Children and Education in World Cinema

Types of Shots

Definition: a shot is the recording in a single operation of the camera. In other words, series of frames that runs continuously for a period of time.

Close-Ups Shots are meant to reveal a particular emotion, or bring emphasis to a subject. Oftentimes, they have a direct bearing on the plot or theme.

Long Shots make the subject part of the environment. It can convey the vast of its nature.

High-Angle Shots means the camera is positioned above the subject. It is also referred as

God’s Eye Shot which can suggest that there is an unseen presence looking down at the subject or that the subject is inferior.

Low-Angle Shots means the camera is positioned below the subject. This can make subject appear larger than it actually is. This can suggest dominance or power.

Objective Shots is what the camera sees. Typically, the viewer is not seeing the scene from any character's point of view.

Subjective Shots is what the character sees. It offers a one-sided take on reality. It can also be a way to exclude the viewer from participating in the whole action.

Point-of-View Shot, a related subjective shot, represents the point of you of character. When the camera is in motion, it expresses the presences of emotional state.

Framing the Shot refers to the arrangement of details in terms of visual and dramatic points being expressed.

Tight Framing gives a feeling of oppression or the subject appears to be confided.

(Note: Dick suggests that framing should be slightly asymmetrical. If not, a sense of depth will be lost)

Canted Shot results into a leaning composition that emphasizes the mental state of a subject.

Tracking Shot is when the camera is moving with, towards, alongside, or away from its subjects. This can physically draw the viewers into the action, and even pull them into a subject’s consciousness.

More specifically, in music videos, directors commonly utilize close-up shots to focus strictly on the artist’s face during their performances. Wide shots constitute another component used in music videos when a director wants to show several of people or a specific location while also including the artist. Over-the-shoulder shots are used when a musical artist is acting or speaking to another person. This depicts a conversation or brings focus to something the artist is looking at. In all, these shots are purposefully arranged in such a way that they flow with the tempo of the music.

Zooms and Freezes

Zooming is the moving depiction of a subject. It does not mean that the camera is moving, for it is the lens that is adjusted through varying focal lengths. This can flatten the image, and alter the sense of depth.

Freeze Frame is a form of stopping motion by optically repeating a single frame. The movement is suddenly paused and the image becomes a still photograph. This can imply that the subject is immobile, helpless, or indecisive.

Types of Sequence

Definition: A sequence is a group of shots that form a self-contained segment within a film. 

Linear Sequence refers to one action linking up with another. This is in chronological order and creates a mini-drama that consists of a beginning, middle, and an end. This can also mean that some details are omitted and the viewer is expected to make the connections themselves.

Associative Sequence refers to the connection of scenes grounded by an object or a series of objects. This can create a dramatic focus to the object.

Montage Sequence refers to a series of shots arranged in a particular manner with for a reason. This often means that the shots follow each other in a rapid chain, focusing on event or events for a few seconds. It can also be unified images. When a montage ends, the action begins.

Cuts

Definition: (not to be confused with the verb used by the director to halt the action) A cut is the union of two shots that shows the first then it is immediately replaced by the second. It shows what the previous shot did not.

Straight Cut implies that one image is instantly replaced by another.

Contrast Cut implies that the images replacing each other are different in nature.

Crosscut/Parallel Cuts exhibit two actions that are occurring at the same time.  

Jump Cut breaks a film’s continuous flow of connection so as  to leave a gap in the action. Transitions between subjects may not be seen.  Jump cuts can occur within a single shot, when a portion of what is filmed is excised causing the figures in the image to appear to jump. This can propel the shot’s tempo.

Form Cut: the action of cutting from one object to another that is similar in its shape.

Match Cut implies that one shot matches (complements) the other. This produces a smooth transition and there is no break in continuousness.

Transitions

Definition: Bridging the scenes. It is a way of phasing from one scene to another, These are more noticeable than straight cuts.

The Fade-out  is thought to be the simplest transition when the light decreases and the screen turns black. On the contrary, Fade-In is when the light begins to increase and the image appears gradually. Typically used to mark the passage of time or lapse of time.

The Dissolve indicates continuity as it slowly replaces one shot with another.  This can potential serve variety of functions. This can also have the effect of dramatic foreshadowing or recapitulation.

The Form Dissolve: the act of merging two images with the same or contour. Directors use this transition simply to make it “easy on the eyes.”

The Wipe is a traveling line across the screen as one scene replaces another.  It was an iconic stylish transition famously used in the 1930s and 40s. It depicts a theatrical effect.

The Iris is also known as the masking effect, which means everything is black except the circle of what seems like a telescope. The frame can also change in shape, and this merely depends on the form through which the director wants the viewer to see the image.

Irising in/out is the expansion of the dark frame until the image is exposed or diminishing until the image disappears.

Continuity Editing

Definition: The revising principles that affect the film’s rhythm, time, space, tone, and theme.

Rhythm is the tempo and flow of one shot to another. It can also mean changing the pace of sequences. Directors can change the speed, movement, and pace of their shots in service to the audio/music.

Time: the measure of a continual sequence of events. Parallel cutting makes it possible for two actions/shots to synchronize showing one after the other repeatedly in an effective manner. In music video, time moves much faster, and the director must instantaneously make cuts back and forth between shots. Jump cutting can be another approach to transition from one scene to the next that emphasizes or coincides with the audio/music.

Space: a director has the ability to change our perception of space between subjects and character by their variation of camera angles and shots while maintaining the consistency and reasoning behind each scene.

Tone: the vibe or ambience of scenes. Just like tempo, it can vary in a film or music video. This certainly transpires through a director’s choice in lighting, shape, and color that adheres to the music or audio.

Theme is the directors’ central, unifying concept. It is guided by the envisioned genre or lyrics. In music videos, this can mean choice of location or setting.

In music videos, editing is a significant component because it harmonizes with the beat of the music. It brings a sense of order and the aesthetics are structured in a way to make evoke the audience.

Coloring the Image

Black-and-White Film

Before color was an option, colors were merely imagined on screen. The directors worked within the parameters of monochromatic colors so the viewer can perceive what the different shades of grey were representing. Dramatic contracts or luminous lighting was the most effect way to suggest significance in these films. White was also considered an ambivalent symbol that suggested innocence. On the other hand, it can also suggest loss of innocence such as death. Nonetheless, values of white can be render so art fully that the absence of color isn’t missed. Once color was a possibility, black-and-white still remained an artistic choice. This can be used to alter the perception of reality, or to mimic a specific place in time.

Color Film

Color may be used for a more natural feel, but this should not imply that realism and color are synonymous. Color choices can be symbolic, or bring emphasis to a subject. Often, specific colors are chosen deliberately to evoke the viewer.  Color can affect viewers’ psychologically and physically, sometimes without awareness, and can be used as a strong device within scenes.

In music videos, color can be used to create harmony or bring attention to a key visual theme. It is basically in every other element of mise-en-scene: costume, makeup, location, as well as props and have connotations that are used as representation or symbolism. Videos in black and white can be used as a way of showing a time lapse such as flash backs and can suggest that the lyrics are referring to something in the past which is presented through the visuals. 

Lighting the Image

Key Lighting is the principal source of illumination and often leaves shadows when used alone.

Fill Lighting is an auxiliary light that creates softness and less intensity. This can often be used on the opposite side of Key light.

Back Lighting is placed above or behind the subject. When combined with key and fill light, it creates a sense of depth.

Top Lighting is used to create an atmosphere of youthfulness or spirituality.

Side Lighting means half-lit and half-shadow, and it can indicate a sense of split personality or a morally unclear character.

Bottom Lighting denotes a sinister demeanor.

In a music video, lighting also allows its viewer to recognize the genre and style. For example, a scene lit by using “natural” light is often associated with country type music videos. Artificial lights, strobe lights, and colorful lights would more likely seen in a dance pop/hip hop video. Grunge style videos use darker, higher contrast. The direction of the light also give the viewers an indication as to the time of day in which  the scene is taking place. Lastly, lighting can also change throughout the music video depicting different scenes connected to the mood and tone of the music.

Special Effects/Visual Effects

Morphing is a special effect in computer graphics that directors use to change one shape into another in order to challenge the viewer’s perception of reality. It is a form of trickery.

Visual Effects (most common term) are typically part of the narrative and create a particular vision. These are typically used by directors to appeal to the eye and achieve what cannot be achieved without the assistance of digital technology. 

Props/Costumes

In most music videos, props are used to link the music with visual imagery. This becomes part of the narrative in order to make it believable to its audience. The props in a music video can add value to the idea it is trying to portray. Costumes are often used to represent certain characters in various ways such their persona. Different artists would also wear different clothes to symbolize what there are portraying in the music video. This can be influenced by time and location.