OEF: concepten & richtvragen
Class Ontwikkeling & esthetiek van de film
H2: crashcourse filmtaal en -analyse
The frame size established by the Academy
of Motion Picture Arts and Sciences to
standardize the sound film in 1932. It
Academy ratio
indicates an aspect ratio of 4:3 or 1.33:1 (the
actual projector aperture plate aspect ratio
was 1.37:1)
cf. model Vandenbunder onder ante-
filmische (AF) mise-en-scène
A-filmisch (aF) = alles wat na de opname wordt toegevoegd
of bewerkt (creatieve ingrepen in montage
en post-productie)
cf. model Vandenbunder onder schriftuur 1
Ante-filmisch (AF, mise-en-scène)
(opname, mise-en-cadre)
exposition (proloog) → hamartia (pp1) →
Aristoteles: narratief model
crisis → climax (peripetie, pp2) → resolutie
Average shot length (ASL) = x shots in x min (cf. cinemetrics)
The ratio of the width to the height of the
cinematic image, or frame. The Academy
aperture standard through 1952 was 1.33:1;
contemporary widescreen ratios vary, but
Aspect ratio
the most common are 1.66:1 (Europe) and
1.85:1 (United States). Anamorphic
processes such as CinemaScope can range
from 2.00:1 to 2.55:1.
Beeldgrootte (scale) = parameter opname (s1)
• Extreme close-up (ECU)
→ object vult het scherm
• Big close-up (BCU)
→ detailopname
OEF: concepten & richtvragen 1
, • Nabij-opname (NaO of CU)
• Medium close-up (MCU)
→ bv schouders en hoofd
• Medium shot (MS)
→ bv vanaf heup
• Medium long shot (MLS)
→ bv hele figuur
• Long shot (LS) / totaalopname (TO)
→ bv figuur en achtergrond
• Extreme long shot (ELS)
→ bv landschap
• Combinaties
→ establishing shot
→ shot/reverse shot
→ over the shoulder shot
= motief montage
(Beeld)rijmmontage → middel om harde overgang in tijd te
verzachten of te verantwoorden via
gelijkaardig visueel motief
cf. mise-en-scène parameter
Belichtingscodes
= intensiteit, richting, kleur, bron
cf. mise-en-scène variabele
Blik (gaze)
= organisatie kijken/bekeken worden
= american filmscientist
Bordwell, David cf. fabula, suject & stijl
cf. geluid als betekenislaag
1. Mise-en-scène (AF)
2. Cinematography (S1)
Bordwell & Thompson analytic model 3. Editing (S2)
4. Sound
5. Narrative system
cf. parameter opname (s1)
Cadrage
= focus vs out-of-focus
Camerabeweging cf. parameter cinematografie
• Voor, achter, zij, … (creatief invullen)
• Soorten
→ plan fixe
→ travelling of tracking shot
OEF: concepten & richtvragen 2
, → panoramique (pan-shot)
→ caméra libre (bv steadycam)
• Extreem = long take
→ narratieve complexiteit
→ presentatie van samenhang van
handelingen en personages
→ overzicht ruimte
cf. parameter cinematografie
• Frontaal
• Kikvors
• Vogel
Camerastandpunt
• Top shot
• High-angle shot
• Crane shot
• Mengvormen
Cinematography cf. schriftuur 1 (opname), analyse-level
cf. parameter montage
Cinemetrics
= montageritme, tempo & stijl
• Chronologie
→ cause-effect chain
• Logica in handelingen, personages, ruimte
& tijd
• Diëgese = de denkbeeldige
(chrono)logische wereld zoals gecreëerd in
de film
Classical narrative style
→ met logische geconstrueerde personages,
ruimte, tijd, handelingen
• Illusie van realiteit onderlijnen
• ‘Onzichtbare’ montage
• Identificatie centraal
→ character-led, psychologie van het
personage
In its precise meaning, a shot of a human
subject’s face or other object alone; more
Close-up
generally,
any close shot.
= tweede narratieve act
Confrontation
→ ontwikkeling, peripetie, compilation
OEF: concepten & richtvragen 3
, The final editing structure of a completed
film. Also refers to arranging events by
editing as if they had occurred continuously
Continuity editing when in fact they were shot out of
sequence. Editing shots together
imperceptibly so that the action of a
sequence appears to be continuous.
Moving from one image or shot to another
Cut
by editing.
A technique that exploits depth of field to
render subjects both near and far from the
camera lens with equal clarity, and permits
the composition of the image in depth.
Deep focus
Orson Welles’s Citizen Kane (1941) is one of
the earliest and most famous films to use
deep-focus shots as a basic structural
element.
= de denkbeeldige (chrono)logische wereld
zoals gecreëerd in de film
Diëgese
→ met logische geconstrueerde personages,
ruimte, tijd, handelingen
Frequently called lap dissolve. A transitional
or expressive device that superimposes a
Dissolve
fade-out over a fade-in, so that one image
seems to overlap with another.
= klassieke belichtingscode
Driepuntsbelichting → vanaf drie punten licht zodat personage
centraal en geen vervreemding
Emulsie cf. parameter cinematografie
= a thin, light-sensitive coating of chemicals
covering the base of the film stock.
• Grof of fijn
• Zwart-wit of kleur
→ voor 1935: zw
→ 1935-52: expansie kleur, zw dominant
• 1952-68: gemengd, dominantie kleur
• 1968: dominantie kleur + ingekleurd
• Functies
OEF: concepten & richtvragen 4
Class Ontwikkeling & esthetiek van de film
H2: crashcourse filmtaal en -analyse
The frame size established by the Academy
of Motion Picture Arts and Sciences to
standardize the sound film in 1932. It
Academy ratio
indicates an aspect ratio of 4:3 or 1.33:1 (the
actual projector aperture plate aspect ratio
was 1.37:1)
cf. model Vandenbunder onder ante-
filmische (AF) mise-en-scène
A-filmisch (aF) = alles wat na de opname wordt toegevoegd
of bewerkt (creatieve ingrepen in montage
en post-productie)
cf. model Vandenbunder onder schriftuur 1
Ante-filmisch (AF, mise-en-scène)
(opname, mise-en-cadre)
exposition (proloog) → hamartia (pp1) →
Aristoteles: narratief model
crisis → climax (peripetie, pp2) → resolutie
Average shot length (ASL) = x shots in x min (cf. cinemetrics)
The ratio of the width to the height of the
cinematic image, or frame. The Academy
aperture standard through 1952 was 1.33:1;
contemporary widescreen ratios vary, but
Aspect ratio
the most common are 1.66:1 (Europe) and
1.85:1 (United States). Anamorphic
processes such as CinemaScope can range
from 2.00:1 to 2.55:1.
Beeldgrootte (scale) = parameter opname (s1)
• Extreme close-up (ECU)
→ object vult het scherm
• Big close-up (BCU)
→ detailopname
OEF: concepten & richtvragen 1
, • Nabij-opname (NaO of CU)
• Medium close-up (MCU)
→ bv schouders en hoofd
• Medium shot (MS)
→ bv vanaf heup
• Medium long shot (MLS)
→ bv hele figuur
• Long shot (LS) / totaalopname (TO)
→ bv figuur en achtergrond
• Extreme long shot (ELS)
→ bv landschap
• Combinaties
→ establishing shot
→ shot/reverse shot
→ over the shoulder shot
= motief montage
(Beeld)rijmmontage → middel om harde overgang in tijd te
verzachten of te verantwoorden via
gelijkaardig visueel motief
cf. mise-en-scène parameter
Belichtingscodes
= intensiteit, richting, kleur, bron
cf. mise-en-scène variabele
Blik (gaze)
= organisatie kijken/bekeken worden
= american filmscientist
Bordwell, David cf. fabula, suject & stijl
cf. geluid als betekenislaag
1. Mise-en-scène (AF)
2. Cinematography (S1)
Bordwell & Thompson analytic model 3. Editing (S2)
4. Sound
5. Narrative system
cf. parameter opname (s1)
Cadrage
= focus vs out-of-focus
Camerabeweging cf. parameter cinematografie
• Voor, achter, zij, … (creatief invullen)
• Soorten
→ plan fixe
→ travelling of tracking shot
OEF: concepten & richtvragen 2
, → panoramique (pan-shot)
→ caméra libre (bv steadycam)
• Extreem = long take
→ narratieve complexiteit
→ presentatie van samenhang van
handelingen en personages
→ overzicht ruimte
cf. parameter cinematografie
• Frontaal
• Kikvors
• Vogel
Camerastandpunt
• Top shot
• High-angle shot
• Crane shot
• Mengvormen
Cinematography cf. schriftuur 1 (opname), analyse-level
cf. parameter montage
Cinemetrics
= montageritme, tempo & stijl
• Chronologie
→ cause-effect chain
• Logica in handelingen, personages, ruimte
& tijd
• Diëgese = de denkbeeldige
(chrono)logische wereld zoals gecreëerd in
de film
Classical narrative style
→ met logische geconstrueerde personages,
ruimte, tijd, handelingen
• Illusie van realiteit onderlijnen
• ‘Onzichtbare’ montage
• Identificatie centraal
→ character-led, psychologie van het
personage
In its precise meaning, a shot of a human
subject’s face or other object alone; more
Close-up
generally,
any close shot.
= tweede narratieve act
Confrontation
→ ontwikkeling, peripetie, compilation
OEF: concepten & richtvragen 3
, The final editing structure of a completed
film. Also refers to arranging events by
editing as if they had occurred continuously
Continuity editing when in fact they were shot out of
sequence. Editing shots together
imperceptibly so that the action of a
sequence appears to be continuous.
Moving from one image or shot to another
Cut
by editing.
A technique that exploits depth of field to
render subjects both near and far from the
camera lens with equal clarity, and permits
the composition of the image in depth.
Deep focus
Orson Welles’s Citizen Kane (1941) is one of
the earliest and most famous films to use
deep-focus shots as a basic structural
element.
= de denkbeeldige (chrono)logische wereld
zoals gecreëerd in de film
Diëgese
→ met logische geconstrueerde personages,
ruimte, tijd, handelingen
Frequently called lap dissolve. A transitional
or expressive device that superimposes a
Dissolve
fade-out over a fade-in, so that one image
seems to overlap with another.
= klassieke belichtingscode
Driepuntsbelichting → vanaf drie punten licht zodat personage
centraal en geen vervreemding
Emulsie cf. parameter cinematografie
= a thin, light-sensitive coating of chemicals
covering the base of the film stock.
• Grof of fijn
• Zwart-wit of kleur
→ voor 1935: zw
→ 1935-52: expansie kleur, zw dominant
• 1952-68: gemengd, dominantie kleur
• 1968: dominantie kleur + ingekleurd
• Functies
OEF: concepten & richtvragen 4
