Media Aesthetics Notes

â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€- September nineteenth â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€- Film Form; Film and Critical Analysis †Chapter 11 * Step 1: Develop a postulation * What is fascinating, upsetting or imperative? * Does that angle delineate an idea from address w clearness? Is it a genuine case of something we discussed in class? * Did it uniquely affect you? * Step 2: Segment the film * What highlights stood out the most (given that weeks class subject)? * How are those highlights identified with the film as a whole?Pay thoughtfulness regarding subtleties and how they influence the film * Step 3: Identify the exceptional occurrences of procedure * Understand the methods/ideas * Note explicit instances of strategies * Types of lighting, point, shots, account, style, and so forth â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€- September 26th â₠¬Ã¢â‚¬Ã¢â‚¬Ã¢â‚¬Ã¢â‚¬Ã¢â‚¬Ã¢â‚¬Ã¢â‚¬Ã¢â‚¬Ã¢â‚¬Ã¢â‚¬Ã¢â‚¬Ã¢â‚¬Ã¢â‚¬Ã¢â‚¬Ã¢â‚¬- Styles of Film * Two significant bearings †reasonable and formalistic * Directions or â€Å"types† are characterizes by structure, not content Three Styles of Film/Media: * Realistic (concentrated on content, depicting as reality) * Classicism (in the middle of) Formalism (control, removing from the real world) Realism: * Reproduce reality with least contortion target reflect * Major concern is with content, as opposed to shape * Subject issue is preeminent * Documentary movie * Imagine as we’re watching it as we would see it through our own eyes * Ex: Big Brother †crude, unscripted, stale cameras, not playing w control * Would never observe something like a winged creatures eye perspective on hordes of individuals, since we could never observe that, in actuality. On the off chance that we were viewing a discussion happening it would be from one edge Formalism: Deliberately adapted and twist pictures (embellishments, blasts, zooming in/out, account structure, in actuality, occurs in transient request as it would transpire, in these motion pictures hops around in time) * Wants nobody to confuse controlled picture with genuine article (not imagining this is reality, need to show the control) * Concerned with structure as opposed to content * Referred to as expressionist (self-articulation, attempting to make associations between stories/occasions that whenever looked out for and over it has further importance) * Avant-garde film Classical: What most anecdotal movies/shows are named (we could never live like this however its enjoyable to watch, dramatization, satire, gathering of characters that the similitudes can identify with your life yet in addition a component that the story is controlled that wouldn’t be reality) * Films are solid in story, star (somebody we recognize), and creation esteems (summer square busters, high money related interest underwa y in light of the fact that high budgetary return) * Clearly characterized plot, strife, rising peak, and goals/conclusion * Avoids limits of authenticity and formalism (wouldn’t see camera work that appears to be characteristic, yet wouldn’t have arbitrary items on the screen) (sufficiently reasonable yet in addition dream) â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€- Narrative as a Formal System †Chapter 3 I. Standards of Narrative Construction: * Plot and Story * Cause-Effect * Time * Space * Patterns of improvement II. Stream of Story Information: Narration * Range of Story Information * Depth of Story Information * Narrator Narrative Form Most basic in anecdotal media, yet can be nonfictional as well (ex: Bachelor †what’s going to occur one week from now anticipation) * Identify on the grounds that accounts are surrounding us * What is account? Story is a chain of occasions connected by circumstances and logica l results and happening in time (how is this constructed†¦chronological? Bouncing from times? ) and space (area, additional items in foundation, vehicles, and so forth) Components of Narrative Form * Plots and Stories * Story is the topic or crude material of an account * A lot of all occasions * Plot arranges the occasions and activities of the story as indicated by fleeting and spatial examples * Plots can differ †bounce around or sequential, can concentrate on each individual in turn or a gathering †at long last despite everything has same story line * Cause and Effect Characters make circumstances and end results by causing certain things to occur and responding to occasions * Qualities of the character impact cause-impact connections * Physical attributes, characteristics, character * Action/Reaction * Can be a cataclysmic event, and so forth * Time * Construct story time dependent on request the plot presents them * We don’t need ordinary components (show er, rest) to comprehend a story * Temporal request is the request which occasions happen (would they say they are going on in ordered, or flashbacks, or hopping) * Temporal term is the length and which occasions range (is there a second they pay more opportunity to? What is the essentialness of that scene) * Temporal recurrence is the manner by which frequently occasions inside a story are returned to * Space Events happen in plainly characterized areas where the activity happens * Associate different components dependent on areas * Tells us data that isn’t expressed * Opening, shutting, examples of advancement * Classic worldview generally mainstream in media * Set of shows are available in old style account structure * Characters are objective situated * Three-act structure model * Set up, Confrontation, Resolution â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€- October third â€â€â€â€â€â€â€â€â€â€â€â€â€ â€â€â€- Mise-en-Scene Mise-en-Scene: the game plan of all the visual components of a showy creation inside a given playing zone †the stage.Derived from a French dramatic term meaning â€Å"between the scenes† * The Frame * Composition and Design * Territorial Space * Proxemic Patterns The Frame * Each film picture is encased in an edge * Filmmaker doesn’t fit a casing to the subject, yet the topic to the casing * Dimensions of an edge are known as the perspective proportion Frame: Top †propose thoughts of intensity, controls every single visual component (ordinarily somebody unnerving, or legitimate) Center †saved for region of intrigue, authenticity (desire that through genuine eyes we anticipate that something should be there) Bottom †frailty Left/Right Edges †recommend inconsequentiality, unnoticed Off the Frame †dreadful, importanceComposition and Design * The visual parity in the organization of the film * Want to keep up har mony between components since it is anything but difficult to follow * Depending on the sort of film, an awful piece might be compelling * The natural eye endeavors to arrange components in sythesis Dominant Contrast * The territory of a picture that quickly pulls in out consideration due to differentiate * Stand out in a seclusion Subsidiary Contrast * After we take in predominant we examine for counterbalancing gadgets †Lines and Diagonals †Exaggerate Movement †Light and Dark, Shadow †Color †Framing Territorial Space 1. Full Front a. Confronting the camera b. Most close c.Viewer feels included 2. Quarter Turn d. Most loved situation for producers e. Less passionate, however high closeness still 3. Profile Position f. Character is less mindful of being watched 4. Three Quarter Turn g. Significantly more detached than profile shot h. Hostile or against social 5. Back Shot I. Recommends estrangement from world j. Riddle, crowd needs to see more * Setting can have representative importance * Sunny outside, inside, open/private * Consider Contextual use †setting * Consider way one setting is utilized to make various impacts Proxemic Patters * The relationship of articles inside a given space * Many variables decide space * Light, atmosphere, commotion level Patterns are like the manner in which individuals comply with certain extraordinary guidelines in social circumstances * The more separation between the camera and with subject, the more sincerely impartial we remain * â€Å"Long went for satire, close up for tragedy† †Chaplin * Space is seen through 4 examples * Intimate: outrageous close * Personal: medium * Social: full range * Public: long and extraordinary long â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€- October seventeenth â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€- Editing Classical Cutting * French were the first to utilize slicing to c oherence to make â€Å"arranged scenes† * Editing for feeling and show, instead of for simply physical reasons * Presents a progression of mentally associated shots * Film: A Trip to the Moon by Georges Melies Concepts in Classical Cutting Content Curve †where a cut ought to be made; point where crowd has had the option to acclimatize shot’s data (crowd wont be exhausted on the grounds that scene is too long ex: Jaws †one edge too long dangers weariness, one too shot hazard crowd having the option to make sence) * Parallel Editing †exchanging of shots of one scene with another at an alternate area to pass on thought of concurrent time Continuity Editing * Also called â€Å"invisible editing,† a framework contrived to limit the crowds familiarity with shot advances, particularly cuts, so as to improve the progression of the story to abstain from intruding on the watchers inundation in it * Continuity and Space: editors adhere to a standard shot pat ter to keep up spatial congruity * Establish shot, moves to a progression of individual shots