Difference between pages "TCF340/BordwellThompson/Narrative Form (Discussion)" and "TCF440540/BordwellThompson/Cinematography (Discussion)"

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== Form ==
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#'''Group 3:''' What is depth of field?
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#How do Bordwell and Thompson (B/T) define "form" in its general sense? And how is film a "system"?
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#*Define these terms and provides examples of when these techniques might be used:
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#Apply B/T's four principles of film form to ''Day for Night'':[[Image:DayForNightqq01 20 04qq00013.jpg|thumb|left|300px|Ferrand's dream.]]
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#**Shallow focus
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##Function: What function do Ferrand's dreams serve?
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#**Deep focus
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##Similarity and repetition: What is one ''motif'' that recurs in the film? (And what is a motif, according to B/T?)
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#**Pulling focus (What's another name for it?)  
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##Difference and variation: How does the film make use of variations?
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#'''Group 4:''' What is focal length?
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##Development: B/T note, "Another way to size up how a film develops formally is to ''compare the beginning with the ending''." So, how would you say [http://www.tcf.ua.edu/Classes/Jbutler/T340/DayForNight-OpenClose/ the beginning and ending of ''Day for Night''] signals the film's development?
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#*Define these focal-length terms and provides examples of when these techniques might be used:
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<br style="clear: both;">
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#**Wide angle
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First shot:
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#**Telephoto
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#**''Variable'' focal length lens (what's another, more common name for it?)
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#'''Group 1:''' What is aspect ratio?
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#*Define these terms
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#**Academy Ratio: 1.33 : 1 or 4 : 3
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#**Widescreen
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#***Anamorphic 2.35 or 2.4 : 1
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#***Masked 1.85 : 1
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#***TV widescreen: 16 : 9  or 1.78 : 1
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#*What are the aspect ratios of ''Ordinary People'', ''Shakespeare in Love'' and ''Monster's Ball''?
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#'''Group 2:''' What do B/T mean by the "mobile frame"?
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#*Explain the differences among these types of mobile frames and provides examples of when these techniques are used in [http://www.tcf.ua.edu/EO/DV/FilmArt/ShakespeareInLove.htm the ''Shakespeare in Love'' clip]:
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#**Pan
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#**Tilt
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#**Handheld
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#**Tracking or dolly shot
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#*Explain the difference between a tracking/dolly shot and a zoom.
  
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http://www.tcf.ua.edu/Classes/Jbutler/T340/DayForNight-OpenClose/thumbnails/DayForNightqq00_02_29qq00011.jpg ([http://www.tcf.ua.edu/Classes/Jbutler/T340/DayForNight-OpenClose/pages/DayForNightqq00_02_29qq00011.htm larger image])
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==Cinematography and narrative==
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'''All groups:'''
  
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Last shot:
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In the [http://www.tcf.ua.edu/EO/DV/FilmArt/MonstersBall.htm ''Monster's Ball'' scene we viewed], what narrative functions does the cinematography serve? List three of them. Be sure to consider deep/shallow focus, focus shifts and framing in the third shot.
  
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http://www.tcf.ua.edu/Classes/Jbutler/T340/DayForNight-OpenClose/thumbnails/DayForNightqq01_54_22qq00023.jpg ([http://www.tcf.ua.edu/Classes/Jbutler/T340/DayForNight-OpenClose/pages/DayForNightqq01_54_22qq00023.htm larger image])
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[[Image:MonstersBall01.jpg|thumb|left|600px|Shot three from the ''Monster's Ball'' scene begins.]]
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<br clear="all">
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== ''Narrative'' form==
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[[Image:MonstersBall02.jpg|thumb|left|600px|Shot three from the ''Monster's Ball'' scene continues.]]
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B/T define narrative form as "...a chain of events in cause-effect relationship occurring in time and space." Discuss/define each phrase of this definition, providing examples from ''Day for Night'':
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<br clear="all">
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#a chain of events in cause-effect relationship
 
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#occurring in time and space
 
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=== Plot and story ===
 
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#What is the difference between "plot" and "story", as B/T are using those terms?
 
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#Describe the plot and the story of ''Day for Night''. How do they differ?
 
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===Classical Hollywood cinema===
 
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#What are the five or six principal characteristics of classical Hollywood cinema, according to B/T? List them.
 
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#*Does ''Day for Night'' qualify as a classical film? Why or why not?
 
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##Individual characters as causal agents
 
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##Desire and goal
 
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##Counterforce
 
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##Cause and effect chain of events
 
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##Deadlines/appointments
 
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##Closure
 
  
 
== Bibliography ==
 
== Bibliography ==
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#David Bordwell and Kristin Thompson, ''Film Art: An Introduction'', 8th ed. (New York: McGraw-Hill, 2007).
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#David Bordwell and Kristin Thompson, ''Film Art: An Introduction'', 9th ed. (New York: McGraw-Hill, 2010).
  
 
==External links==
 
==External links==
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#[http://www.tcf.ua.edu/Classes/Jbutler/T340/DayForNight/index.htm Frame grabs] from ''Day for Night''.
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#[http://www.tcf.ua.edu/Classes/Jbutler/T440/VisualStyleIllustrations02.htm Cinematography illustrations]
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#[http://www.tcf.ua.edu/EO/DV/Anderson_AmEx.php Wes Anderson American Express Commercial] (''Day for Night'' parody, password protected)
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#[http://www.tcf.ua.edu/Classes/Jbutler/T440/MonstersBall/index.htm ''Monster's Ball'' frame grabs]
  
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[[Category:TCF340 Discussion]]
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[[Category:TCF440/540 Discussion]]

Latest revision as of 21:31, 14 August 2019

  1. Group 3: What is depth of field?
    • Define these terms and provides examples of when these techniques might be used:
      • Shallow focus
      • Deep focus
      • Pulling focus (What's another name for it?)
  2. Group 4: What is focal length?
    • Define these focal-length terms and provides examples of when these techniques might be used:
      • Wide angle
      • Telephoto
      • Variable focal length lens (what's another, more common name for it?)
  3. Group 1: What is aspect ratio?
    • Define these terms
      • Academy Ratio: 1.33 : 1 or 4 : 3
      • Widescreen
        • Anamorphic 2.35 or 2.4 : 1
        • Masked 1.85 : 1
        • TV widescreen: 16 : 9 or 1.78 : 1
    • What are the aspect ratios of Ordinary People, Shakespeare in Love and Monster's Ball?
  4. Group 2: What do B/T mean by the "mobile frame"?
    • Explain the differences among these types of mobile frames and provides examples of when these techniques are used in the Shakespeare in Love clip:
      • Pan
      • Tilt
      • Handheld
      • Tracking or dolly shot
    • Explain the difference between a tracking/dolly shot and a zoom.

Cinematography and narrative

All groups:

In the Monster's Ball scene we viewed, what narrative functions does the cinematography serve? List three of them. Be sure to consider deep/shallow focus, focus shifts and framing in the third shot.

Shot three from the Monster's Ball scene begins.


Shot three from the Monster's Ball scene continues.


Bibliography

  1. David Bordwell and Kristin Thompson, Film Art: An Introduction, 9th ed. (New York: McGraw-Hill, 2010).

External links

  1. Cinematography illustrations
  2. Monster's Ball frame grabs
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