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| frame exploited to suggest self sufficient universe |
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| panoramic view of ext location from a great distance. 1/4 mile |
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| all distance planes clearly in focus. CU to infinity |
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| shot given at the begining of the scene which offers context. usually extrem long or long shot |
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| frames the full human body. head at top, feet at bottom |
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| minutely detailed view of object or person, only eyes or mouth. |
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| detailed view of a person or object. only actor's head |
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| shot taken from a crane that moves the camera and cinematographer v. anywhere |
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| shot taken from directly over head |
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| placement of the camera 5-6 ft above ground, corresponds to height of the observer |
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| shot taken from a moving vehicle |
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| ext. of crane shot, outside, taken from helicopter |
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| area that compels most attention...usually highly contrasted |
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| when actor is faced fully towards the front |
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| when 1/4 of actor's face remains visible |
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| when actor stands faced to a 90 degree angle from the camera's viewpoint |
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| lighting from the back of the set, throws characters into silohuette |
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| the spatial relationships among characters within the mise en scene and the apparent distance of the camera from the subject. |
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| the blurring of focal planes in sequence, forcing the viewer’s eyes to travel with those areas of an image that remain in sharp focus. (e.g. In KK version of PP, Lizzy is looking in mirror and in focus while Darcy is behind her and blurred, then the focus switches) |
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| three main are foreground, midground and background. These suggest a sense of depth and can also radically alter the dominant contrast of an image. [An example might be when Elizabeth is looking at the art at Pemberly. She is in the foreground, her aunt and uncle are the mid ground and the rest of the art is in clear focus, but the background} |
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| Used primarily by realist filmmakers, these techniques are likely to be unobtrusive, with an emphasis on informal compositions and apparently haphazard designs. Often such images seem to have no discernible structure and suggest a random form of organization. (ball at Netherfield with lots of people) [I would say that we haven't really seen a number of these, but I think that Elizabeth on the swing might be the best example because the spinning is representative of time passage] |
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| emphasizes a more stylized design. Objects and figures are more precisely placed within the frame and the balance of weights is elaborately worked out. (e.g. entrapment scene with Wickham and Lydia) |
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| a shot that includes an area within the image that roughly corresponds to the audience’s view of the area within the proscenium arch in the live theater. (e.g.In KK version of PP, scene when Bingley comes at end of movie and all the ladies are seated in the parlor) |
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| a relatively close shot, revealing the human figure from the knees or waist up. [Darcy's declaration of love KK version] |
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| Usually a medium shot of two people, with the camera places just behind the shoulder of one character, directed at the face of the opposite character. [Meeting with Georgiana BBC] |
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| a shot in which the subject is photographed from above. These give the viewer a sense of a general overview but not necessarily one implying destiny or fate. High angles reduce the importance of a subject and tend to swallow people. (e.g. in BBC version of PP, when Lizzy and the Gardiners are walking through Pemberly on the checkered floor, they all tend to look insignificant in this world of Pemberly) |
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| a shot in which the subject is photographed from below. This shot increases a short actor’s height. Psychologically low angles heighten the importance of a subject. (e.g. In BBC version with Bingley sitting in chair and Darcy and his sisters tower over him) |
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| a shot in which the camera photographs a scene from directly overhead. In this shot, we are permitted to hover above a scene like all-powerful gods. The people photographed seem vulnerable and insignificant. (e.g. in BBC version of PP, when Lizzy and the Gardiners are walking through Pemberly on the checkered floor, they all tend to look insignificant in this world of Pemberly) [BBC, Darcy and Bingley riding horses] |
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| The placement of the camera approximately six feet from the ground, corresponding to the height of an observer on the scene. (in BBC version, when Lizzy returns to Longbourne after receving Jane’s letter about Lydia. Lizzy and Jane stop shortly after entering to discuss any new news) |
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| Short for panorama, this is a revolving horizontal movement of the camera from right to left or vice versa, taken from a stationary axis point with camera is mounted on a tripod. The most common use of a pan is to keep the subject within the frame. If a person moves from one position to another, the camera moves horizontally to keep the person in the center of the composition. [KK version opening sequence: dolly shot bleeds into a panning shot] |
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| Originally, tracks were laid on the set to permit a smoother movement of the camera. This is useful to capture a sense of movement in or out of a scene. (E.g. scene in Persuasion when Lady Russell and Anne are walking through museum area) |
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| essentially a variation of the crane shot, though restricted to exterior locations. Usually taken from a helicopter. [Darcy and Bingley riding horses] |
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| a lens of variable focal length that permits the cinematographer to change from wide- angle to telephoto shots and vice versa in one continuous movement, often plunging the viewer in or out of a scene rapidly. These shots foreshorten people and flatten space. The effect is all of a sudden magnification. [KK version opening sequence] |
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