Brighton Rock
Mise-en-scène
Mise-en-scène "placing on stage" is an expression used to describe the design aspects of a theatre or film production, which essentially means "visual theme" or "telling a story"—both in visually artful ways through storyboarding, cinematography and stage design, and in poetically artful ways through direction. Mise-en-scène has been called film criticism's "grand undefined term".Establishing Shot
An establishing shot in filmmaking and television production sets up, or establishes the context for a scene by showing the relationship between its important figures and objects. It is generally a long- or extreme-long shot at the beginning of a scene indicating where, and sometimes when, the remainder of the scene takes place.
However, a good example of an establishing shot that breaks that rule can be found in the opening scene of "Brighton Rock" where it shows a pier in the sunrise and has a subtitle stating "Brighton, England. 1964".
Long Shot
An establishing shot should be two or three seconds - long enough for viewers to appreciate the scene.In photography, filmmaking and video production, a long shot (sometimes referred to as a full shot or a wide shot) typically shows the entire object or human figure and is usually intended to place it in some relation to its surroundings. It has been suggested that long-shot ranges usually correspond to approximately what would be the distance between the front row of the audience and the stage in live theatre. It is now common to refer to a long shot as a "wide shot" because it often requires the use of a wide-angle lens. When a long shot is used to set up a location and its participants in film and video, it is called an establishing shot.
Medium Shot
In film, a medium shot is a camera angle shot from a medium distance. The dividing line between "long shot" and "medium shot" is fuzzy, as is the line between "medium shot" and "close-up". In some standard texts and professional references, a full-length view of a human subject is called a medium shot; in this terminology, a shot of the person from the knees up or the waist up is a close-up shot. In other texts, these partial views are called medium shots. (For example, in Europe a medium shot is framed from the waist up). It is mainly used for a scene when you can see what kind of expressions they are using.
There is no evident reason for this variation. It is not a distinction caused by, for example, a difference between TV and film language or 1930s and 1980s language.
Medium shots are relatively good in showing facial expressions but work well to show body language.
Close Up
In filmmaking, television production, still photography and the comic strip medium a close-up tightly frames a person or an object. Close-ups are one of the standard shots used regularly with medium shots and long shots (cinematic techniques). Close-ups display the most detail, but they do not include the broader scene. Moving in to a close-up or away from a close-up is a common type of zooming.
Close-ups are used in many ways, for many reasons. Close-ups are often used as cutaways from a more distant shot to show detail, such as characters' emotions, or some intricate activity with their hands. Close cuts to characters' faces are used far more often in television than in movies; they are especially common in soap operas. For a director to deliberately avoid close-ups may create in the audience an emotional distance from the subject matter.
Point of View
A point of view shot (also known as POV shot or a subjective camera) is a short film scene that shows what a character (the subject) is looking at (represented through the camera). It is usually established by being positioned between a shot of a character looking at something, and a shot showing the character's reaction (see shot reverse shot). The technique of POV is one of the foundations of film editing.
A POV shot need not be the strict point-of-view of an actual single character in a film. Sometimes the point-of-view shot is taken over the shoulder of the character (third person), who remains visible on the screen. Sometimes a POV shot is "shared" ("dual" or "triple"), i.e. it represents the joint POV of two (or more) characters.
"Point-of-view , or simply p.o.v., camera angles record the scene from a particular player's viewpoint. The point-of-view is an objective angle, but since it falls between the objective and subjective angle, it should be placed in a separate category and given special consideration. A point-of-view shot is as close as an objective shot can approach a subjective shot - and still remain objective. The camera is positioned at the side of a subjective player - whose viewpoint is being depicted - so that the audience is given the impression they are standing cheek-to-cheek with the off-screen player. The viewer does not see the event through the player's eyes, as in a subjective shot in which the camera trades places with the screen player. He sees the event from the player's viewpoint, as if standing alongside him. Thus, the camera angle remains objective, since it is an unseen observer not involved in the action." - Joseph V. Mascelli in The Five C's of Cinematography
High-Angle Shot
In film, a high angle shot is usually when the camera angle is located above the eyeline.
With this type of angle, the camera looks down on the subject and the point of focus often get "swallowed up" by the setting.
High angle shots also make the figure or object seem vulnerable or powerless.
High angle shots are usually used in film to make the moment more dramatic or if there is someone at a high level that the character below is talking to.
Low-Angle Shot
In cinematography, a low-angle shot, is a shot from a camera angle positioned low on the vertical axis, anywhere below the eyeline, looking up.
Sam Tredgett And George Whitelock Made this Awesomesauce.
