Keep the paper to a maximun of six (6) pages and a minimum of four (4) pages double spaced.
Check papers for spelling and grammer errors. Presentations will be a factor in the grading process.
You may choose any films you wish. You may reference articles in industry and trade publications, academic journals, books, reviews etc. You may, alternatively, present your best guesses about how the visual atmospheres were created.
Present a one-paragraph plot summary as an Introduction. The remainder of the paper should deal with the cinematographer and lighting aspects.
Treat the idea of how the cinematographer used composition, camera movement, lens choices (wide-angle, normal, telephoto), lighting techniques, diffusion, color correction, or, perhaps, color enhancement to create various visual atmospheres.In this regard, explain any particular challenges that required unusually imaginative solutions. Include the use of gels, diffusion materials, mixed lighting sources, etc. Consider the physical set-ups and do your best to describe them.
Describe the resultant visual “look” of the atmospheres created in #5 above. Consider the elements of softness or hardness, the interplay of light and shadow, the ways in which the image, as a consequence of lighting applications, is shaped or sculpted…how camera movement or lack thereof complements the timing of the plot. The physical look of the results is important here.
Lastly, give your personal impressions of the emotional and psychological impact that results directly from how these visual atmospheres complement the content of the story. How does it affect you, the viewer, on an emotional level. How does it feel, personally.
(LS) Long Shot
(MS) Medium Shot
(ECU) Extreme Close-up
(RA) Reverse Angle
Montage: A series of seemingly unrelated shots which, when edited, tell a story.
Mise-en-Scene: A single shot, from a fixed postion, which uses character movements from front to rear to build all the elements of Long Shot, Medium Shot, and Close-Up without moving the camera.
180 Degree Rule: This applies only to Basic Sequence. An imaginary line is drawn throught the scene and all shots within the scene are made on only one side of that line. The polar extremes are also acceptable. This maintains a continuity of screen direction for editing purposes. You may break the rule by inserting Cut-a-way or polar angle shots.