Film Techniques And Terms
ELA Comprehensive 40S
Movement
Movement in film can build the personalities of the characters. Repeated walk-ins
create the idea of an extroverted character, while characters that move away from the
camera seem introverted. Movement can also create mood; fast movement is bright
and exciting, while slow movement is sad, calm or full of suspense.
Camera Movement
Pan:
The camera movement moves horizontally on a fixed base.
Tilt:
The camera points up or down from a fixed base.
Tracking (Dolly) Shot:
The camera moves through space on a wheeled truck (or
dolly) but stays in the same plane.
Boom:
Zoom:
The camera moves up or down through space.
Not a camera movement, but a shift in the focal length of
the camera lens to give the impression that the camera is
getting closer to or farther from an object ,
Composition
The center of interest should not be placed in the geometrical center of the frame. Every
picture should have only one point of interest and the frame should only include the
area that is necessary to achieve the desired effect.
Types of Shots
Establishing
Shot:
Long Shot:
Close-up:
A long shot that establishes setting, showing landscape, building,
or large crowd.
A shot from a distance that completely fills the screen. A shot of
one face or object that completely fills the screen.
A shot of a small object or part of a face that fills the screen.
Extreme
Close-up:
1
Editing/Transitions
Cut:
One scene ends and another immediately begins.
Fade-out/Fade-in:
One scene gradually goes dark and the next gradually emerges
from the darkness.
Dissolve:
The end of one scene is superimposed over the beginning of
a new one.
Wipe:
An optical effect in which one shot appears to "wipe" the
preceding one from the screen.
Camera Angles
High Angle:
The camera looks down on what is being photographed, creating a
feeling of superiority in the audience towards the subject.
Low Angle:
The camera looks up at what is being photographed, creating a
feeling of inferiority or powerlessness in the audience.
Eye" Level:
A shot that approximates human vision; the line between the camera
and the subject is parallel to the ground. This suggests equality
between the subject and the audience.
Lighting and Colour
The choice of lighting and colour enhances the meaning of the event taking place.
Darkness:
Implies
Light:
Implies life, order, safety
Intensity
of
death,
chaos,
mystery,
superstition
Higher contrast between dark and light = more dramatic
lighting:
Direction of Light:
o Flat overhead=dull
o Low angle=dramatic
o Less Shadow = beauty, softness
Meaning of Colours:
When single colour dominates a film, meaning/tone/mood is enhanced.
o Bright Colours = happy, energetic
o Black, Grey and White = depressing or ominous settings.
o Blues/Greens = coolness
o Red/Orange = violence or passion
o White = purity, innocence
o Neutrals, Pastels...
Sound
Sound increases effectiveness by bringing scenes together, creating mood, or anticipating
events. Natural sounds or no sound intensifies the emotion and
creates mystery.
Sources of Sound
VoiceOver
Narration:
The speaker may or may not be in the shot, but is not seen while
speaking.
Dialogue:
Speaking between the characters.
Synchronous
Sound Effects:
Sounds that match the action
Asynchronos
Sound Effects:
Sound Bridge:
Musical
Underscoring:
Sounds whose source is not visible on screen.
Sounds that tie together disparate elements or shots.
Background music assumed not to be audible to characters.
Naturally occurring sounds such as traffic or wind.
Wild Sounds:
Editing
The number of cuts in a scene has a direct bearing on the "pace" of a sequence.More
cuts = faster pace Longer scenes = slow and relaxed pace
Duration of Shots
Subliminal: a few frames
Quick: less than a second
Average: less than a minute
Lengthy: more than a minute
Dead Poets Society
Film Analysis
Scene One:
Duration
minutes
of
clip:
Start of Movie-»End
Keating's 1st lesson
16
of
1. T h er e ar e 4 pillars t h at t he school follows they are: Tradition,
Honour, Discipline and Excellence. Explain whether you
believe they are realistic objectives for teaching. Why?
2. What film techniques are used to establish the mood and tone of the
opening scene?
3. What techniques are used to change scenes? (Keep in mind the
nature shots)
4. Give a preliminary character description for the following
characters:
• Neil Perry,
• Todd Anderson,
• Charlie Dalton,
• Knox Overstreet,
• Cameron,
• Meeks, and
• Pitts.
5. What purpose does Keating have for teaching the boys the
saying "Carpe Diem"? And, why is the scene presented as it is?
(scene of photos from past students)
6. Mr . Nolen talks to the parents of Perry and Anderson- at the
beginning of the film, he makes the following comments: "We
expect great things..." "You have some big shoes to fill..."
a. What do these comments suggest?
b. What impression do you have of Mr. Nolen at this point?
Scene Two:
Duration
minutes
of
clip:
24
Dinner at Danburry's-»Congo
Recitation
1. What is the Dead Poets Society?
a. Why does it appeal to boys?
b. Do you feel that it is a good idea for them to form their
society?
Why/Why not?
2. Keating poses this question to his students after introducing his
lesson on understanding poetry: "What will your verse be?"
a. What does this question mean to
you?
b. What would your response be?
Scene Three:
Duration of cl i p : 1 7 minutes
S h ak esp ear e C l ass- > S o ccer
Lesson
1 . Wh at r easo n do es Keat i n g h av e f or telling t h e students t o stand
o n t he desk?
2 . Wh at f i l m t ech ni q u es are u sed i n t he f o l l o wi n g scenes? How
ar e t hey ef f ect i v e?
a. R o wi n g scen e/ f en ci n g scen e
b. Weeks an d P i t t s o n t h e r o of with t h e radio/ Nei l and
T o d d ar gu i n g o v er act i ng
c. Kn o x's b i ke r i di n g
d. R u gb y scene/ ch eer l ead er scen e
e. S o ccer scene
3 . Pick a scen e f r o m t h e section t h at affected you most and discuss
how you would h av e filmed i t differently using different
techniques.
Scene Four:
Duration of clip: 2 2 minutes
DPS Meeting-»Keating Reprimand
by School Master Nolen
"collect/daring comment"
1. Keating has a marching exercise with his students.
a. E x p l ai n why he uses this technique to represent conformity,
and what h e i s trying to teach the boys.
b. Mr . Nolen reprimands Keating for doing this exercise later
in the film. Do you agree with Mr. Nolen? Explain.
2. What changes do we notice in regards to Dalton's character? Give
examples of these changes.
3.
Is Keating's affect on the boys positive or negative? Support your
answer.
Scene Five:
Duration of clip: 4 5 minutes
Neil rehearsing/father demanding
he
quit->End of Movie
1. When Mr. Nolen is interviewing each of the boys regarding the
responsibility of Neil's su i ci d e he chooses to have the parents at
the meeting.
a. Ho w does this affect the response of each of the boys?
b. Consider the moment when Mr. Nolen hands the pen to Todd
to sign t h e document. If y o u were in Todd's place what
would you do?
2. For each of the following characters ( Nei l P er r y , Todd Anderson,
Charlie Dalton, Knox Overstreet, Cameron, Meeks and Pitts) answer
the questions below.
a. How have each of the characters changed from the
beginning of the film?
b. How has Keating influenced each one of them?
c. How has each one of them "sei zed the d ay "?
3. State what f i l m techniques ar e used in Neil's suicide scene and how
each technique contributes to t h e emotion and meaning of the scene.
a. Neil's room
b. Parent's bedroom
c. S t u d y where Neil commits suicide
4. The last scene (salute to Mr. Keating-standing on desks), of the film
is highly effective an d emotional. Explain what techniques were
used and how they contribute t o t h e meaning and depth of the
scene.
5 . Pick a scene from this section that affected you the most and
discuss how y ou would film i t differently using different
techniques.
Understanding Poetry
You will learn to think for yourselves.
You will learn to savour words and language.
Words and ideas can change the world.
We don't read and write poetry because it's cute,
we read and write poetry because we are members of the human race
and the human race is filled with passion,
and medicine, law, business, engineering.
These are noble pursuits and necessary to sustain life,
but poetry, beauty, romance, love
these are what we stay alive for!
You are here, life exists,
That the powerful play goes on and you may contribute a verse... What will your verse be...?
O Captain! My Captain!
O Captain! my Captain! our fearful trip is done, The ship has weather'd every rack, the prize we
sought is won, The port is near, the bells I hear, the people all exulting, While follow eyes the
steady keel, the vessel grim and daring;
But 0 heart! heart! heart! 0 the bleeding drops of red, Where on the
deck my Captain lies, Fallen cold and dead.
O Captain! my Captain! rise up and hear the bells; Rise up - for you the flag is flung - for you the
bugle thrills, For you bouquets and ribbon'd wreaths - for you the shores a-crowding,
For you they call, the swaying mass; their eager faces turning;
Here Captain! dear father! The arm beneath your head! It is some
dream that on the deck You've fallen cold and dead.
My Captain does not answer, his lips are pale and still, My father does pot feel my arm, he has no
pulse nor will, The ship is anchor'd safe and sound, its voyage closed and done, From fearful trip
the victor ship comes in with object won;
Exult O shores, and ring O bells! But I with mournful tread, Walk the
deck my Captain lies, Fallen cold and dead.
Walt Whitman/!819 -1892
CARPE DIEM (L. "seize [enjoy] the day"). A motif in poetry which usually advises the enjoyment of
present pleasures. The locus classicus of the phrase occurs in Horace, Odes all, though the fullest
treatment of the theme by that poet appears in Odes 239. The motif, which is found in Gr. poetry
(Aeschylus, Perisians 8-10 - 12; Anacreon 4.11.7-10) as well as in L. poetry, arises from the realization
of the brevity of life and the finality of death. Hence the injunction to enjoy this life. Such enjoyment
ranges in L. poetry from the refined pleasures of the mind and spirit (Horace, Odes to purely sensual
and momentary delights (Catullus, Carmina 5). Even at the height of the single, joyous experience the
motif encourages objectivity and detachment, implying full awareness of the sadness of the human
situation. To this basically epicurean thought Ausonius added the rose motif wherein the brevity of life
becomes symbolized by the brevity of the rose (De rosis nascentibus 35 - 36). In subsequent goliardic
verse as well as Fr. and Eng. poetry the rose and its brevity further symbolized the loss of virginity
(Roman de la rose). The 15th c. poets used the cd. theme and the rose to rail against fruitless chastity
(Lorenzo de Medici, Corinto 28-31). In this same tradition were the Eng. Cavalier poets such as Herrick
("Gather Ye Rosebuds").
But in Christian writing and poetry the cd. theme has been used as a persuasion to goodness (J. Taylor,
Holy Dying, p. 31). Herbret used the motif to emphasize not only the transitioriness of this life out the
eternity of the Christian life, especially after death. So also, did Spenser in the Faerie Queene. The motif
in one aspect or another is found in Carew, Thomas, Marvel, Milton, and Blake. It is found also in
Persian poetry (Omar Khayyam an ancient Egyptian poetry (The Song of the Harper). J.A. Symonds,
Essays Speculative and Suggestive (1893); F. Bruser, "Comus and the Rose Song." sp! 44 (1947), Frye.
R.A.H.
She Walks in Beauty
She walks in beauty, like the night Of
cloudless climes and scarry skies. And all
that's best of dark and bright Meet in her
aspect and her eyes: Thus mellowed to that
tender light Which heaven to gaudy day
denies.
One shade the more, one ray the less, Had
half impaired the nameless grace Which
waves in every raven tress Or softly lightens
o'er her face, Where thoughts serenely sweet
express How pure, how dear their dwellingplace
And on that cheek and o'er that brow So
soft, so calm, yet eloquent.
The smiles that win, the tints that glow But
tell of days in goodness spent. A mind at
peace with all below. A heart whose love is
innocent.
XVIII
Shall I compare thee to a summers day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer’s lease hath all too short a date:
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimm'd;
And every fair from fair sometime declines,
By chance, or natures chariging course, untrimm'd;
Put thy eternal summer shall not fade.
Nor lose possession of that fair thou owest;
Nor shall Death brag thou wanderst in his shade,
When in eternal lines to time thou growest;
So long as men can breathe, or eyes can see,
So long lives this, and this gives life to thee.
The Road Not Taken
Tworoadsdivergedinayellowwood,
AndsorryIcouldnottravelboth
Andbeonetraveller,longIstood
AndlookeddownoneasfarasIcould
Towhereitbentintheundergrowth;
Thentooktheother,asjustasfair,
Andhavingperhapsthebetterclaim,
Becauseitwasgrassyandwantedwear;
Thoughasforthepassingthere
Hadwornthemreallyaboutthesame,
Andboththemorningequallylay
Inleavesnostephadtroddenblack.
Oh,Ikeptthefirstforanotherday!
Yetknowinghowwayleadsontoway,
IdoubtedifIshouldevercomeback.
Ishallbetellingthiswithasigh
Somewhereagesandageshence:
Tworoadsdivergedinawood,andIItooktheonelesstravelledby,
Andthathasmadeallthedifference
From The Poetry of Robert Frost edited by Edward
Connery Lathem. Copyright 1916,1923© 1969 by
Holt, Rinehart and Winston, Copyright 1944,1951 by
Robert Frost. Reprinted by permission of Holt,
Rinehart and Winston, Publishers.
To the Virgins,
Make Much of Time
Gather ye rosebuds while ye may,
Old time is still a-flying,
And this same flower that smiles today,
To-morrow will be dying.
The glorious lamp of heaven, the sun,
The higher he's a-getting,
The sooner will his race be run,
And nearer he's to setting.
That age is best which is the first,
When youth and blood are warmer;
But being spent, the worse and worst
Times still succeed the former.
Then be not coy, but use your time,
and while ye may, go marry;
For having lost just once your prime,
You may for ever tarry.
-ROBERT HERRICK 1591-1674