Difference between pages "Beyond and Beside Narrative (Discussion)" and "Style and the Camera (Discussion)"

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==Bill Nichols' terms==
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<P>'''Group 3'''</P>
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'''All groups:''' Explain film scholar Bill Nichols' sense of the following terms:<ref>Bill Nichols, ''Representing Reality''.</ref>
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<UL>
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*''historical world'' or ''historical reality''
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  <LI>Explain what <strong>focal length</strong> is -- using the textbook illustrations.</LI>
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**Why does he prefer this term to "reality"?
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  <LI>How does a zoom in/out look different from a track in/out?</LI>
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*''social actor''
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</UL>
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**Why does he prefer this term to "individuals" or, simply, "people" in non-narrative works?
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<P>'''Group 4'''</P>
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<UL>
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  <LI>Explain what <strong>depth of field</strong> is -- using the textbook illustrations.</LI>
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  <LI>What is the difference between deep focus and deep space (as in mise-en-scene)?</LI>
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</UL>
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<P>'''Group 1'''</P>
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<UL>
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  <LI>Explain what <strong>aspect ratio</strong> is -- using the textbook illustrations.</LI>
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  <LI>Also explain letterbox and pan-and-scan. </LI>
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</UL>
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<P>'''Group 2'''</P>
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<UL>
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  <LI>Explain the significance of camera <strong>framing, height, and movement</strong> -- using the textbook illustrations.</LI>
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  <LI>When might movement be used that does <I>not</I> follow a character? How is a Steadicam shot different from a handheld shot? </LI>
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</UL>
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<P>If you were a cinematographer reshooting the <em>Northern Exposure</em> shot (below), from the scene we saw Tuesday, how might you change these cinematographic aspects? How would that change affect the scene's impact or the viewer's understanding of it? Each group should apply this exercise to its specific cinematographic aspect (above).</P>
  
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==Modes of representation==
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http://www.tcf.ua.edu/Classes/Jbutler/T311/NorthExp04.JPG
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Television depicts historical reality and addresses itself to the viewer about that reality through four principal "modes". Individual genres and programs are not limited to one single mode, but instead draw upon each as needed.
 
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Drawing examples from the non-narrative television viewed in class (''Lobster Wars'', ''The Daily Show'', ''Two-A-Days'', ''Cops'', news coverage of an incident in Goražde) explain each mode:
 
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#'''Group 4:''' Expository (or rhetorical)
 
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#'''Group 1:''' Interactive
 
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#'''Group 2:''' Observational
 
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#'''Group 2:''' Reflexive
 
  
 
== Bibliography ==
 
== Bibliography ==
 
#Butler, Jeremy G. ''Television: Critical Methods and Applications''. Mahweh, NJ: Lawrence Erlbaum Associates, 2007.
 
#Butler, Jeremy G. ''Television: Critical Methods and Applications''. Mahweh, NJ: Lawrence Erlbaum Associates, 2007.
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==References==
 
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<references/>
 
  
 
==External links==
 
==External links==
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*[http://www.tcf.ua.edu/tvcritgallery/index.php/chapter06 Illustrations from ''Television'' chapter 6.]
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*[http://camerasim.com/camera-simulator.html CameraSim Camera Simulator]
  
 
[[Category:TCF311]]
 
[[Category:TCF311]]
 
[[Category:TCF311 Discussion]]
 
[[Category:TCF311 Discussion]]

Revision as of 14:52, 10 November 2011

Group 3

  • Explain what focal length is -- using the textbook illustrations.
  • How does a zoom in/out look different from a track in/out?

Group 4

  • Explain what depth of field is -- using the textbook illustrations.
  • What is the difference between deep focus and deep space (as in mise-en-scene)?

Group 1

  • Explain what aspect ratio is -- using the textbook illustrations.
  • Also explain letterbox and pan-and-scan.

Group 2

  • Explain the significance of camera framing, height, and movement -- using the textbook illustrations.
  • When might movement be used that does not follow a character? How is a Steadicam shot different from a handheld shot?

If you were a cinematographer reshooting the Northern Exposure shot (below), from the scene we saw Tuesday, how might you change these cinematographic aspects? How would that change affect the scene's impact or the viewer's understanding of it? Each group should apply this exercise to its specific cinematographic aspect (above).

http://www.tcf.ua.edu/Classes/Jbutler/T311/NorthExp04.JPG

Bibliography

  1. Butler, Jeremy G. Television: Critical Methods and Applications. Mahweh, NJ: Lawrence Erlbaum Associates, 2007.

External links

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