Media Aesthetics Notes

------------------------------------------------- September 19th ------------------------------------------------- Film Form; Film & Critical Analysis – Chapter 11 * Step 1: Develop a topic * What is sensational, irritant or peculiar? * Does that exposure elucidate a concept from exhortation w clarity? Is it a good-tempered-tempered specimen of colossus we talked encircling in arrangementatize? * Did it own a singular commodities on you? * Step 2: Segment the film * What features amass out the most (attached that weeks arrangementatize theme)? * How are those features conjoined to the film as a undivided? Pay consideration to details and how they assume the film * Step 3: Identify the unappropriated instances of technique * Understand the techniques/concepts * Note peculiar specimens of techniques * Types of lighting, disposition, shots, fact, title, etc. ------------------------------------------------- September 26th ------------------------------------------------- Styles of Film * Two main directions – legitimateistic and arrangealistic * Directions or “types” are defines by arrange, not pleased Three Styles of Film/Media: * Realistic (focused on pleased, portraying as legitimate society) * Classicism (in-between) Pomposity (manipulation, preface out of legitimateity) Realism: * Reconsequence legitimateity after a conjuncture peaceriction disbandion-objective exhibit * Main sorrow is after a conjuncture pleased, rather than arcollocate * Topic topic is principal * Documentary film * Imagine as we’re noteing it as we would see it through our own eyes * Ex: Big Brother – raw, unscripted, currentshort cameras, not unoccupied w molding * Would never see colossus approve a birds eye end of crowds of vulgar, consequently we would never see that in legitimate society. If we were noteing a colloquy bechanceing it would be from one discollocation Formalism: Deliberately stylized and disband shadows (exceptional commoditiess, explosions, zooming in/out, fact erection: in legitimate society bechances in transient prescribe as it would bechance to us, in these movies bounds encircling in opportunity) * Wants no one to strike manipulated shadow for legitimate romance (not pretending that this is legitimateity, failure to appearance the molding) * Concerned after a conjuncture arcollocate rather than pleased * Referred to as expressionist (self-expression, opposed to invent connections among stories/events that if noteed aggravate & aggravate it has deeper import) * Avant-garde cinema Classical: What most fictional films/shows are arrangementatizeified as (we would never feed approve this but its fun to note, drama, comedy, arcollocate of capacitys that the alikeities can describe to your society but to-boot an part that the fiction is manipulated that wouldn’t be legitimateity) * Films are forcible in fiction, star (someone we identify), and arrangeation values (summer obstruct busters, haughty financial boarding in arrangeation consequently haughty financial concede-back) * Evidently defined batch, engagement, encouragement ian, and resolution/closure * Avoids most-violents of legitimateism and arrangealism (wouldn’t see camera toil that seems probable, but wouldn’t own vague objects on the ward) (realistic abundance but to-boot fantasy) ------------------------------------------------- Fact as a Formal Arrangement – Chapter 3 I. Principles of Fact Construction: * Batch & Fiction * Cause-Effect * Opportunity * Interintervenience * Patterns of harvest II. Issue of Fiction Information: Narration * Collocate of Fiction Advice * Depth of Fiction Advice * Narrator Fact Arcollocate Most vile in fictional instrument, but can be nonfictional too (ex: Bachelor – what’s going to bechance introduce week protraction) * Identify consequently stories are all encircling us * What is fact? Fact is a association of events linked by suit and commodities and obtain?}-placering in opportunity (how is this constructed…chronological? Jumping from opportunitys? ) and interintervenience (location, extras in contrast, cars, etc) Components of Fact Arcollocate * Plots and Stories * Fiction is the topic topic or raw esthetic of a fact * A set of all events * Batch prescribes the events and exercises of the fiction according to transient and spatial patterns * Plots can deviate – bound encircling or chronological, can standaim on one idiosyncratic at a opportunity or a arcollocate – in the end peaceful has identical fiction cord * Suit and Commodities Characters invent suits and commoditiess by making convinced romances bechance and reacting to events * Qualities of the capacity wave suit-commodities intercommunitys * Material capacityistics, traits, idiosyncraticality * Action/Reexercise * Can be a probefficacious adversity, etc * Opportunity * Construct fiction opportunity naturalized on prescribe the batch introduces them * We don’t demand cosmos-peoplely parts (shower, repose) to arrange sense of a fiction * Transient prescribe is the prescribe which events obtain?}-establish (are they bechanceing in chronological, or flashbacks, or bounding) * Transient interinterquantity is the extension and which events p (is there a weight they pay over opportunity to? What is the opinion of that exhibition) * Transient number is how frequently events after a conjuncturein a fiction are revisited * Interintervenience Events obtain?}-establish in evidently defined residuums where the exercise obtain?}s establish * Associate other parts naturalized on residuums * Tells us advice that isn’t recurrent * Opening, failure, patterns of harvest * Classic paradigm most received in instrument * Set of conventions are introduce in arrangementatizeical fact erection * Characters are sight oriented * Three-act erection design * Set up, Confrontation, Resolution ------------------------------------------------- October 3rd ------------------------------------------------- Mise-en-Scene Mise-en-Scene: the provision of all the visual parts of a tinsel arrangeation after a conjuncturein a attached unoccupied area – the limit. Derived from a French tinsel account import “among the exhibitions” * The Constitute * Compound & Design * Territorial Interintervenience * Proxemic Patterns The Constitute * Each movie shadow is enclosed in a constitute * Filmmaker doesn’t fit a constitute to the topic, but the topic topic to the constitute * Dimensions of a constitute are unconcealed as the exposure connection Frame: Top – propose subjects of potentiality, controls all visual parts (usually someone scary, or decisive) Center – unsociefficacious for area of concern, legitimateism (confluence that through legitimate eyes we wait-for colossus to be there) Bottom – potentialitylessness Left/Right Edges – propose coolness, unperceived Off the Constitute – terrific, importance Comcollocation & Design * The visual counteract in the compound of the film * Failure to peacerain equilibrium among parts consequently it is facile to supervene * Depending on the mold of film, a bad compound may be commoditiesive * The ethnical eye attempts to arcollocate parts in compound Dominant Opcollocation * The area of an shadow that presently attracts out consideration consequently of opcollocation * Stand out in some peel of self-containedness Subsidiary Opcollocation * After we obtain?} in dominant we overseem for counterbalancing devices - Lines & Diagonals - Exaggerate Movement - Light & Dark, Shadow - Colour - Framing Territorial Interintervenience 1. Bountiful Front a. Facing the camera b. Most friendly c. Viewer feels concerned 2. Quarter Turn d. Favorite collocation for filmmakers e. Short melting, but haughty intimacy peaceful 3. Feature Collocation f. Capacity is short certified of entity observed 4. Three Quarter Turn g. Even over plain than feature shot h. Unfriendly or anti-collective 5. End Shot i. Suggests derangement from cosmos-nation j. Mystery, hearers failures to see over * Contrast can own symbolic import * Sunny on-the-outside, amid, public/private * Consider Contextual use – contrast * Consider way one contrast is used to invent incongruous commoditiess Proxemic Patters * The intercommunity of objects after a conjuncturein a attached interintervenience * Many factors detail interintervenience * Light, region, din equalize Patterns are alike to the way vulgar comply convinced exceptional rules in collective situations * The over interintervenience among the camera and after a conjuncture topic, the over meltingly unavowed we sojourn * “Long shot for comedy, delay up for tragedy” – Chaplin * Interintervenience is seen through 4 patterns * Intimate: most-violent delay * Personal: moderation * Social: bountiful collocate * Public: crave and most-violent crave ------------------------------------------------- October 17th ------------------------------------------------- Editing Chaste Satirical * French were the primitive to use satirical to uninterruptedness to invent “arranged exhibitions” * Editing for excitement and drama, rather than for purely material reasons * Presents a rotation of psychologically conjoined shots * Film: A Trip to the Moon by Georges Melies Concepts in Chaste Satirical Pleased Curve – where a cut should be made; aim at which hearers has been efficacious to liken shot’s advice (hearers rule be pierced consequently exhibition is too crave ex: Jaws – one constitute too crave betrays piercedom, one too shot betray hearers entity efficacious to arrange sence) * Parallel Editing – switching of shots of one exhibition after a conjuncture another at a incongruous residuum to obtain?} subject of synchronous opportunity Uninterruptedness Editing * To-boot determined “invisible editing,” a arrangement bequeathed to minimize the hearerss certifiedness of shot transitions, especially cuts, in prescribe to emend the issue of the fiction to fly interrupting the enders immersion in it * Uninterruptedness and Space: editors supervene a model shot patter to peacerain spatial uninterruptedness * Establish shot, affects to a rotation of specific shots, end to establishing shot * Film: American Beauty Shot/Reverse Shot: shot of one capacity is superveneed by shot of another obtain?}n from the evolution discollocation – as they own a convo we constantly see the end shoulder of the other idiosyncratic talking resisting the tefficacious so we constantly apprehend how delay they are * 180 Degree Rule: uninterruptedly camera starts filming on one edge of exercise, it must hold filming on identical edge for the peace of the exhibition * Eyecord Matches: using capacitys cord of vision as motivation for a cut, matching another capacitys * Uninterruptedness and Opportunity * Match on Action: Incongruous ends of the identical exercise pieced concertedly to seem natural (someone bounding structure to structure – we see them obtain?} off & attribute) * Bound Cut: abrupt reaffect in opportunity and establish of an exercise which s not announced by a transition CLIP: Breathshort – driving in car merely appearances clips of driving conjuncture they're talking=cuts out bleak interintervenience * Uninterruptedness Error: any casual disharmony from shot to shot (show a peal in the cavity) * Change in residuum, collocation, hair, livery, etc. Soviet Montage and Formalist Tradition * 1920’s Soviet filmmakers conversant editing title encircling the plea that editing should achievement the differences among shots to invent import * Film was seen as a collective instrument * Soviet montage, to-boot determined concussion montage – rhythmic, psychical (The Godfather baptism exhibition – baptism + immolate + he apprehends the killings are bechanceing so this beseems a 3rd import) Realism Photography, TV, and cinema consequence legitimateistic shadows automatically * Viewed arrangementatizeical satirical and montage to be disbanding, corrupting * After WW2 neorealism emerged which deemphasized editing * Film: Stranger than Paradise – appearances boy on phone, doesn’t concede us other edge of colloquy we merely apprehend what he says – shots narrowly affect to accommodate capacitys we see what can fit into the constitute – doesn’t cut out useshort opportunitys, appearances perfectone doing perfect exercise – goes ebon in among exhibitions) ------------------------------------------------- November 14th - Film Genre Understanding Genre * Genres are diverse molds of films that hearerss and filmmakers avow by their conversant fact, stylistic, and thematic conventions * Diverse conventions I. Fact Elements - Most main criteria for defining a genre - Capacity molds - Batch events Thematic return – unconcealed imports from batch that demeanor frequently and frequently II. Visual, probe, objects & contrast * Lighting tends to be alike in films w identical genre * Probe draws consideration to possibilities that neither the capacitys nor the hearers can see * Objects/contrast answer as recurring symbolic shadows that convey import from film to film III. Predictability and Variation * Genres encounter hearers confluences * However, a film after a conjunctureout surprises beseem cliche * Sub genres commence to arcollocate – smaller clusters of films after a conjuncturein a genre * Many films weld capacityistics of multiple genres, creating a mixed * No genre can be defined in a unique way *