German Expressionalist Films

1)Last Laugh

2)

       

3) 1924

4) F.W. Murnau

5) This is one of the first movies to be credited with using prominent camera movements, such as tracing the characters up and down the elevator. The interesting usage of these movements is that they are employed to tell a story that definitely does not classify as horror. 

6) This film is described as a reaction against the sensational movement that Caligari brought forth. A distinct characteristic of this film is that it utilized expresionalist styles associated with horror films "to tell a different type of story.

1) The Cabinet of Dr. Caligari
2) 

3) 1920
4) Robert Weine is the director.
5) The film employs the element of a main character who is negative since the protagonist is marked by paranoia which becomes the main focus of the film. This film is often credited as being a pioneer for other German expressionist films with the same elements of dark and twisted visuals and elaborate sets designed to evoke an ominous feeling.
6) The film is greatly respected and showcased in many museums. It inspired later Expressionist films such as The Last Laugh and Metrapolis. Additionally, there have been many remakes of The Cabinet of Dr. Caligari itself.


1) The Bride of Frankenstein
2)
3) 1935
4) James Whale
5) This sequel to Frankenstein (1931) is noted for using the horror style. Additionally, it has the very same idea as Caligari in that this film has a main character who is not completely positive and easy for the reader to identify with. There is also an elaborate set used for the laboratory setting which classifies this film as being an German expressionist one.
6) The film came out to much acclaim and just as much critique, but its legacy continues to live on. It is consistently voted as one of the best horror films from anywhere such as The New York Times to the United States National Film Registry.

Chase Scene Reflection

Several camera movements in this film have interesting effects. The initial panning shot that travels from the first anchor to the second anchor, and it creates a change in the mood. This change in the mood occurs because the first anchor is positive and content with the turnout, so the audience feels positive. However, the panning shot reveals that the second anchor rather disappointed with the first anchor so there is now an atmosphere of tension. The tracking shot allows the viewer to explicitly view the progression of the action and understand that the scene is becoming more serious. Lastly, the dolly in shot creates a dramatic atmosphere which emphasizes the climax of the movie because the reaction of the actor is slowly revealed.

In addition to camera movements, we also used certain camera angles with specific intent. For example, we used a two shot to start off. In the next frame, however, we separate the two anchors in order to show an increased distance between the anchors as a reflection of their disagreement. Next, at 0:27, we used a close up of the second anchor's face to create drama. We used this drama in order to establish the conflict which would drive our film. At 0:36, we utilized a framing shot to create a larger setting than the desk itself in order to flow into the next part of our film, which begins our actual chase. The stair scene, with the interlacing of the shots in birds eye and worms eye, creates confusion and anticipation within the viewer. The final shot, which is a point of view shot, resolves the movie because the second anchor has accomplished her goal.

Overall, our film came out decently. We struggled a little bit in the beginning arranging all our shot types, and we spent more than the needed amount of type stressing over having every one planned out. I think it would definitely work better next time if we let our scene flow more naturally, and if we chose to add the shots we needed as we were filming. Costuming worked smoothly because we chose to keep it very simple, and the actors had their needed materials everyday. Next time, I think we would benefit the interest of our film to add more props and more intriguing costuming. An area we definitely struggled with was learning to use the new camera movements on the equipment. As a result, some of the movement shots(such as the tracking shot) turned out very shaky. We can easily improve this next time because we understand how to stabilize and level the shots. Something that did not work very well for us was lighting, since some spots of the school were not suitable for filming but we had no choice because we needed continuity. We can fix this by planning beforehand where certain spots may not look visually appealing. In total, our cinematography was satisfactory but not as polished as it could be, but our planning was very good and critical for the success of our film.

Rear Window Background Notes

Audio

Video

Synopsis Set in the 1950s in New York, Rear Window follows the observations of L.B. “Jeff” Jeffries, a professional photographer who is trapped in his apartment due to a broken leg. He takes to watching his neighbors, who offer him an assortment of stories, out of his home’s rear window. Jeff begins to suspect that one of the neighbors, Lars Thorwal, murdered his wife. He enlists the help of his young girlfriend, Lisa Carol Fremont, and his nurse, Stella, to prove his belief right. Cast James Stewart as L.B. “Jeff” Jefferies Grace Kelly as Lisa Carol Fremont  Wendell Corey as Thomas J.  Doyle Thelma Ritter as Stella Raymond Burr as Lars Thorwal Crew Director – Alfred Hitchcock Screenplay – John Micheal Hayes Cinematography – Robert Burks Suspense Created Through Long Takes Hitchcock developed his talent for maintaining suspense using long, deliberate takes which emphasize the detail in the frame of the movie. The use of this element can be seen in the following clip of rope in which heavily uses the principle of framing. Jeffries is looking through his binoculars with anxiety that Thorwal will understand their plan and the way in which Jeffries, Fremont and Stella have been infringing upon his privacy. The very end of the scene, near 2:53, Hitchcock uses an eye level shot in which Thorwal is glaring right into the camera. The audience feels exposed to Thorwal’s glare and sympathizes with the nervousness Jeffries  feels. Hitchcock creates that suspense within the viewer by maintaining that shot for two to three seconds, which is a little longer than what is generally required. Camera Angles and Movement Hitchcock is famous for his point of view shots that put the audience into the mindset of the character. As mentioned above, in the climax, Hitchcock utilizes the point of view shot to emphasize the emotion and shock that Jeffries feels at Thorwal catching Fremont in his apartment. In the next scene in which Thorwal confronts Jeffries creates a different, interesting use for the point of view shots. Here, Hitchcock utilizes the flashing red lights to show how the shot is screened from Thorwal’s view. When this happens, there exists point of view because the confusion and indecisiveness which Thorwal feels is carried over to the audience feeling confusion as well at the chaos of the scene. There are also a multitude of panning shots used in order to create a feeling of constraint as very little additional information is revealed. The panning shots are used to show how Jeffries feels being unable to get up and look around at the events occurring around him since he is confined to his seat.   Lighting There is lots of dark lighting used to create an ominous and suspenseful tone. This conveys the message that the unfolding of events, such as Thorwal discovering Fremont in his apartment will obviously not be positive. Also, many scenes such as the example of the right incorporate severly dark surroundings. This shows how little the audience knows, relating to the symbolism of light and illumination.  Voyeurism The concept of the film rests on Jeffries viewing his neighbors’ activites. This theme settles with the rest of those that are defined by the movement of voyeurism in film starting in this time period. The concept of the protagonist being a regular observer of the activities of others intrigues the audience until they are drawn into wonder the very same thing. Hitchcock’s concept draws in his target audience to wonder at Jeffries’ curiosity. The constant observation links the audience into realizing how little they know and at how the characters know even less. Film History and Theory Set in the postwar period, Rear Window offers a look at the dark and mysterious films that marked this time period in cinema. The depressing mood left by the war is reflected in the themes of this film. The film is made in classic Hitchcock style of suspense.  Watch for  The pacing and deliberelately extended shots which drag the suspense of the scene.  Mise-en-scene - notice how detailed every objected is incorporated into the frame of the shot.  The effective usage of point of veiw shots and how they drag the audience into experiencing the world in the same way as the protagonist.  The theme of voyeurism and how central it is to the development of plot. Also, notice how intriguing Jeffries' interest in watching others is for the audience.

https://www.youtube.com/watch?v=1Ez6dw3ywcc – Suspense and Long Take POV Shot https://www.youtube.com/watch?v=1iY9kVq9CxU - panning

Critical

1. The Metafictional Hitchcock: The Experience of Viewing and the Viewing of Experience in "Rear Window" and "Psycho"

R. Barton Palmer

Cinema Journal 
Vol. 25, No. 2 (Winter, 1986) , pp. 4-19

Published by: University of Texas Press on behalf of the Society for Cinema & Media Studies

Stable URL: http://www.jstor.org/stable/1225456

2. The Representation of Violence to Women: Hitchcock's "Frenzy"

Jeanne Thomas Allen

Film Quarterly

Vol. 38, No. 3 (Spring, 1985), pp. 30-38

Published by: University of California Press

DOI: 10.2307/1212541

Stable URL: http://www.jstor.org/stable/1212541

Page Count: 9

Works Cited:

http://userpages.umbc.edu/~landon/Film%20Summaries/Summary_RearWindow.htm

http://www.upstartfilmcollective.com/portfolios/jcharnick/essays/rear-window.html

https://eng3122.wordpress.com/group-3-main/story-composition/rear-window/
http://www.imdb.com/title/tt0047396/

Pictures:

http://www.movpins.com/big/MV5BMTQzNTQxMTY5N15BMl5BanBnXkFtZTcwNDc5MDkzNQ/still-of-james-stewart-in-rear-window-(1954)-large-picture.jpg

http://cdn.visualnews.com/wp-content/uploads/2012/04/rear-window-2.png

http://a3.files.biography.com/image/upload/c_fit,cs_srgb,dpr_1.0,h_1200,q_80,w_1200/MTE1ODA0OTcxNjYwNDQ1MTk3.jpg
http://hartleyn.ism-online.org/files/2015/03/Rear-window.png
http://i648.photobucket.com/albums/uu204/movietimes2/REARWINDOW/RearWindow1954720pHDTVx264-TSE02277.png
https://berkeleywarreps.files.wordpress.com/2013/05/2alternate.png
http://brianwelk.files.wordpress.com/2013/03/hitchcock_rear_window_miss_torso.jpg

 

Analyss of Chase Scene in "Point Break"

This 1991 action/crime thriller film explores the reasoning behind dangerous action. In this scene, FBI Agent Johnny Utah is chasing a masked surfer who is part of group involved in bank robberies. Thus, the typical chase between the cop and the criminal is established.

The style used in this scene creates intense suspense. In particular, there is a lot of shots in narrow alleys. The sudden direction change the camera makes adds to that feeling of anticipation. There is a lot of bland colors used which sets the tone for a unfavorable situation. The scene is limited in dialogue and relies on natural noise and additional music. The lack of dialogue allows the audience to maintian its  entire focus on the action surrounding the scene since that is the scene is particularly the chase between the agent and the masked man.

The surpise element of this scene comes from the ending, in which the "good guy" is unable to defeat the "bad guy". This is an unexpected conclusion to the chase because the audience follows that the agent follows the masked man very closely and seems to reach him in several instances. The hero's downfall in jumping from the wall is very tragic for the viewer. When the agent draws his gun to shoot the man, the directs inserts two extreme close up shots in a row to get the audience ready for the agent to shoot the masked man. However, in the shot following this, the agent realizes that he won't be able to catch the masked man and becomes frustrated. The direct then, shocks the viewer by creating  a certain expectation and then reveals the opposite of what the audience expects.

How Do Camera Movements Create Emotions?

Crane down - A crane shot moves the audience down into the scene, creating a feeling of being dropped into the character's world.

Crane up - A crane up moving from focusing on the character into a wider frame of the background shows the viewer how small the character is in comparison to the obstacle that he has to overcome.

Crane high to low angle - When the camera moves into a low angle onto the character, it evokes a sense of fear since the character appears very authoritative and strong. 

Handheld - Handheld movement has shakiness, which causes the scene to seem very dangerous and unsettling. 

Quickpan - A quickpan can suddenly change the emotion of the scene, since it reveals a new danger that the character has to overcome. This movement has the power of directing the emotion.

Quick push in - The sudden movement shows a feeling of shock and surprise.

Slow dolly in - The movement towards the character can bring the audience closer towards the subject of the film. This can either create tension by establishing an uncomfortable feeling or create understanding for the character by allowing the audience to share the emotions. 

Slow dolly out - Moving the camera away from the character can make the character seem abandoned. Therefore, the viewer feels empathy for the character and wants him to overcome the obstacle. 

Dolly across - A movement across shows the emotional direction of the scene since it reveals the source of conflict.

Glidecam shot - A smooth glide creates a dramatic, epic feeling.

Handheld shot - The handheld shot's shakiness produces a edgy feeling like the action is being forced onto the viewer.

Glidecam 360 reveal - The 360 reveal creates anticipation for upcoming action since it surveys the surrounding in search for a situation to focus on.

Zolly - This is a shot that is an interesting combination of the zoom and the dolly. The subject remains the same size, while the background gets larger or smaller. It feels like an "out-of-body experience" to the character which can create an dramatic and emotional scene.

Zoom - A movement into or out of the scene. It can shift focus onto a specific subject or away from something to create a broader feel.

Pan - The movement to the left and right while the base stays fixed. Only the camera direction changes to give an overview of the location. It establishes the location of the scene, providing perspective for the upcoming action.

Tracking - This movement shifts the entire camera from left to right in a fluid motion.

Tilt - The base is fixated, while the camera direction shifts up and down. These shots are usually used to introduce characters and give them a sense of power.

Dolly - Similar to tracking, this is the movement of the camera in and out in a fluid motion. 

Camera Angles

Establishing Shot
An establishing shot is a wide shot, usually at the beginning of a new scene, that is used to show the setting/scene of action. 

There is a lot of repetition of curved lines with the hilly setting.

Long Shot 

This shot shows the entire length of the object or person in order to show its relation to the surroundings.
There is formal balance in many of the shots, with the position of the buildings and the position of the people.

Medium Shot

A somewhat detailed shot, showing the subject from the waist up. Some of the background can be seen, so there is equal focus on the subject and the environment. 

There is a lot of formal balance with the position of the peacekeepers and building in the background.

Eye Level Shot
A shot in which the camera is positioned in such a way that the subject looks directly at the audience.

Formal balance is present when Truman is looking into the mirror.

Close Up Shot
A shot that zooms in on a subject so that they are the sole focus of the shot, showing much detail of the subject.
Unity is present because the full clip has the same repeating bland, gloomy colors in the background.
Bird's Eye View
A shot taken from above the subject; they can capture any action that cannot be seen from ground level or can be used as establishment shots.

Leading lines are strongly present with the building aligning towards the direction that the character is flying towards.
Worm's Eye View
A perspective taken from below the subject so the viewer is looking up at the scene.

Leading lines are strongly present at the beginning and end of the clip.
Extreme Close Up Shot
A shot that zooms in to focus on a very specific part of the subject to show extreme detail. They are usually used to convey intensity or emotion.
Variety is present with the myriad of objects present in the background.
Reaction Shot
A shot that shows the subject's reaction in response to an event outside of the frame.
 (1:29 onwards)
 There's unity with the presence of the greenery all around.
Point of View Shot
A shot that allows the audience to look through the eyes of one character.

There is scale because the objects farther into the shot look much smaller than the closer objects.
Over the Shoulder Shot
An angle is which the camera is arranged to look over the shoulder of an actor.

Formal balance is present since the photographs in the background are evenly arranged throughout the wall.

Film Composition Reflection

My film composition certainly had some weak points that could use some work. The camera work was distracting in a few instances. Particularly, in the leading lines clip, the zoom caused the image to get out of focus. Next time, we can try to test the zoom beforehand so that we can be sure we get a clear shot throughout. Our informal balance shot was also shaky and partially cut off one of our heads. We can fix this by taking our time to check if the camera is able to include all the elements we need.

The editing was also problematic in some instances. The titles could've been the same font to offer a more unified look. I also felt that some of the editing of the clips was abrupt and did not turn out as expected. For instance, the framing shot was intended to include pushing our prop out of the shot as the ending, but this couldn't happen because the five seconds were used up with the other action. This also relates back to our camera work and planning, as the walking portion took longer than expected. This can fixed by planning better and reshooting if necessary. Lastly, the video ends without a black background. Adding the black background to the end would allow the video to fade out rather than quickly stop without warning.

Elements and Principles of Art

PHOTOGRAPHY AS ART

Photography is more than combining cameras, lenses, and film; it is about using those tools in combination with the elements and principles of design to create visual art.  Understanding how to use the elements and principles will turn your “snap shots” into photographic works of art.  Define the following terms.

Elements of Design

Line: using certain types of lines in photography creates different moods and lead the viewer to the subject   ·          Leading o   Lines within a picture which direct the eye to a different point ·         Vertical o   In a composition, vertical lines add moods such as strength, power, and growth. ·         Horizontal o   Horizontal lines, such as horizons act as stabilizers in an image that add a calm feeling. They add weight to the image so the rest of the image settles against the horizontal lines. ·         Diagonal o   These types of lines make the image look as though there is movement in it. Diagonal lines can also show depth to create a space that looks three-dimensional. ·         Curved o   Curved lines create feelings of chaos or confusion if they are deep and sharp. On the other hand, soft curves show ease or relaxation.

http://char.txa.cornell.edu/language/element/element.htm use this website to figure out what each type of line represents.

Principles of Design

Balance: Balance in an image prevents the viewer from getting dragged into one spot and getting stuck there. ·         Symmetrical: Symmetrical balance divides an image into equal halves so that there are identical subjects on each side. ·         Asymmetrical: The left and right side of an image are not equal and the elements on each side are different.

Unity: Similar elements throughout an image bring together the composition through repetition.

Variety: Including different details to an element, such as thick vs thin lines adds complexity to the art.

Movement / Rhythm: Movement takes the eye from one spot in the image to another. Rhythm occurs when a flow is created in the image because of similar elements appearing throughout.

Emphasis: A particular area which stands in contrast to the rest of the image and therefore attracts the eye first.

Proportion / Scale: Proportion is the relative size relationships between various elements in an image. It can emphasize the grandeur of a large-scale element or play a trick on the eye based on the position of an object.

Repetition / Pattern: Repetition is the technique of reusing the same elements many times in an image. A pattern, then, gives order to a image and keeps the viewer interested.

Making Choices

Point of View:  Point of view is the position from which the camera is set up to create a specific representation of a scene. ·         bird’s eye: Perspective in which the image is captured from an elevated position, making the viewer see the scene as a bird would. ·         worm’s eye: A shot taken from low on the ground; the view creates an interesting angle to even an ordinary object.

Rule of Thirds: The idea of splitting an image into thirds horizontally and vertically to create nine equal parts. A viewer’s eye naturally travels to the intersections of the lines,  so placing certain points of interest there allows the photographer to emphasize them. The rule of thirds also creates a well balanced image.

Framing: Framing involves blocking out some parts of an image with something else. Framing draws attention to the specific piece that is not blocked and adds depth.

Simplicity: The idea of setting the subject of the image against a clean background so that there is no distraction from the focus on the image.

                        

The Golden Mean

The golden ratio is represented by the Greek letter phi, an irrational number with the value of approximately 1.618. The golden mean is an aesthetically pleasing ratio derived from the Fibonacci sequence. Because of its visual appeal, creators of photographs, buildings, paintings, etc make use of the golden ratio. In the sequence, any given number is the sum of the previous two numbers. As the digits of the Fibonnaci sequence increase, the ratio between one number and its previous number becomes closer and closer to 1.618. There has been much evidence of the golden ratio in art, including works such as “Vitruvian Man” and “The Last Supper”. 

Meaning in Film

1. How do we know if this film will meet our expectations?
   Our expectations of the film are set up by the mood and actions in the trailer. Since trailers are         released to increase anticipation, the film itself does not maintain the same idea we get from our expectations. If the film does meet our expectations, we will know because the same themes that are are prominent in the trailer will be the main focus of the film. For example, the trailer for The Fault in Our Stars focuses solely on the relationship between Augustus and Hazel and everything seems to go perfectly. The greater portion of the movie does focus on the idea of this, so we can be sure that the movie fits our expectations. 


2. What meaning are you getting from the clip?
   The following video clip shows Hazel and Augustus on their trip in Amsterdam when they spend their time becoming closer. Augustus takes Hazel to a restaurant in order to let her experience something separate from her cancer. Despite her attempts to resist him in order to protect him, Hazel is dragged into his charm and sincere affection for her. The viewer can how they are both falling in love. 

3. How is that meaning created?
   The romantic mood is created by the setting of the restaurant. The setting creates an intimate feeling in which Augustus and Hazel are alone. The bright lighting creates a hopeful tone for the relationship between the two and for their lives beyond cancer. Since the shot focuses only on the two of them, the viewer can see the film's focus on their relationship.