202: Unit 2 – Film Aesthetics

aesthetics [es-thet-iks]:

noun, the branch of philosophy dealing with such notions as the beautiful, the ugly, the sublime, the comic, etc., as applicable to the fine arts, with a view to establishing the meaning and validity of critical judgments concerning works of art, and the principles underlying or justifying such judgments (Dictionary.com).

 

In this unit, you will learn film techniques used to tell a visual story (the aesthetics) and how those differ from that of the written word. You will also study how film aesthetics influence the understanding of characters, mood, plot and theme.  Students will be able to understand how theme, characterization, motifs, mood, and plot are concepts that apply to film as well as literature; demonstrate and understanding of how and why filmmakers purposely create a desired effect — film elements (angles, shots, sound, lighting, and transitions) are used to influence the audience’s perception and understanding; identify specific elements of film can help us to be critical viewers.

In this unit (and course), you will be given the skills to identify the following elements:

• Identify angles, shots, transitions, lighting, or sound choices in film
• Identify several themes of a film and/or short story
• Describe character development of a film and/or short story
• After watching films/reading short stories, create and answer questions that explore connections between self, other texts, and the world.

Students will keep a journal for each unit for each movie watched.

Students will respond in the journal with specifics to the focus of each unit. Additionally, students will find a critical review of each movie and make a brief argument in favor of or against the review.

The unit will culminate with a critical analysis on the aesthetic approach to filmmaking.

• Journals are REQUIRED if you are taking this course for CERTIFICATION.

• Students will keep a digital journal for each unit.

• Journals will be turned in as a PDF or Microsoft Word Document.

• For CERTIFICATION, journals will be turned in at the conclusion of the course for review.

• If you are taking this course for personal enrichment only, journals are optional and will not be turned in.

 

Students will respond in the journal with specifics to the focus of each unit.

All coursework should be compiled within the journal unless otherwise specified.

Here are some terms that apply specifically to the aesthetics of a film:

Aspect Ratio  – The horizontal and vertical sizes of an image.  The aspect ratio of standard (old) television is 4:3 (almost square, but slightly rectangular).  High definition is 16:9, which creates the common, high definition, widescreen look. Most modern high definition cameras shoot in 16:9 natively. Older cameras crop a 4:3 image to appear 16:9, which actually creates a lesser quality image.

Auteur – A French word for author, referring to the director, who, in essence, is the author of the film.

Blocking –  Similar to a play, a movie must be blocked! Blocking is the action and placement of the on camera elements.

Camera Shots and Angles:

• Close Up – On a person, this would be a shot where primarily the head/face is in frame showing detail and emotion.
• Establishing Shot – This is a shot with a wide point of view to establish setting.
• Extreme Close Up – Beyond the close up, this shot gives us a very near attention to detail.
• High Angle – A shot from above, a higher angle, looking down.
• Low Angle – A shot from below, a lower angle, looking up.
• Over the Shoulder – Usually a medium shot, sometimes a close up, where the edge of one person’s shoulder and/or head can be seen in frame while the focus is on the subject facing the camera.
• Pan – Horizontal camera movement.
• Tilt – A shot angling the camera up or down (tilting up or tilting down).
• Tracking Shot – A shot “tracking” or moving along with something else capturing the movement at equal speed. A tracking shot may move with, away or toward its subject.
• Two Shot – Two people or subjects are in the shot.
• Wide Angle – Full body shots that give us a sense of setting. These can be extreme as well.
• Zoom — A camera movement that either pushes closer to a subject or pulls away from a subject.

 

QUICK JOURNAL ASSIGNMENT: Watch this scene from the western Unforgiven.  In your journal, note at least five visual elements that make this a powerful scene.

 

Cinematographer / Director of Photography – The cinematographer oversees all aspects of camera operation and is usually responsible for the overall “look” of the movie. This person should have an in-depth knowledge of lighting and photography.

Cross Cutting – The switching of points of view within the same scene.

Cut – This term has multiple meanings.  On set, “cut” means to stop the action and end the take.  In the editing room, a “cut” is going from one shot to another – cutting the pieces together.  This is why an editor can also be called a “cutter.”  Also referred to as splicing.

Depth of Field – Refers what would be in or out of focus on camera.  With a “large depth of field,” more elements are in focus.  A “shallow depth of field” means that the area of focus is limited.

Dissolve – A transition from one image to another where the moments are momentarily superimposed over one another.

Dolly – This is a fluid camera movement, following a subject. It usually involves the camera being moved across some type of track.

Editing – The process of cutting the film together.

Fade – Typically, images fade-in or fade-out, dissolving to black.

Fast Motion – Something that appears faster than real life.  Achieved by shooting at a slower frame rate and playing the images back at a standard rate (e.g. film shoots at 24 frames per second. Footage shot at 12 frames per second and played back at 24 frames per second creates the fast motion effect).

Fill Light – A light used to diminish shadows a “fill” dark areas.

Filters / Gels – Can be used over camera lenses or on lights to impact the appearance  (often the color) of the recorded image.

Flashback – A break in chronological order in which the narrative storytelling switches to events occurring in the past.

Flash Forward – A break in chronological order in which the narrative storytelling switches to events occurring in the future.

Fourth Wall – This is the audience. Occasionally, a movie will “break” the fourth wall and include the audience.

Jump Cut – An abrupt cut that seems out of place. If intentionally, jump cuts can create a disorienting effect.  If unintentional, they look very amateur.

Key Light – Primary source of lighting.  High key lighting creates a bright set.  Low Key lighting makes for a dimly lit set.

Rack Focus – A change in focus from an in-focus element to an out of focus element.

Reaction Shot – On camera reactions from other characters, actors or participants.

Reverse Angle – A camera shot that is directly opposite of the previous shot.

Rough Cut – The initial assembly of the film without completed sound, music, or color.

Slow Motion – Something that appears slower than real life.  Achieved by shooting at a higher frame rate and playing the images back at a standard rate (e.g. film shoots at 24 frames per second. Footage shot at 120 frames per second and played back at 24 frames per second creates the slow motion effect).

Soft Focus – An image that is intentionally shot slightly blurred or out of focus. This can be done with filters, manually or in post-production.

Wipe – A common transition where one image is “pushed” away by another image.

 

A short film presents a concise story in under 40 minutes (at least according to the standards laid out by the Academy). We will present a few award winning short films below, ranging in lengths of 3 minutes to 20 minutes. These movies all made the rounds on the festival circuit and were well received.  Each movie has a short journal assignment along with it.

These movies are freely available on Youtube. If you notice a dead link, please let us know so we can replace it immediately.

Watch “The Last Three Minutes” by Po Chan

https://www.youtube.com/watch?v=j_Ao173E_CE

 

Respond to the following in your journal:

1. What is your initial reaction to this story?
2. What is the story being told?
3. How does the filmmaker tell this story?
4. How does this story differ from traditional storytelling?
5. What are three different aesthetic qualities of the movie?

 

Watch “The Action Hero’s Guide to Saving Lives” by Justin Lutsky

https://www.youtube.com/watch?v=EW8xdHkR2Y0

Respond to the following in your journal:

1. What is your initial reaction to this story?
2. How does the non-traditional storytelling help or hurt the movie?
3. How was the technical quality of this movie? Explain.
4. Would it surprise you to know that this was a student film? Why or why not?
5. 1. What are three different aesthetic qualities of the movie?

 

Watch “Validation” by Kurt Kuenne

https://www.youtube.com/watch?v=Cbk980jV7Ao

Respond to the following in your journal:

1. What is your initial reaction to this story?
2. This movie is only a few years old. Why did the filmmaker choose black and white?
3. How was the technical quality of this movie? Explain.
4. Do you think this was? Why or why not?
5. 1. What are three different aesthetic qualities of the movie?

 

Need the Movie? Find it on Amazon.

Inception  is a movie seem to love or hate with no in between.  Regardless of your final feeling of the film, it is a fantastic film to analyze for its pure aesthetic quality. This is a mind boggling movie that can require multiple views to truly ascertain a meaning.

While watching Inception, we want you to work. You are not just sitting back as a film watcher, but a critic — analyzing and critiquing the movie every step of the way.

JOURNAL ASSIGNMENT: In this film, you will need to keep track of the characters, their roles, and the dream levels.

INCEPTION BREAKDOWN

Character Chart

Briefly explain each character’s role and what we know about them.

• Cobb

• Ariadne

• Arthur

• Eames

• Fischer

• Saito

• Yusuf

 

Roles/Job Chart

Briefly explain the job and which character has each job (some characters may double up on some of these roles).

• The Extractor

• The Architect

• The Dreamer

• The Mark/Subject

• The Forger

• Projections

 

Analysis of Dream Levels to Achieve Inception

Explain who is dreaming on each level, who goes there, why they are there and “the kick.”

• Level 1: Reality
  • Dreamer:
  • Characters on the level:
  • Purpose of the level:
  • The kick:

 

• Level 2: Van Chase
  • Dreamer:
  • Characters on the level:
  • Purpose of the level:
  • The kick:

 

• Level 3: The Hotel
  • Dreamer:
  • Characters on the level:
  • Purpose of the level:
  • The kick:

 

• Level 4: Snow Fortress
  • Dreamer:
  • Characters on the level:
  • Purpose of the level:
  • The kick:

 

• Level 5: Limbo
  • Dreamer:
  • Characters on the level:
  • Purpose of the level:
  • The kick:

 

ANALYSIS OF THE ENDING: What do you think the ending means/represents? Why?

ANALYSIS OF THE AESTHETICS: How does the movies look/feel/atmosphere you as a viewer?

BEST OF LISTS: This movie is not in the AFI top 25 but it is in the IMDB top 25 at number 14? Why do you think that is? Where would you place this?

If you want more on an Inception, watch the Google Talks video with Kyle Johnson discussing “Inception and Philosophy.” Johnson provides some interesting insight and opinion. Part of the uniqueness of this film is that the interpretation is wide open.

 

In an article in the Hollywood Reporter, Inception’s  director, Christopher Nolan, said this of the ending: “He [Cobb] didn’t really care anymore, and that makes a statement: perhaps, all levels of reality are valid. The camera moves over the spinning top just before it appears to be wobbling, it was cut to black.… The point is, objectively, it matters to the audience in absolute terms: even though when I’m watching, it’s fiction, a sort of virtual reality. But the question of whether that’s a dream or whether it’s real is the question I’ve been asked most about any of the films I’ve made. It matters to people because that’s the point about reality. Reality matters.”

What’s it mean then? Well, you’re becoming a critic. You decide.

Need the Movie? Find it on Amazon.

This is a science fiction film produced in 1968. It was directed and produced by Stanley Kubrik. Similar to Inception, this was a movie entirely created to have the viewer think about what they are watching in a very cerebral and literary manner. Kubrik and writer Arthur C. Clark made certain that what you see and the questions you have are very intentional.

JOURNAL ASSIGNMENT: Again, work as you watch.

PART I: Watch the movie to the point where you hear actual dialogue (speaking / conversation), then stop and answer the following questions:

1. Why do you think this movie begins with total blackness for an extended period?
2. The movie then goes into a sequence with apes, possibly early man. Why does the movie begin here?
3. What do you think the monolith is (the large, black, featureless object)?
4. This scene is called “Dawn of Man.” What do you think this scene symbolizes?
5. Why would this scene be considered controversial?
6. Watch the scene again and discuss the shot selection? Why do you think specific shots (wide, close, etc.) were used?

 

PART II: Respond to these questions after watching the entire movie:

1. This is critically considered one of the greatest and most influential films ever made. Why do you think this is?
2. Why do you think the movie goes so long in the beginning without dialogue?
3. How does the use of music influence you as a viewer in 2001?
4. In the novel, the monolith is explained as having been created by an alien race meant to assist lesser species to advance in evolution. Do you think the movie maintains this or do you think it differs? Explain.
5. This movie, made in 1968, uses a variety of visual effects. These effects were not done with computers, but through the use of sets, live action, miniatures, and other traditional methods. How do the effects add or distract from the story?
6. The movie was initially met with mixed critical reviews. It was called “dull and boring” by many. Over time, it has become a fixture on critical and fan “best movie” lists. What is your opinion?
7. In less than five sentences, try to explain the plot of 2001.
8. Remember this movie was conceived and created in the 1960s. Many of your parents may not have even been born when this movie came out. What do you think of Kubrick’s vision of the future?
9. Finally, this movie ranks at #15 on the AFI list but is not in the top 25 for IMDB? Why the difference here? Again, where would you rank it?

 

To truly fulfill the goals of this class, watch all of these movies. At the very least, watch two more of them before completing the final assessment. Amazon links, if available, are below.

• 12 Angry Men: This is an older movie that varies greatly from anything else in this unit. It was written as a movie and later (and often) performed as  a play with one primary setting and 12 characters. As you watch, pay close attention to the character development and how their roles change throughout the movie. Also note how the single setting impacts the atmosphere of the film.
• The Prestige: Yes, it’s another Christopher Nolan movie (Inception) but it tells a very unique story and has an interesting approach to the aesthetics of film. This is a film with twists and turns but a much more defined outcome. When watching it, keep track of how the visuals impact the outcome. And ask yourself, did I actually know what was happening?
• Chinatown: The screenplay for this movie, by Robert Towne, is widely considered the perfect screenplay. It is used in screenwriting and film appreciation classes throughout the world. When watching this movie, not only watch it for story, but how the pacing and overall look of the movie add to the way the story is told.
• The Movie Hero: A quirky, off-beat independent comedy. By no means is it a great movie and it will not be on any top 25 lists. But it is worth viewing because of it’s non-traditional storytelling and the way in which the main character breaks the “fourth wall” to take us, the viewer, into the story with him.

 

Journal Assignment:

Over the course of this first unit, we have watched a variety of movies that approach filmmaking in very different ways.

Consider the following prompt: You must explain the art of filmmaking to an alien life form that does not understand the purpose of movies.  If you cannot convince them that movies are worthwhile, they will destroy the Earth! In short, you are creating the following argument: film is art.

You can only use the above movies as your example(s), as these are the only movies the aliens have taken the time to watch. They are very confused.

This is the verisimilitude of your situation. You must accept this reality!

In a multi-paragraph analysis, using one or more of these movies as an example, explain why film is a worthwhile art form! The prompt may seem silly, but once you get started, you will understand the challenge of trying to explain film as art.