I have developed the below shot list based on the Good Cop/Bad Cop scene from L.A. Confidential.
Saturday, April 9, 2011
Blog #6- Shot List- L.A. Confidential Good Cop/Bad Cop
I have developed the below shot list based on the Good Cop/Bad Cop scene from L.A. Confidential.
Sunday, April 3, 2011
Blog Post #5
Cinematography Screening Checklist- American Beauty
1) Determine whether or not the cinematographic aspects of the film—the qualities of the film stock, lighting, lenses, framing, angles, camera movement, and use of long takes—add up to an overall look. If so, try to describe its qualities.
Cinematographic aspects of American Beauty included the use of subtle lighting effects, careful control over fill light and darks to evoke a fairly peaceful, soft, classic look that contrasted heavily with the dramatic events occurring on screen.
2) Take note of moments in the film in which the images are conveying information that is not reflected in characters’ action and dialogue. How do these images develop the film’s themes, narrative, and meaning?
Several themed images were used to convey information that was not reflected in characters’ actions or dialogue including recurring images of rose petals and the color red. Long takes linger on the red door of the Burnham’s home. Lester continuously associates red rose petals with his Lolita attraction to Angela. Both symbolic visual images represent the stark contrast between the bland, façade of the Burnham’s lives and their true internal feelings about who they are and what they want out of life.
3) Pay close attention to the length of shots in the film. Is there a recognizable pattern? Are long takes used? To what extent? For what purpose?
There is a recognizable pattern of the length of shots used in the film. Long takes are used that tend to linger on the main subject of the scene. Often wider shots of dialogue between characters pull into a close-up of the main speaker, focusing on their thoughts and reflections to bring meaning to their words.
4) Keep track of instances in which the film uses shots other than the medium shot (MS)—for instance, extreme close-ups (ECUs) or extreme long shots (ELSs). What role are these shots playing in the film?
Extreme close ups and extreme long shots are used to the film to play specific roles in the audiences perception of the scenes. An ELS is used when viewing the Burnham’s at the dinner table. The scene encompasses all three family members and some surrounding environment to show the distance between the Lester and Carolyn and Jane stuck in the middle of their ongoing feud. ECU’s are used often throughout the film during dialogue that turns often to short monologues for the subject characters, such as when Jane walks home with Ricky and watches the bag video with him in his room. A wide-shot of Jane and Ricky watching the video transitions to an extreme close up on Ricky as he describes what the video meant to him.
5) Are high- or low-angle shots used in the film? Are they POV shots, meant to represent a character’s point of view? If so, what does the angle convey about that character’s state of mind? If not, what does it convey about the person or thing in the frame.
Some high angle shots are used such as when the camera swings in from high above the Burnham’s neighborhood at the beginning of the film. This shot shows the insignificance of the Burnham’s lives in the large world that surrounds them. Their experience begins small and insignificant but we later learn the depth of humanity in each of these characters as we get a view into their corner of the world. Few POV shots are used in the film except when Lester is watching or fantasizing about Angela and via the use of Ricky’s handheld camera. We witness Lester’s fantasy of Angeles’s erotic dance at the high school basketball game. Also, we see Ricky’s view on the screen when watching Jane talk in his room or when he’s filming her from his window in her room. We see what Ricky focuses on and this reveals his attraction and fascination with her as well as her acceptance of his attention.
6) Are the compositions of shots balanced in a way that conforms to the rule of thirds, or are the elements within the frame arranged in a less “painterly” composition? In either case, try to describe how the composition contributes to the scene overall.
The rule of thirds is used quite often in the film during composition shots. There is a classical “painterly” quality to many shots. The composition shows the pristine orderliness of the environment, providing contrast to the complicated messy lives of the characters. These include a wide shot of the Burnham’s home and their perfectly pruned yard as well as when Jane and Ricky walk home down their perfectly framed maple tree lined street.
7) Describe the extent of camera movement in the film. Is the camera moving solely to produce visual excitement? To demonstrate technological virtuosity on the part of the filmmaker? Does it play an important role in developing the film’s narrative?
There is not a great deal of camera movement in the film. The cinematography is trying to create a realist view of average suburban environments as opposed to fast movement or visual excitement. Camera movement focuses on deep zooms and left to right pans across the faces of the characters. These movements do play an important role in the development of the narrative such as showing Lester’s infatuation with Angela and the dramatic pans of each character when they hear the gun shot that killed Lester.
8) Note when the cinematography calls attention to itself. Is this a mistake or misjudgment on the filmmakers’ parts, or is it intentional? If intentional, what purpose is served by making the cinematography so noticeable?
The cinematography does call attention to itself on occasion especially during Lester’s dramatic fantasies about Angela. During his dream as he wanders into the misty bathroom while Angela sits in a bath, the surface covered in rose petals, he lighting is overly soft and diffused, unrealistic with no defined source. This highlights the fantastical environment and Lester’s idealized view of Angela and her erotic charms.
1) Determine whether or not the cinematographic aspects of the film—the qualities of the film stock, lighting, lenses, framing, angles, camera movement, and use of long takes—add up to an overall look. If so, try to describe its qualities.
Cinematographic aspects of American Beauty included the use of subtle lighting effects, careful control over fill light and darks to evoke a fairly peaceful, soft, classic look that contrasted heavily with the dramatic events occurring on screen.
2) Take note of moments in the film in which the images are conveying information that is not reflected in characters’ action and dialogue. How do these images develop the film’s themes, narrative, and meaning?
Several themed images were used to convey information that was not reflected in characters’ actions or dialogue including recurring images of rose petals and the color red. Long takes linger on the red door of the Burnham’s home. Lester continuously associates red rose petals with his Lolita attraction to Angela. Both symbolic visual images represent the stark contrast between the bland, façade of the Burnham’s lives and their true internal feelings about who they are and what they want out of life.
3) Pay close attention to the length of shots in the film. Is there a recognizable pattern? Are long takes used? To what extent? For what purpose?
There is a recognizable pattern of the length of shots used in the film. Long takes are used that tend to linger on the main subject of the scene. Often wider shots of dialogue between characters pull into a close-up of the main speaker, focusing on their thoughts and reflections to bring meaning to their words.
4) Keep track of instances in which the film uses shots other than the medium shot (MS)—for instance, extreme close-ups (ECUs) or extreme long shots (ELSs). What role are these shots playing in the film?
Extreme close ups and extreme long shots are used to the film to play specific roles in the audiences perception of the scenes. An ELS is used when viewing the Burnham’s at the dinner table. The scene encompasses all three family members and some surrounding environment to show the distance between the Lester and Carolyn and Jane stuck in the middle of their ongoing feud. ECU’s are used often throughout the film during dialogue that turns often to short monologues for the subject characters, such as when Jane walks home with Ricky and watches the bag video with him in his room. A wide-shot of Jane and Ricky watching the video transitions to an extreme close up on Ricky as he describes what the video meant to him.
5) Are high- or low-angle shots used in the film? Are they POV shots, meant to represent a character’s point of view? If so, what does the angle convey about that character’s state of mind? If not, what does it convey about the person or thing in the frame.
Some high angle shots are used such as when the camera swings in from high above the Burnham’s neighborhood at the beginning of the film. This shot shows the insignificance of the Burnham’s lives in the large world that surrounds them. Their experience begins small and insignificant but we later learn the depth of humanity in each of these characters as we get a view into their corner of the world. Few POV shots are used in the film except when Lester is watching or fantasizing about Angela and via the use of Ricky’s handheld camera. We witness Lester’s fantasy of Angeles’s erotic dance at the high school basketball game. Also, we see Ricky’s view on the screen when watching Jane talk in his room or when he’s filming her from his window in her room. We see what Ricky focuses on and this reveals his attraction and fascination with her as well as her acceptance of his attention.
6) Are the compositions of shots balanced in a way that conforms to the rule of thirds, or are the elements within the frame arranged in a less “painterly” composition? In either case, try to describe how the composition contributes to the scene overall.
The rule of thirds is used quite often in the film during composition shots. There is a classical “painterly” quality to many shots. The composition shows the pristine orderliness of the environment, providing contrast to the complicated messy lives of the characters. These include a wide shot of the Burnham’s home and their perfectly pruned yard as well as when Jane and Ricky walk home down their perfectly framed maple tree lined street.
7) Describe the extent of camera movement in the film. Is the camera moving solely to produce visual excitement? To demonstrate technological virtuosity on the part of the filmmaker? Does it play an important role in developing the film’s narrative?
There is not a great deal of camera movement in the film. The cinematography is trying to create a realist view of average suburban environments as opposed to fast movement or visual excitement. Camera movement focuses on deep zooms and left to right pans across the faces of the characters. These movements do play an important role in the development of the narrative such as showing Lester’s infatuation with Angela and the dramatic pans of each character when they hear the gun shot that killed Lester.
8) Note when the cinematography calls attention to itself. Is this a mistake or misjudgment on the filmmakers’ parts, or is it intentional? If intentional, what purpose is served by making the cinematography so noticeable?
The cinematography does call attention to itself on occasion especially during Lester’s dramatic fantasies about Angela. During his dream as he wanders into the misty bathroom while Angela sits in a bath, the surface covered in rose petals, he lighting is overly soft and diffused, unrealistic with no defined source. This highlights the fantastical environment and Lester’s idealized view of Angela and her erotic charms.
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