Film Analysis Techniques

Extract

[...] The transition from plan A to plan B is ensured by a regard relation. It can be used to create a subjective view. The shot - reaction shot match plan subject who looks plan the scene plan we go back to the subject who initially looks to see their reaction Sequence of 3 plans. 10) Field - counterfield It is when there is an alternation between 2 people who interact where the rule of the match cut on the eye is necessarily respected. [...]

[...] Not only do we embody the character's point of view but also his point of hearing, we also have a partial view. Clip by Jonas Akerlund 'smack my bitch up' by Prodigy: we try to embody a point of view of confusion. Several other elements come to attach themselves to this point of view. Second state by example (blur, distortions, filed images). As a result, we are not supposed to know who the person we embody is and we learn it at the end. 14) Sound Analysis The sound can play a primary role. [...]

[...] In this case, we ask ourselves the question of the extra or intra-diégétique sound. - The mass: the timbre of a sound that approaches becomes progressively richer and more complex. While the timbre of a sound that recedes becomes progressively more thin. The closer it is, the more complex and rich it is. - the reverberation: indicates a listening situation in a large space. The absence of reverberation, or in other words, the dullness of a sound indicates, the minute gap between the point of emission and the point of listening. [...]

[...] Sequence plan the plan is very long We need to relate several internal and external elements to the plan, as well as a plan in relation to the one that precedes it and the one that follows it. Image analysis parameters: Scale of plans Depth of fields Lateralness (centered or decentered) Verticality (low-angle or high-angle) Parallelism (broken plane) Frontality (camera view) The framing The choice of frame is fundamental because it indicates the choice between what will be included in the plan and what will be left aside. But what do we decide to show and how? Aesthetic choice, certainly, but also and above all, political (showing urban violence or rape in fiction). [...]

[...] The context of the image (e.g. from a film) The framing (e.g. close-up) Light / Shadow ? to determine where the light comes from, look at the shadows Posture of the subject ? expressions, emotions Analyze the different parameters ? intensity of the light, transition from warm colors to cold colors We analyze an image based on several parameters: - frame - point of view - sharpness ? focus + depth of field - lighting (play of shadows (dance? Sharp? Black? [...]