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June 25, 2010

Analyzing Images: a beginning

Filed under: Film — Tags: , , — Stan @ 12:55 am

At the start of the Film Studies course, students have a bit of a problem understanding that textual analysis and film language are a lot more complicated than their understanding of the plot of the film.  Students tend to believe they ‘understand’ films, just because they understand narrative.  Of course, students do have a lot of experience in decoding media images, and in this sense they do in fact know a lot.  But unfortunately, while they can understand narrative and even more complex codes like symbolism and metaphor, they have a tougher time analyzing images.

A good place to start is with still images, analyzing pictures instead of scenes.  If you’ve viewed a film recently, you might want to do this exercise with screen-grabs (we recently used THE 400 BLOWS), but any group of still pictures will probably do for a beginning.  Here’s a series of questions you can ask about an image – illustrated with some choices from THE CABINET OF DR. CALIGARI (1919) that could be used to focus the discussion.

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May 7, 2010

Deconstructing film can be fun.

Filed under: Film — Tags: , , — Stan @ 4:51 am

At first for my students, much of film is invisible.  After all, continuity editing hides the cuts as if you were blinking or switching your attention.   So many viewers who are very sophisticated in terms of understanding film narratives, are still relatively untutored in noticing camera work, editing, and even the various elements of mise en scene.

Even my I.B. classes start with a technique that was probably designed for very young children – clap at ever edit point.  It’s great if you can find a sequence with jump cuts, dissolves and hidden edits.   It makes watching a film an active act of analysis.

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March 17, 2010

TALKING THE TALK: film languages and I.B. Film Studies

Filed under: Film — Tags: , , — Stan @ 4:13 am

Not long ago I was reading the letters page of Tim Lucas’ excellent genre publication, Video Watchdog, and saw a letter that was complaining about the use of the term “diegetic sound.”  The writer was a film professional who didn’t understand why matters had to be confused by terms like ‘diegetic’ and ‘non-diegetic’ when in the professional world the things were dealt with very efficiently by the use of the terms ‘on screen and ‘off screen’ sound.

The answer of course is that these terms come from two different languages – one is the language of film analysis, where it is important to identify whether or not the sound comes from the world of the film, while the other is the language of film production where the ‘off screen’ and ‘on screen’ distinction implies a number of different tasks that will relate to the sound work.

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