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| Staging or putting on an action or scene |
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| Process by which the look of the settings props, lighting, and actors is determined. |
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Organization, distribution, balance, and general relationship of actors and objects within space of each slot.
Part of the process of visualizing and planning the design of a movie. |
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| Works closely with the director, in visualizing the movie that will appear on the screen, both an artist and an executive responsible for the overall design concept, the look of the movie, as well as individual sets, locations, furnishings the heads of the many departments that create that look. |
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| In addition to creating and maintaining the studio's distinctive visual style, took full screen credit an any awards the film received for art direction. |
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| The spatial and temporal of a film is the environment (realistic or imagined) in which the narrative takes place. |
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| The color and textures of the interior decoration, furniture, draperies, curtains |
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| Objects such as paintings vases, flowers, silver tea pots, guns, to help us understand the characters by showing us their preferences in such things |
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| Windowless soundproffed professional shooting environment that is usually several stories high and can cover an acre or more of floor space |
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| The use of deep gradations and subtle variations of lights and darks within an image |
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| The clothing worn by an actor in a movie, sometimes known as wardrobe. |
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| Mounted in the viewing system of the film camera and provides instant visual feedback, enabling them to view a scene its details with those of surrounding scenes before the film is sent to the lab for processing. |
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| What we see on the screen |
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| Unlike static frame around a painting the frame around a motion picture image can move and thus change its point of view |
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| Results from reframing, not merely a container for a movie's visual elements, but is itself an important and dynamic visual element |
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| The visual elements are are crucial to shaping our sympathy for, and understanding of, the characters shaped by them |
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| Absolutely essential to the director's defining and our understanding of character and action |
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Should be appropriate to the narrative
Be Transparent |
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Setting
Decor
Properties
Lighting
Costume
Makeup
Hairstyle |
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| Most important decision that film maker makes: |
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| Determine when to shoot on location and when to to shoot on a set |
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| Why is lighting essential? |
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| Essential in drawing the composition of a frame and realizing that arrangement on film. |
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| reflect both the years they hope to represent and the years in which they were created |
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| Kept a meticulous log of each days shooting |
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| Why did actors have to wear wigs until the 1960'? |
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| Russion Filmakers influenced |
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Non-fiction filmwith it's documentary look
Highly dynamic style of editing |
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| First Great German Expressionist film |
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The Cabinet of Dr. Caligari
reflected psychological states in exterior settings, gave interior and 3exterior a voice |
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| Realist Cinema devekloped by the Germans |
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Designed to depict a world where characters move freely within an open recognizable environment
Realistic or Verisimilar |
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Designed to imply that other forces, such a sfate, economic or repressive have robbed characters of their ability to move and act freely
Unrealistic |
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| Applies to anything concrete within a frame, ann object an animal, a person. |
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| The director must plan the positions and movements of the actors with tape |
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