story in motion and introduces the main conflict
  • Midpoint is the event that marks the halfway point of the story and raises the stakes or introduces a new complication
  • Climax is the event that brings the conflict to a head and forces the characters to confront the consequences of their actions
• Exposition refers to the information that is conveyed to the audience about the characters, setting, and conflict
  • Can be conveyed through dialogue, visual cues, or voiceover narration
  • Should be integrated into the story naturally and avoid excessive or clunky explanations
• Foreshadowing refers to the hints or clues that are planted early in the story to set up later events or revelations
  • Can create a sense of anticipation or dread in the audience
  • Should be subtle and not give away too much information too soon

Film Genres and Styles

• Genres are categories of films that share similar themes, iconography, and conventions
  • Action films feature high-stakes conflicts, physical combat, and spectacular set pieces (car chases, explosions)
  • Comedy films aim to amuse the audience through humor, wit, and absurdity (slapstick, parody, satire)
  • Drama films explore serious themes and complex emotions through realistic characters and situations (family dynamics, social issues)
  • Horror films aim to frighten or unsettle the audience through suspense, gore, and supernatural elements (monsters, ghosts, serial killers)
  • Science fiction films speculate about future technologies, alien encounters, or alternate realities (space travel, time travel, dystopias)
• Styles refer to the distinctive visual and auditory qualities of a film that reflect the artistic vision of the filmmaker
  • Film noir is a style that emerged in the 1940s and features dark, moody visuals, cynical characters, and themes of moral ambiguity (The Maltese Falcon, Double Indemnity)
  • French New Wave is a style that emerged in the 1950s and features experimental techniques, unconventional narratives, and a rejection of traditional filmmaking conventions (Breathless, The 400 Blows)
  • Italian Neorealism is a style that emerged in the 1940s and features realistic, documentary-like portrayals of working-class life and social issues (Bicycle Thieves, Rome Open City)
  • German Expressionism is a style that emerged in the 1920s and features distorted sets, exaggerated performances, and themes of psychological horror (The Cabinet of Dr. Caligari, Nosferatu)
• Hybrid genres and styles combine elements from different categories to create new and unique film experiences
  • Romantic comedies combine elements of romance and comedy to explore the ups and downs of relationships (When Harry Met Sally, Crazy Rich Asians)
  • Science fiction horror combines elements of science fiction and horror to create terrifying scenarios involving alien invasions, genetic experiments, or technological disasters (Alien, The Thing)
  • Neo-noir is a modern update of the film noir style that incorporates color, contemporary settings, and more explicit violence and sexuality (Blade Runner, Sin City)

Analyzing Film Form and Style

• Formal analysis examines how the various elements of film form (mise-en-scène, cinematography, editing, sound) work together to create meaning and evoke emotions
  • Identifies patterns, motifs, and techniques that contribute to the overall style and theme of the film
  • Considers how the formal elements reflect the artistic vision and cultural context of the filmmaker
• Contextual analysis examines how the film reflects and responds to the social, political, and historical context in which it was made
  • Considers how the film addresses issues of race, gender, class, and power
  • Examines how the film reflects the dominant ideologies and cultural values of its time
• Intertextual analysis examines how the film relates to other texts, such as literature, art, or other films
  • Identifies references, allusions, and influences that shape the meaning and interpretation of the film
  • Considers how the film contributes to or subverts the conventions of its genre or style
• Auteur theory is an approach to film analysis that emphasizes the role of the director as the primary creative force behind a film
  • Identifies recurring themes, motifs, and stylistic elements that define the director's unique vision and sensibility
  • Considers how the director's personal experiences, influences, and collaborations shape the meaning and impact of their films
• Psychoanalytic analysis examines how the film reflects and appeals to the unconscious desires, fears, and fantasies of the audience
  • Considers how the film's characters, symbols, and narrative structure relate to Freudian concepts such as the id, ego, and superego
  • Examines how the film's visual and auditory elements create a sense of identification, projection, or catharsis in the viewer
• Feminist analysis examines how the film represents and challenges gender roles, power dynamics, and patriarchal ideologies
  • Considers how the film portrays female characters and their relationships to male characters and society as a whole
  • Examines how the film's formal elements (mise-en-scène, cinematography, editing) reinforce or subvert traditional gender norms and expectations
• Marxist analysis examines how the film reflects and critiques the economic and social structures of capitalism
  • Considers how the film portrays class conflicts, labor relations, and the distribution of wealth and power
  • Examines how the film's characters, settings, and themes relate to Marxist concepts such as alienation, exploitation, and ideology